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I'm not sure I follow. It's the same way you find inversions of any other chord. E.g. for the first inversion, you have the 3rd at the bottom, for second inversion you have the 5th, etc. It's just in the case of diminished chords, the 3rd is a minor 3rd and the fifth is a diminished 5th. But if you know the notes in the chord, you can invert any chord.

I think Zaye means how to listen for it.

you have to hear the outer interval (lowest to highest): Root is the easiest: Tritone means Root Pos. Major 6th means Inversion. If you hear that Major 6th then listen to the top two notes: Tritone there means 1st Inv., Minor 3rd means 2nd Inv.

Hope that makes sense.

@Ra Wilson It's certainly the case that different musical milieus have different favored vocabularies. But there are a couple of reasons I can think of off the top of my head where it's useful to think of compound intervals as different from their non-compound counterparts. First, a m9 compared to a m2, for instance, has a much softer dissonance -- the melodic or harmonic function is similar, but not quite the same. Second, speaking from my experience in choir, if I am trying to find an entrance note, perhaps in relation to a note sung by some other voice part, compound intervals are going to be involved if I'm keying off a high voice part. I'll often write a little note in the score of what that interval is, and compound interval notation is useful there.

It never hurts to have more vocabulary and to keep an open mind to how it might be useful.

Oh, I'm just now catching on to the fact that you are specifically talking about compound intervals over TWO octaves. Yeah, that's going to be less commonly useful, but it's a natural step from learning compound intervals above one octave, and not much of a step at that, once you know the concept of compound intervals in general.

I would also say that the game is less about learning the NAMES of the intervals -- those are just compact ways for ToneGym to name them in the UI -- than about RECOGNIZING them across various octaves.

https://www.tonegym.co/contest/highscore?t=sightreading for highest scores.

I personally do not use the trainer, as I can recognize all of the notes/chords, and the trainer format is not conducive to becoming faster slowly, and does not emphasize accuracy.

Instead I recommend Notationist, or if you are a free member, just work on general sight reading on your instrument.

Instead of focusing on speed at first, just get every single note right, even if it takes you many seconds to recognize (or work out). There is a significant time penalty for missed notes (around five seconds) so be careful first, and later slowly speed up.

Also invesions are super easy, and IMHO a waste of time, so do not judge the rest of the contests by this. (aka sus chords are the only ones not following the same rule)

sus chords are pretty much the only chords I never use while composing or playing. also, i got my highscore of 45 in 3 runs, so i do understand that inversions are incredible easy

That doesn't make any sense, because you show the scale degrees afterwards, and I heard something entirely different. Like P1 P4 M6 P4, whereas I heard P5 P1 M3 P1. This isn't relative pitch.

I can follow the arguments in tonegym's answer. Anyway,they charge money, because they can ...

@Johnny Silverhand Exactly: unless you're playing atonal music, melodies are always heard relative to a tonal centre. This is true even of monophonic textures, and even more so of the typical melody-plus-accompaniment texture, in which melodies are only ever sounded against a meaningful harmonic background.

Good for you!!!

Well done!

Good for you!!!

Good work!

Wow!

I think I did more than 80 also once, and yes, that was when our friend would do 80 consistently!

who is that friend