To hear this song and others in this lesson, check out the Spotify playlist below. “Hey, Good Lookin’,” Hank Williams: I II V7 I V7 You can hear this II–V–I sequence in lots of country and bluegrass tunes-like this classic: I ii VĬoming from the I, the II (often played as a II7, a seventh chord) pulls strongly toward the V, and so is often followed by a V. Notice the contrast in sound even though only one note changes. The first has a diatonic minor ii (Am), and the second has a major II (A).

The major IIįirst, compare these two progressions.

Here are a few examples that involve substituting major chords for the ii, iii, and vi-the diatonic minor chords in a major key. These chords stand out more in a progression than diatonic chords do, because they include notes not in the scale of the song’s key, and can be used to great effect. You can also substitute chords outside the diatonic family, sometimes called nondiatonic chords. The iii makes a nice transition chord between the I and IV and between the I and V. In the key of G, that means substituting a Bm for a G. In C, the iii chord is an Em. Within the diatonic chord family (see this intro lesson on chord progressions), another good substitution to try is the iii for the I. Memorize these relative major/minor pairs, and you’ll have a whole bunch of possible substitutions in your songwriting toolbox.

E flat minor 7 guitar chord