Yup, you got it completely.Z-Tuba Dude wrote: I have to admit that I have always been a little foggy in my understanding of how fixed Do is used. I think I may be getting it, though.....
: singing "Do, Re, Mi, Fa, ...etc.", is the same as someone else just singing pitches by the note names "C---, D---, E---, F---, ...etc. That is all.
I don't know if there is a real problem in/secret of teaching fixed Do users chromatic alterations. I always was hopeless at solfege and got through the course in Amsterdam with the lowest grade you could get and pass... Anyway, we used movable La over there
I do know that in countries where they use fixed Do solfege training starts at a very early age and is drilled to perfection. In the room next to where I work I hear classes of 9-12 year olds doing 1 1/2 hour sessions of singing all kinds of stuff on note names every week. They start simple (It was chrismas songs last week
) and end at quite advanced stuff I'd have difficulty with sightreading. (and I have a music degree)If you do the advanced course in the conservatories you have to sightread, on notenames, atonal solfeges moving through seven different clefs. I've never heard complaints that the subtleties of chromatism couldn't be conveyed, so it probably isn't a problem.
Great material to completly drive the conductor mad 
