1050) first introduced these "solfeg" labels (though he used "Ut" rather than "Do" and did not employ anything at all, in his hexachord-based system, for what we would call the seventh scale degree). The English-speaking world has, for better or for worse, inherited from France a third system for designating pitch, known as "solfeggio," and which employs the labels Do, Re, Mi, Fa, Sol, La, Ti. So, therefore, "1" refers to C in the key of C-major and to D in the key of D-major, etc., while "2" refers to D in the key of C-major and to E in the key of D-major, etc. The numbers 1, 2, 3, 4, 5, 6, 7 are used to indicate the relative names for the tones of a 7-tone scale. Thus, "C" is always the same key on a piano regardless of how that pitch functions within a piece of music. In English-speaking countries, the letters A, B, C, D, E, F, G, sometimes with an affixed accidental, are the absolute names for pitch-classes. Musicians require both an absolute and a relative system for referring to pitch-class. Movable "Do" for People Without Perfect-Pitchīased on an open panel discussion at the Music Theory Forum, which I conducted jointly with a fellow graduate student, Mary Hestor, while at The University of Texas at Austin (1985-1992) and also based on my own subsequent thoughts.
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