Trance

History and character

Born in Frankfurt between the late '80s and early '90s out of the techno and EBM scene: Sven Väth (influenced by the Goa parties) co-founded Eye Q (1991) and Harthouse (1992); in Berlin MFS (1991) released the first classics (Humate — Love Stimulation, Visions of Shiva — Perfect Day); Dag Lerner claims to have given the genre its name; in the UK The KLF had already released “What Time Is Love? (Pure Trance)” in 1988. Key tracks of the first phase: Cygnus X — The Orange Theme, Hardfloor — Acperience, Energy 52 — Café del Mar (1993), Quench — Dreams (1993). In parallel, the psychedelic scene that would give rise to Goa trance and psytrance grew in Goa.

In the second half of the '90s trance became a mass phenomenon: Robert Miles — Children (1995) inaugurated “dream trance,” Germany developed hard trance (which fixed the breakdown–build–anthem scheme), and the UK and the Netherlands brought uplifting/epic (Paul van Dyk — For an Angel; ATB — 9 PM (Till I Come), 1998; Ferry Corsten, Tiësto, Armin van Buuren, Above & Beyond), with the Roland JP-8000 (1996) and its supersaw as the signature sound. The commercial peak ran from 1997 to the early 2000s; afterward trance remained strong at big events (A State of Trance, Dreamstate) and since 2017 has had an underground revival (Nina Kraviz and “trance” in techno sets), up to the Beatport category “Trance (Raw / Deep / Hypnotic).”

Aesthetic: elevation, euphoria, melancholy and collective catharsis; long, singable melodies, emotional minor chords, long breakdowns and builds that explode into the anthem “drop.”

Scales and keys

Convention: Roman numerals refer to the major scale on the same tonic (uppercase = major, lowercase = minor, ° diminished, ø half-diminished, + augmented; b/# = degree lowered/raised relative to major: in A minor F = bVI, G = bVII). The notes and chords below are calculated exactly from the formula.

Aeolian (the mother scale of trance)

• Formula: 1 2 b3 4 5 b6 b7 — steps: T S T T S T T
• On A: A B C D E F G
• Diatonic triads: Am i · Bdim ii° · C bIII · Dm iv · Em v · F bVI · G bVII
• Seventh chords: Am7 i7 · Bm7b5 iiø7 · Cmaj7 bIIImaj7 · Dm7 iv7 · Em7 v7 · Fmaj7 bVImaj7 · G7 bVII7
• Characteristic note: the b6 (F) and the major bVI (F): trance's “heartbreaking moment” is almost always the arrival on the bVI. The b7 (G) gives the bVII that launches it forward.
• Use: i–bVI–bIII–bVII (Am–F–C–G) and i–bVI–bVII–i progressions; leads in sixteenth or eighth notes arpeggiating the chords; melodies that rise to the b6 and fall to the 5.
• Usage example: the great majority of uplifting and vocal anthems are in natural minor with these functions.
• Common mistakes: a lead that insists on the tonic over the bVI (creating an unintended Fmaj7: beautiful if intended, confusing if not); a progression without an emotional “arrival.”

Harmonic minor (the epic dominant)

• Formula: 1 2 b3 4 5 b6 7 — steps: T S T T S T+S S
• On A: A B C D E F G#
• Diatonic triads: Am i · Bdim ii° · Caug bIII+ · Dm iv · E V · F bVI · G#dim vii°
• Seventh chords: Am(maj7) i(maj7) · Bm7b5 iiø7 · Cmaj7#5 bIII+maj7 · Dm7 iv7 · E7 V7 · Fmaj7 bVImaj7 · G#dim7 vii°7
• Characteristic note: the leading tone (G#) that makes the V (E) major: the bVI–V–i cadence is the dramatic climax, and the F–G# interval (augmented second) gives an “Eastern” or “classical” color.
• Use: last bar of a progression (Am–F–G–E), a lead that passes through G# before returning to A; psytrance and “classic” trance (Adagio for Strings).
• Common mistakes: using G# over the bVII (G) as well: it clashes. The leading tone should be used only on the V chord.

Phrygian (dark trance and psy)

• Formula: 1 b2 b3 4 5 b6 b7 — steps: S T T T S T T
• On E: E F G A B C D
• Diatonic triads: Em i · F bII · G bIII · Am iv · Bdim v° · C bVI · Dm bvii
• Seventh chords: Em7 i7 · Fmaj7 bIImaj7 · G7 bIII7 · Am7 iv7 · Bm7b5 vø7 · Cmaj7 bVImaj7 · Dm7 bvii7
• Characteristic note: the b2 (F): dark tension, typical of psytrance, tech trance and underground trance.
• Use: E–F–E bass and lead riffs, i–bII chords (Em–F).
• Common mistakes: using it in a euphoric anthem: it takes away the light.

Dorian (a brighter color)

• Formula: 1 2 b3 4 5 6 b7 — steps: T S T T T S T
• On D: D E F G A B C
• Diatonic triads: Dm i · Em ii · F bIII · G IV · Am v · Bdim vi° · C bVII
• Seventh chords: Dm7 i7 · Em7 ii7 · Fmaj7 bIIImaj7 · G7 IV7 · Am7 v7 · Bm7b5 viø7 · Cmaj7 bVIImaj7
• Characteristic note: the major sixth (B): a major IV (G) inside the minor that makes the progression “hopeful.”
• Use: progressive trance, balearic trance, i–IV–bVII progressions.
• Common mistakes: mixing B and Bb between pad and lead.

Lydian (dreamy breaks)

• Formula: 1 2 3 #4 5 6 7 — steps: T T T S T T S
• On F: F G A B C D E
• Diatonic triads: F I · G II · Am iii · Bdim #iv° · C V · Dm vi · Em vii
• Seventh chords: Fmaj7 Imaj7 · G7 II7 · Am7 iii7 · Bm7b5 #ivø7 · Cmaj7 Vmaj7 · Dm7 vi7 · Em7 vii7
• Characteristic note: the #4 (B): luminous suspension in breakdowns in the relative major.
• Use: pads and piano with Fmaj7#11, I–II alternation (F–G/F).
• Common mistakes: confusing it with major (Bb).

How to choose between scales

Trance is almost always written in natural minor with the major dominant borrowed in the cadences; the lead melody grows out of the chord tones (arpeggio) with passing notes from the scale.

Harmony

Function

More harmonic than techno and house: progressions of 4 chords (sometimes 8) that change every bar or every 2, with emotional cadences (bVI–bVII–i, bVI–V–i). The breakdown often introduces a different progression or the same one in a “bare” version (piano, strings).

Techniques

• Aeolian progressions i–bVI–bIII–bVII, i–bVI–bVII–i, i–bVII–bVI–V (Andalusian descent).
• Major dominant (V) from harmonic minor in the cadences.
• Tonic pedal under changing chords (typical in the build and in progressive).
• Inversions for a bass that descends by step (Am–G/B–C…).
• Modulation up a whole step or semitone in the last anthem (uplifting and vocal).
• Sus2/sus4 chords and add9 for “open” supersaws.
• Harmonic rhythm of the lead: the lead arpeggiates the chord in sixteenth or eighth notes (gate, trance gate), creating movement.

Density and voicing

Layered supersaws (chords of 3–5 voices with octaves), long pads, piano in the breakdown; the bass plays the tonic on the offbeat (offbeat) or rolling.

Examples

• Am–F–C–G (i–bVI–bIII–bVII).
• Am–F–G–E (i–bVI–bVII–V).
• Dm–C–Bb–A (i–bVII–bVI–V).

Typical progressions

Rhythm and groove

• Meter and grid: 4/4, kick on the quarter notes, sixteenth-note grid; no swing (0%).
• Bass: on the offbeat (offbeat, steps 3, 7, 11, 15) or rolling (the three sixteenth notes after the kick), never on the kick.
• Accents: clap on 2 and 4, open hat on the offbeat, sixteenth-note hats, ride in the mains; crash on the 1 of every 8-bar phrase.
• Lead: in sixteenth or eighth notes, often with trance gate (rhythmic volume gate in sixteenth notes on the pads/supersaws).
• Build: accelerating snare roll (quarters → eighths → sixteenths → 1/32), rising pitch, opening HP filter; drop with crash and kick.

Drums

Role of the kick

On the quarter notes (steps 1, 5, 9, 13), powerful, with a pronounced transient and short tail (decay 150–250 ms) to leave room for the offbeat bass. Fundamental 50–60 Hz, click 3–5 kHz. In hard trance a long, distorted kick; in psy a very short kick.

Snare and clap

Clap (and snare) on 2 and 4 with medium-long reverb; in the builds a crescendoing snare roll (velocity and pitch rising, filter opening) over 8–16 bars.

Hi-hat and ride

• Open hat on the offbeat (steps 3, 7, 11, 15): interlocked with the offbeat bass.
• Closed hats in sixteenth notes, often with accented velocities.
• Ride in eighth or quarter notes in the mains, absent in the breakdown.

Percussion

Few: shaker, tambourine, synthetic percs; crash on the 1 of every 8 bars; reverse cymbal before changes.

Dynamics and ghost notes

Velocities mostly fixed; arrangement dynamics.

Interaction with the bass and lead

Kick on the downbeat, bass on the upbeat: this is the engine of trance. The lead and the trance gate add the sixteenth notes.

Changes between sections

• DJ intro: kick, hat, bass (16–32).
• Main 1: full groove, lead hinted at or riff.
• Breakdown: kick out (16–32 bars), pad, piano, “bare” lead.
• Build: snare roll, riser (8–16).
• Anthem/drop: kick + bass + supersaw + full lead + ride.
• Outro: subtraction.

Fills and transitions

Snare roll, tom fill, crash, reverse cymbal, white noise; “kick roll” (kick in eighth/sixteenth notes) in the last bar before the drop.

Choosing sounds

909 (kick, clap, hat, ride), modern samples; in psy short, “punchy” kicks.

Typical mistakes

A long kick that covers the offbeat bass; snare rolls that are too short or lack a crescendo; ride too loud; harsh hats.

Bass

• Sound: filtered saw synth bass (often dual oscillator, slight detune), with sub; in psy a short, “tight” bass; in uplifting sometimes a “rolling” bass in sixteenth notes.
• Register: E1–E3; sub below 80 Hz in mono.
• With the kick: offbeat (one note on the upbeat of each quarter) or rolling (.xxx); sidechain/volume shaping 6–12 dB; tune kick and bass together.
• Notes: the chord roots (the bass changes note with the chord), alternating octaves (octave rolling).
• Rhythm: steady sixteenth notes, short notes (decay 100–180 ms).
• Examples: the offbeat bass of “9 PM (Till I Come)”; the rolling bass of psy.

Harmonic instruments

• Supersaw (JP-8000 and successors): layered chords with unison, the “wall” of the anthem.
• Long, wide pads; trance gate on the pads in sixteenth notes.
• Plucks and arpeggios in sixteenth notes.
• Piano in the breakdowns (simple chords, lots of reverb).
• Strings (synthetic or orchestral) for the climax; “Adagio for Strings” as the archetype.

Wide voicings with octaves; register C3–C6; everything sidechained.

Melody and vocals

• Lead: long (8–16 bars) and singable melodies, often in sixteenth or eighth notes arpeggiating the chords; supersaw lead, pluck lead, “hoover” in hard trance; register C4–C6.
• Vocal: in vocal trance, soprano/mezzo-soprano female voices, “ethereal” or pop (see Vocal trance); often no vocals in instrumentals.
• Choirs: vocal pads, synthetic “aah.”
• Effects: ping-pong dotted-eighth delay, huge reverbs (hall 3–8 s), chorus, sidechain, automated filters.

Instruments

Roland JP-8000/8080 (supersaw), Access Virus, Nord Lead, Novation Supernova, Clavia, Korg MS2000, TB-303 (acid trance), TR-909, Roland JD-800/JV, Yamaha CS-series, samplers, piano, strings; today Sylenth1, Spire, Serum, Nexus.

Drum patterns

Synths and sounds

• Jup-8 V — Supersaw and pad: Simulates the supersaw wall by stacking 2 detuned saw VCOs (5–15 cents), unison and chorus; filter open at 80%, attack 0–10 ms for leads, 300 ms for pads.
• OP-Xa V — Lead and stab: Warm leads and Oberheim stabs; great layered with brighter supersaws.
• Prophet-5 V — Pluck and arpeggios: Pluck with closed filter and 200 ms decay, no sustain; 1/16 arpeggio.
• Mini V — Offbeat bass: Saw + detuned saw, filter 40%, decay 150 ms; no glide.
• Augmented Strings — Orchestral strings: Strings for the breakdowns and the climax.
• Piano V — Breakdown piano: Grand piano with long reverb.
• CS-80 V — Expressive leads: Lead with ribbon and vibrato for the most cinematic moments.

Song structure

“Anthem” form for DJs, 8- and 16-bar phrases, 7–9 minutes (extended) or 3–3:30 (radio).

Rule: the breakdown is the emotional heart. It presents the “bare” melody (piano or pad) and then makes it explode with all the layers in the anthem.

Mixing and mastering

Sonic goal

Big, bright and wide: clear, mono kick and offbeat bass, huge supersaws that don't cover the lead, epic reverbs in the breakdowns, very high energy in the anthems. References: Paul van Dyk — For an Angel, Ferry Corsten/System F — Out of the Blue, Armin van Buuren — Shivers, Above & Beyond.

Kick

• EQ: HP 25–30 Hz; +2 dB at 55 Hz; −4 dB at 250–400 Hz; +2 dB at 3–5 kHz.
• Compression: usually none; soft clipper.
• Transient shaper: +3 dB attack, sustain −2 dB.
• Space: none. Stereo: mono.

Clap and snare

• EQ: HP 200 Hz; +2 dB at 1.5 kHz; +1.5 dB at 8–10 kHz.
• Compression: 4:1, GR 3–4 dB.
• Space: plate/hall 1.5–2.5 s, pre-delay 15 ms; snare roll with growing reverb.
• Stereo: centered with a widened layer.

Hi-hat, ride and percussion

• EQ: HP 500 Hz; dynamic EQ 8–10 kHz; air +1 dB at 12 kHz.
• Space: short room; 1/16 delay on the percs.
• Panning: hats 10–20%, ride 10% opposite, shaker 40%.

Bass

• EQ: HP 30 Hz; fundamental 50–100 Hz; −2 dB at 250 Hz; +1 dB at 800 Hz; LP 3–5 kHz.
• Compression: 4:1, GR 3–4 dB.
• Saturation: light above 100 Hz.
• Stereo: mono below 150 Hz.
• Sidechain: 6–12 dB or volume shaping (the offbeat bass must “detach” from the kick).

Supersaw, pad, pluck, lead

• EQ: HP 150–250 Hz on supersaws and pads; −2/−4 dB at 300–600 Hz; lead +2 dB at 2–4 kHz; pad LP 10 kHz; dynamic EQ on the supersaws at 2–4 kHz that ducks when the lead plays (or multiband sidechain from the lead).
• Compression: supersaws with OTT/light multiband (20–30%) for density; lead with 3:1 compression.
• Saturation: tape or tube on the synth bus.
• Space: supersaws in hall 2–4 s; lead in ping-pong dotted-eighth delay (feedback 30–40%) + 2 s plate; plucks in 1/16 delay; pads in hall 5–8 s in the breakdowns.
• Stereo: supersaws 100% wide (unison + Haas/controlled stereo widener), lead in the center with side delays, plucks with auto-pan.
• Trance gate: sixteenth-note rhythmic gate (Gross Beat, ShaperBox, LFOTool) on the pads with 1–3 ms attack and short release.
• Automation: supersaw cutoff in the build (opens over 8–16 bars), reverb sends in the breakdowns.

Piano and strings (breakdown)

HP 100–150 Hz; −2 dB at 300 Hz; piano +1.5 dB at 3 kHz; hall 3–5 s; wide.

Vocal (vocal trance)

HP 100 Hz; FET+opto compression (5–8 dB); de-esser; +2 dB at 3–5 kHz; air shelf +2/+3 dB at 12 kHz; 2 s plate + 4 s hall on a send + 1/4 or dotted-eighth delay; centered; supersaw sidechain from the vocal.

FX

Risers (HP 300 Hz), white noise sweeps, reverse cymbal, impact on the drop, downlifter.

Buses and groups

Drum bus (glue 4:1 GR 2 dB + clipper), mono bass bus, supersaw bus (sidechain + saturation), lead bus, sidechained FX/reverb bus.

Sidechain

Kick → bass (6–12 dB), supersaws/pads (6–10), reverbs (6–8), plucks (3–5). Lead → supersaws (2–4 dB multiband). Vocal → supersaws (2–3 dB).

Master

• Chain: EQ (HP 20 Hz) → 1–2 dB bus compressor → light saturation → clipper → limiter.
• Target: −8/−6 LUFS integrated; anthem −6/−5 short-term; breakdown 4–8 LU lower.
• True peak: −1 dBTP streaming, −0.3/−0.5 for club.
• Crest factor: 6–8 dB in the anthems.

Common mistakes

Supersaws covering the lead (same 2–4 kHz band); too much stereo (collapse in mono); unfiltered reverbs that clog the mix; offbeat bass without sidechain; breakdown at the same loudness as the anthem (no contrast).

Reference tracks for the mix

• Paul van Dyk — For an Angel (1998)
• System F — Out of the Blue (1999)
• Armin van Buuren — Shivers (2005)
• Tiësto — Adagio for Strings (2004)

Reference listening

• The KLF — What Time Is Love? (Pure Trance) (1988)
• Energy 52 — Café del Mar (1993)
• Quench — Dreams (1993)
• Robert Miles — Children (1995)
• ATB — 9 PM (Till I Come) (1998)
• Paul van Dyk — For an Angel (1998)
• System F — Out of the Blue (1999)
• Tiësto — Adagio for Strings (2004)
• Armin van Buuren — Shivers (2005)