I think it’s very unfortunate that iio/x and iv/x aren’t available in Hookpad as these are the most common predominants when tonicizing minor chords. I’m aware that iio/x can be accessed by flattening the 5th of a regular ii/x chord, but unfortunately this results in the chord label iio(♭5)/x which doesn’t make any sense when applied to minor chords, as the applied chord would then be derived from the corresponding minor scale and is thus diminished by default, so flattening the 5th again would result in a doubly flattened 5th.
Additionally I think it’s really odd that iii/x and vi/x which I’ve never seen before are available via the search bar, but viiø7/x isn’t although that one is fairly common. Heck, even I/x is available via the search bar - what on earth are we supposed to do with that one?
I don’t expect iio/x, iv/x and viiø7/x to be implemented into the Hookpad UI, but I think they should at least be available via the search bar, as they are very common in a lot of different musical styles.
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Agreed but also if we could just manually alter the chords (and scales too) it would be ideal as a skeleton key of sorts for every potential un-pre-programmed chord. 
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@DSchwachhofer I think these chords would be an important addition to ensure the accuracy of the transcriptions on the database.
Transcribing C - gm - A - dm as I - v(min) - V/ii - ii completely fails to convey the functional significance of gm in this progression, which is a shame considering Hooktheory’s emphasis on functional harmony.
There are countless examples of these chords on the database. Here are just a few of the most popular ones:
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What about other variations of iiø and iv, like ♭II7(phr)? While I can’t think of any songs that use it as a secondary, Hookpad is not only a transcription tool, it’s also a writing tool, and I’ve used it in stuff I’ve written. Albeit with notation that fails to convey its functional significance.
There are other chords I want available for secondaries as well. In fact I don’t think it should be limited.
Curious to see some examples of a secondary iv. I didn’t see any in the examples you provided, but I may have just missed them since they’re impossible to label correctly.
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You’re correct - the list above only contains examples of iio/ii and iio/iii. My intention was to provide only the most popular examples of minor key secondaries that are available on the database. I wanted to demonstrate that these chords are relevant in western commercial pop music as that seems to be the primary focus of the developers.
From what I’ve seen iv/x doesn’t seem to be quite as common as iio/x, which isn’t too surprising given that ii/x seems to be a lot more common than IV/x when tonizing major chords (and yet IV/x is the one that’s integrated into the Hookpad UI 
).
Unfortunately due to how limited the Trends feature is (and how broken the search by chord feature is) I have no way to specifically search for examples of iv/iv, but below are some really nice examples of iv/ii (transcribed as v(min)). These seem to be especially common in East Asian pop ballads, which isn’t too surprising either considering their general fondness for functional harmony.
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Thanks for the examples. I guess tonicizing the other minor chords in this way would just reduce down to ii - V7/vi - vi and vi - V7/iii - iii. Kinda hard to argue in either case that ii is actually a iv/vi or that vi is actually iv/iii.
Yes, iv/x is only really relevant when tonicizing the dorian scale degree (ii in major, iv in minor, etc.) or when tonicizing non-diationic minor chords. I don’t think there’s anything wrong with labeling diatonic chords as applied predominants when they’re part of an actual tonicization though - some people write viio - V/vi - vi as iio/vi - V/vi - vi and I actually like that a lot, but it’s obviously not necessary to do it that way.
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@DSchwachhofer I would really appreciate if you could acknowledge this feature request in some way.
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@DSchwachhofer I realize that you are busy and you guys obviously have no obligation to respond to our feature requests in any way, but I really think that completely ignoring certain feature requests while others receive elaborate responses isn’t very conducive to the overall climate in this community, especially with posts like this where there’s an entire group of users who are interested in the feature:
Here are some more examples of iv/ii (transcribed as v(min)), this time from western pop music:
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Hi, sorry for not responding that long, I just wasn’t sure what to say to this topic.
I listened to your examples, and yeah, you’re right, those progressions are modulating to ii as a temporare tonic, so all chord before should be a something/ii. But although you have found lots of examples for this, this is rather advanced music theory and if we’re going into that direction then we need to cover all the cases where music modulates to another temporare tonic. You know, there will always be something which can’t be covered by the functionality of Hookpad and we need to draw the line somewhere.
Otherwise we’d have a very bloated UI allowing every chord to be something/something. The way Hookpad is set up, this is hard to build and it would be even harder to have an UI which wouldn’t confuse less skilled musicians. So I think as long as you’re able to write the chords you need, it’s ok if the functional symbols are a bit off in such cases.
Regards!
Dennis
Thank you for taking the time to respond.
I totally understand that you need to draw the line somewhere and this line of reasoning would make sense to me if secondary dominants were the only applied chords available in Hookpad, but that’s not the case at all.
Applied predominants are already available in Hookpad. I don’t understand how iio/x is any more advanced than ii/x or iv/x is any more advanced than IV/x? That’s like saying “You can only borrow chords from Ionian, because borrowing chords from Aeolian would be too advanced”.
What’s more, there are even applied mediants in Hookpad. Now that’s such an advanced concept that I’ve never even seen a single example of those on the Database. You might be able to find the occasional example of those in Jazz, but I’m pretty sure there’s not a single Pop song out there that makes use of this concept.
And to top it all off we even have applied tonic chords. Now that concept is so advanced that it’s entirely beyond my comprehension. 
I totally understand the concern of having a bloated UI, but as I’ve already said, I don’t think there’s any need to directly incorporate these chords into the UI. I think it’s totally fine to hide some of the less frequently used chords behind the search bar, just like with all of the examples above.
The possibilities are actually very limited. For cases where the song actually modulates to a different key, even if it’s just for a few measures, you can just transcribe that section using keychanges, but that’s not the case with any of the examples that I provided. All of those are tonicizations and there’s a rather short list of chords that are applicable for tonicization, most of which are already available in Hookpad. The only ones missing are iio/x, iv/x and viiø7/x.
Thank you for your reply. But just to understand it right, you can write all those chords but just the functional labeling is off. Is that right?
Sure, you can enter almost any chord if you’re willing to fiddle with the interface for long enough, but why even bother with roman numerals if they don’t mean anything? It ceases to be harmonic analysis if we just use arbitrary symbols that represent the chord without conveying its function. Might as well just stick with sheet music and chord charts then.
I agree that this is not a big deal for songwriting purposes, but with regard to the Database this is a big deal. Just as a little reminder, here’s how Hooktheory advertises TheoryTabs:
Conventional tabs and sheet music are great for showing you how to play a song, but they’re not ideal for understanding how everything fits together. TheoryTabs show you the function of each chord and note within a song and reveal structures that may not be readily apparent.
A TheoryTab is like a guitar tab, but instead of just showing you the chords of a song, it also shows the music theory behind it. These analyses build your music theory knowledge so you can create better music.
Look, I understand that you don’t want to invest a lot of time and effort into a feature that isn’t going to be used that much, but shouldn’t this be a rather quick and easy thing to implement, given that the framework is already there? I obviously have no idea what is going on under the hood, but I’m honestly having a hard time understanding how implementing minor key secondaries would require much effort if major key secondaries are already a thing.
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