Since

Ut

is the only syllable in the collection ending on a hard consonance, it was

eventually replaced by the syllable

Do

(from

Domine

-Latin-“Lord”) to facilitate

singing. In the 15th-century a seventh tone and syllable was added,

Si

, an acronym

for

Sancte Ioannes

, the last two words from

Ut queant laxis

,. This became the syllable

Ti

in 19th-century English sol-fa.The inclusion of the syllable

Ti

is attributed to

Sarah Glover.

Ti

was substituted for

Si

so that each solfége syllable would begin on a

differing consonant. Thus we have

solfége

labels for pitches.

Figure 2.24

Ut queant laxis: Pitches and Syllables

Originally these syllables were fixed: each syllable referred to one specific pitch. “C”
was always

Do

, regardless of context or chromatic alteration, “D” was always

Re

and

so on. This fixed system is prevalent in those European countries, as well as among
musicians trained in that tradition. A modified, moveable system of

solfége

has

become prevalent in American music theory pedagogy. This will come into focus in

Chapter 3 "The Foundations Scale-Steps and Scales"

.

One other notational convention has become commonplace in recent years. A caret
is placed above a number, the caret denoting the words “scale degree.” This is
adapted from the analytical symbolization of the reductive analysis techniques of
the German-Austrian theorist Heinrich Schenker.

Figure 2.25

Scale Degree Numbers

Chapter 2 The Elements of Pitch:Sound, Symbol, and Tone

2.5 Pitch Notation: Nomenclature and Solfége

78