What chord can you substitute for G?

For instance, a G major chord is made up of the notes G, B, and D; while its relative minor, Em, has the notes E, G, and B. So you can substitute an Em chord for a G major chord, or vice versa, for a smooth but noticeable change in the sound of the progression—and usually you can sing the same melody over either chord.

jeffreypepperrodgers.com - Simple chord substitutions: a songwriter's guide

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Memorize these relative major/minor pairs, and you’ll have a whole bunch of possible substitutions in your songwriting toolbox.

The iii for the I

Within the diatonic chord family (see this intro lesson on chord progressions), another good substitution to try is the iii for the I. In the key of G, that means substituting a Bm for a G. In C, the iii chord is an Em. The iii makes a nice transition chord between the I and IV and between the I and V.

Minors into majors

You can also substitute chords outside the diatonic family, sometimes called nondiatonic chords. 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. Here are a few examples that involve substituting major chords for the ii, iii, and vi—the diatonic minor chords in a major key.

The major II

First, compare these two progressions. The first has a diatonic minor ii (Am), and the second has a major II (A). Notice the contrast in sound even though only one note changes.

I ii V

G Am D

I II V

G A D

Coming 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. You can hear this II–V–I sequence in lots of country and bluegrass tunes—like this classic:

“Hey, Good Lookin’,” Hank Williams:

I II V7 I V7

To hear this song and others in this lesson, check out the Spotify playlist below. The II also can lead to the IV, as in the opening lines of the Beatles’ “Eight Days a Week” (“Ooh, I need your love, babe / Guess you know it’s true”):

I II IV I

The major III

Using the major III (or III7) instead of the diatonic minor iii has a similar effect as substituting the major II for the minor ii. Here are some notable examples.

“Freight Train,” Elizabeth Cotten:

I V7 I

III IV I V I

“On the Road Again,” Willie Nelson:

I III7 ii IV V

“Let It Bleed,” Rolling Stones:

chorus I IV V I

verse III IV V I / III IV V

The major VI

Using a major VI rather than the diatonic minor vi creates a strong ragtimey sound, as heard in these songs.

“Alice’s Restaurant Massacre,” Arlo Guthrie:

I VI7 II7 V I

“Nobody Knows You When You’re Down and Out,” Eric Clapton (Jimmy Cox):

I III7 VI ii VI ii

IV I VI II7 V7

“(Sitting on) the Dock of the Bay,” Otis Redding:

chorus I VI I VI / I II I VI

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