Nice one, Paul -

We had to use fixed-doh solfege in college (Boston) (as in Mass.) and it always irritated the life out of me - the main purpose for it is to fix the interval relationships, and those should be transposable to any key. Indeed you can just say "C-D-E..." instead, and a lot simpler it is too. Not allowing a movable-doh just negates the point of the exercise. And if you've had fixed-doh rammed down your unwilling throat, it makes it that much harder to ever use it for any other tonic base.

We also had to sing "si" instead of "ti" for the seventh, and there's something about having two "S" syllables (si and sol) that makes it a lot more difficult because you can then mix them up. Shouldn't necessarily happen, but it does. Much better to use "ti" and retain the contrasting percussive consonants D R M F S L T. Normally when people have had training in a certain method they become advocates for it, but all it did in my case was make me hate it, and bang the drum loudly in favour of movable-doh.

Anyway, finally got out of school, all grown up now, don't have to do that anymore, right? Except: In continental European scores, harp pedalling is often written in fixed solfege, so instead of Bb or C# etc we get Sib and Do#.

D'OH !!!!!!