Please expand Slash Chord entry Input

I have to disagree with the concept that only “natural inversions” of chords are recognizeable via the input as Slash Chords. I think Hookpad would do every user a great favor if chords like G/F could be typed in and understood by Hookpad.

I totally understand the concept of:

It would be one approach that HP automatically would interpret those inputs as the best musical functional chord but leaving the Result Field empty is really not an option.

I understand Hookpad as a tool also for users which limited music theory knowledge to create interesting chord progressions. If you have look at the most popular songs today writers could really need such tool. :wink:

By the way also natural inversion of Maj7 Chords like Cmaj7/B are also not recognized. Why?


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It also seems a bit inconsistent that C/D is supported but Dm/E not, or?

For me this has also been my long standing main issue with HookPad. Still hoping this will be implemented without workarounds at some point.

CMaj7/B can be easily created, but for some reason is notated as C/B. And the C/D you mentioned is a weird notation of the V11/V, which makes no sense either.

Thank you so much. Good to know. Maybe they can fix that. :wink:

Cmaj7/B and C/B are the same chord, so we typically default to the simpler spelling.

A key point of Hookpad is to encourage you to write progressions functionally. C/D for example is a very common chord in G major, where it is notated V11, but there are many keys where it is extremely rare. The point of labelling it like this is to remind you that this chord is functioning like a V. So if you have a progression like I → IV → V → I (G → C → D → G), you could swap the third chord for V11 and retain the spirit of the progression: I → IV → V11 → I (G → C → C/D → G), a fact that isn’t obvious if you aren’t thinking of it this way.

@ElSmurf, C/D is notated as V11/V in the key of C, because it functions as a secondary dominant to V, meaning that it will have a natural pull toward that chord. Try incorporating V11/V into your songwriting along with its its target chord V, and you might discover something new and exciting. This is precisely the advantage you get by thinking of music in relative notation.

I think this is a good example of how classical functional notation falls short in expressing musical ideas often used in popular music. To me, writing C/D as V11/V only makes sense in the specific situation you mention - as a secondary dominant 11 in the key of C. But the sound of playing C major over D in the bass is very different from playing C11 over D in the bass.

If, for example, I want to write a progressions that goes C/E - C/D - C then there’s no way to write this functionally in hookpad without using work-arounds that inhibit workflow.