Synthwave Chord Progressions: Common Patterns and How to Write Them

Synthwave chord progressions are the harmonic foundation of a genre that deliberately evokes the sound and spirit of 1980s electronic music, film scores, and video game soundtracks. Rooted in the minor mode and characterized by nostalgic, often cinematic chord movements, these progressions are essential for crafting the genre’s signature mood—simultaneously melancholic, euphoric, and driving. This entry examines the most common patterns, explains their musical function, and offers practical guidance for writing your own synthwave progressions.

Overview

Synthwave, also known as outrun or retrowave, emerged in the mid-2000s as a digital homage to the music of the 1980s, particularly Italo disco, synth-pop, and the soundtracks of films like Drive and Scarface. While production techniques, synthesizer patches, and rhythmic templates are crucial, the chord progressions are what give synthwave its emotional weight. Unlike many modern pop genres that rely on four-chord loops in major keys, synthwave predominantly employs minor keys, extended chords (sevenths, ninths, sus4), and progressions that alternate between tonic, submediant, mediant, and dominant degrees, creating a poignant yet propulsive harmonic landscape.

How It Works

The theory behind synthwave progressions is rooted in traditional functional harmony, but with a distinctive twist. Most synthwave tracks are in a natural minor or harmonic minor scale, and progressions often highlight the tension between the i (tonic), VI (submediant), III (mediant), and VII (subtonic) chords. For example, the progression i–VI–III–VII (e.g., Am–F–C–G) is a staple because it creates a sense of circular, cyclic motion that feels both familiar and nostalgic. The VI chord (major submediant) introduces a raised leading tone (C# in A minor) that adds a touch of brightness, while the VII chord (major subtonic) provides a strong pull back to the tonic. Another common pattern is i–IV–VI–VII (Am–Dm–F–G), which incorporates the subdominant for a more anthem-like, uplifting feel. Extended chords such as maj7, min7, and sus4 are frequently used to add color and avoid overt consonance, making the harmonic language more cinematic and ambiguous.

How It’s Notated

In sheet music and chord charts, synthwave progressions are typically notated using standard chord symbols (e.g., Am, F, C, G) or Roman numerals (i, VI, III, VII) when analyzed on a macro level. Because many producers work in digital audio workstations (DAWs) rather than traditional notation, progressions are often represented as MIDI patterns or as chord pads on a piano roll. However, for communication among musicians, chord symbols are standard. The notation often includes extensions: for example, a minor seventh chord is written as m7, a major seventh as maj7, and suspended chords as sus4 or sus2. When writing for synthwave, the bass often plays the root note, while chords are layered with sustained pads or arpeggios, so the notation may indicate rhythm through slash chords or specific voicings.

How It’s Performed

Performance in synthwave is typically electronic: chords are played on synthesizers, often as sustained pads, or broken into arpeggios. The performer—often a keyboardist or producer—selects a synth patch with a characteristic timbre (e.g., a JX-8P or Juno-106 style) and triggers either chord stabs or flowing arpeggios. The left hand or lower keyboard might play bass notes, while the right hand plays chords in the mid-to-upper register. In live settings, synthwave acts may use hardware synths or laptops with MIDI controllers. A distinctive performance technique is the use of echo and delay effects, which causes the chords to ring out and blur together, enhancing the nostalgic, dreamy atmosphere. Arpeggiation—breaking the chord into a rhythmic sequence—is a signature of the genre, often realized through a sequencer or an arpeggiator, but can be manually played as well.

Defining Characteristics

Several stylistic features characterize synthwave chord progressions. First, they are almost always in a minor key, most commonly A minor, E minor, or D minor, because these keys are comfortable on synthesizers and guitar. Second, the progressions are typically diatonic to the natural minor scale, but with frequent use of the raised seventh degree (as found in harmonic minor) when the dominant chord appears. Third, the chords are often extended: ninth, eleventh, and thirteenth chords appear, though seventh chords are most common. Fourth, the progressions tend to be cyclical, repeating every one, two, or four bars, creating an ostinato-like effect that drives the track. Fifth, there is a prevalence of pedal tones and a strong emphasis on the bass riff, which often plays a simple, repetitive pattern that anchors the harmonic movement. Finally, the use of suspended chords and passing chords is common to create tension and release, akin to film scoring.

Historical Context

The roots of synthwave chord progressions can be traced to the late 1970s and early 1980s, when Italian disco (Italo) and German synth-pop (e.g., Kraftwerk) began using minor-key progressions with repetitive bass lines. The genre’s direct ancestors include the soundtracks of John Carpenter (e.g., Halloween, Escape from New York), which used minor chord ostinatos and analog synth pads, and the pop music of Michael Jackson, Duran Duran, and Depeche Mode, who often used minor progressions with a danceable beat. The 1980s were a time of technological advancements in synthesis—the Yamaha DX7, Roland Juno, and LinnDrum—which shaped the timbre and delivery of chords. In the 2000s, artists like Kavinsky and producers such as College and the French electro scene revived these sounds, and the genre exploded with the release of the soundtrack to Drive (2011). The chord progressions remained rooted in 1980s practice, but the production became more polished and often incorporated modern bass-heavy sounds and sidechain compression.

Key Figures

Several artists have become synonymous with synthwave and its characteristic chord progressions. Kavinsky, a French musician, is known for his cinematic minor-key tracks like “Nightcall” (2010), which uses a simple but effective i–VI–VII progression. Perturbator, a French producer, explores darker, more aggressive synthwave, often using harmonic minor and diminished chords for tension. The Midnight, an American duo, combine synthwave with saxophone and vocals, utilizing progressions like i–VI–III–VII in tracks such as “Sunset” and “Days of Thunder.” Miami Nights 1984, Lazerhawk, and Carpenter Brut are also notable, each adding their own harmonic flavor. In the modern era, electronic producers like The Weeknd have incorporated synthwave progressions into mainstream pop, as evidenced by the album After Hours (2020).

Landmark Works

Certain tracks exemplify the synthwave chord progression style. “Nightcall” by Kavinsky, featured in Drive, uses a i–VI–VII progression in A minor with a dark, synth-pad texture and a simple bass line. “A Real Hero” by College and Electric Youth, also from Drive, uses a brighter yet still minor-key progression with a I–IV–VI–V in D minor. “Tech Noir” by Gunship is a classic example with a powerful progression that combines i–VI–IV–VII. Perturbator’s “Miami Disco” showcases a more aggressive use of harmonic minor, and The Midnight’s “Sunset” uses a lush progression with major seventh chords over a minor tonic. These works demonstrate the diversity within synthwave’s harmonic language, from simple diatonic progressions to more chromatic and extended harmonies.

Timeline

The evolution of synthwave chord progressions can be mapped in distinct periods. 1978–1984: Early experiments in italo disco and electronic film scores establish minor-key progressions with repetitive bass patterns. 1984–1990: Mainstream pop and rock adopt synthesizers, and chord progressions become more polished, as heard in Duran Duran’s “Save a Prayer” and Toto’s “Africa.” 2000–2007: A revival begins as French producers like Thomas Bangalter (of Daft Punk) and the blog house scene draw on 80s sounds; artists like Kavinsky begin to release early synthwave tracks. 2010–2015: The genre gains mainstream attention with the Drive soundtrack and the proliferation of synthwave labels and compilations; chord progressions become codified as fans and producers recognize common patterns. 2016–present: Synthwave crosses into pop and film, with artists like The Weeknd and the Netflix series Stranger Things featuring progressions that mirror the 80s, while modern producers experiment with modal variations and chromaticism.

Transition In / Out

Synthwave’s harmonic idiom emerged from the late 1970s disco and early 1980s synth-pop, transitioning away from the funk-based, dominant-seventh-rich progressions of the 1970s to the more minor-key, modal patterns of the 1980s. As the 1980s progressed, the use of minor progressions became more common in mainstream pop, but synthwave as a distinct genre did not solidify until the internet age. In the 2010s, synthwave’s influence began to seep into other genres—trap, future bass, and cinematic electronic music—as producers borrowed its harmonic structures and production techniques. Conversely, synthwave itself has remained relatively stylistically static, with artists often deliberately adhering to the classic patterns, though some experiment with jazz chords or modal mixture. The transition out is less clear, as the genre continues to evolve, often blending with other retro-based styles like darksynth or chillwave.

Common Misconceptions

One common misconception is that synthwave chord progressions are always minor. While they are predominantly minor, some tracks use major keys, but with an added nostalgic touch achieved through chords like the IV or V. Another misconception is that all synthwave relies on a single progression (often the i–VI–III–VII), but in reality, there is vast variety—from simple two-chord vamps to complex jazz-influenced sequences. Additionally, some confuse synthwave with synth-pop or new wave; the primary difference lies in the production and aesthetic, but the chord progressions can be similar. Finally, it is often thought that the progression must include a diminished or augmented chord to sound “dark,” but in synthwave, darkness is often achieved through timbre and bassline rather than chords. Understanding these nuances helps in analyzing and composing authentically.

Writing Your Own Synthwave Progressions

To craft your own synthwave chord progressions, start with a minor key (A minor is a good placeholder) and choose two or three chords from the scale. The most essential pattern is i–VI–III–VII (Am–F–C–G) because it establishes the genre’s signature movement. Vary the rhythm: hold chords for one bar, use stabs on the offbeat, or arpeggiate the chords. Add extended chords: substitute the tonic with a min9, the VI with a maj7, or the VII with a sus4 to create tension. The V chord (major or as V7) can be used for a stronger cadence, especially in the harmonic minor. Another effective technique is to use a pedal tone (e.g., a constant A in the bass) while moving chords above, as John Carpenter often did. Layering pads with different octaves and adding a simple bass line that follows the chord roots will solidify the sound. Experiment with a slower progression (one chord every two bars) for a more cinematic feel, or a faster one (every half bar) for energy. Finally, sidechain compression onto the bass and a kick can create the pulsating motion typical of the genre.

Synthwave chord progressions are more than a set of harmonic formulas; they are a vehicle for emotional storytelling. By understanding the common patterns, their historical roots, and the techniques that bring them to life, any composer can tap into the nostalgic yet forward-looking energy that defines the genre. Whether you are a producer, a performer, or a listener, recognizing these progressions enriches your appreciation of a style that refuses to fade.