Perhaps your question isn't really about solfa at all, just about sound organisation and how we relate pitches to one another. Doesn't matter whether its solfa, letters, numbers, piano keys, guitar frets. there is a pitch skill, and you associate sounds to certain words/letters/syllables. Hence my position that the syllables, letters whatever is irrelevant. The solfa is aurally meaningless to me, its just a theoretical concept, and will remain that way unless I make a deliberate effort to make the mental associations. likewise I have a direct association with sound and piano key, without any thought toward letters/numbers/solfa etc.ДЄlso, even though I understand solfa, I would see ti-do and have to relate that to the scale degrees, 7 - 1, then I would know what it sounds like. the pitch and relationship between pitches exists without any reference to solfa. rather, I just look at B-C and have a hard time not imagining the sound directly from that. but did develop strong pitch/ear skills without it, I do not need to connect to a second thought about solfa to determine what B-C sounds like. See given that I never learnt solfege as a young student. I also use a mix between relative and perfect pitch and relative came first so I'm not able to answer the somewhat confusing question presented by Mayla. I was also exposed to moveable do first and was initially equally baffled by fixed do as you seem to be now by the moveable system. I'm actually reasonably familiar with both systems however I never really used them as a student and don't as yet as a teacher. where if the musician can identify one tone all others can be identified based on their relationship with the first. Because thisbis done aurally and sung it results in a development of relative pitch. 'do' is simply NOT always C, it is only C if the key is C. This is independent of clefs or any other outside factor that changes how we read or play.

because fa is the 4th degree of the scale. It is used to teach the relationships between scale tones on aural basis, in the same way as in theory we refer to them as their their numbers or names, like in F major, Bb is the sub dominant or the 4th. Instead solfa is independent of a fixed pitch, it applies to a diatonic scale tone.

I (and many others) were not taught this way. Birba, where you have been taught that Do is C and Re is D etc.

Note c pitch