I just read this topic. Very interesting and..
meets just what I am studying now: Solfeggio
Would be nice to extend the solfege notation suggested here could be used for that. Or maybe is already available?
To work with this in lilypond routines would be needed for mutations, modulations. (see below). With maybe "easy note head" or automatic "markups"?
Suggestions/ideas?
PS: We could make this into new thread to not mix up things.
Regards, Eef
Headlines about Solfeggio:
It is the method used in Italy from Guido.. up till 19th century. And probably the basics of all current solfege systems.
- works with hexachords: "do(ut) re mi fa so la"
- "mi - fa" is the interval defining about everything (my words)
- with mutation hexachords are combined to scales.
- ascending "sol" becomes new "re"
- descending "mi" becomes "la"
- accidentals keep there name so, in minor the cadence: " d c# d " would be: "re do re"
- modulation fifth up -> "fa" becomes new "fa" -> ####
- fifth down -> "mi" becomes new "mi" -> bbb
Example: 
Van: lilypond-user <lilypond-user-bounces+h.e.weenink=de-erve.nl@gnu.org>
namens David Kastrup <dak@gnu.org>
Verzonden: zaterdag 8 oktober 2022 19:05
Aan: Lukas-Fabian Moser <lfm@gmx.de>
CC: Craig Bakalian <craigbakalian@gmail.com>; lilypond-user@gnu.org <lilypond-user@gnu.org>
Onderwerp: Re: Solfege Syllables Easy Notes
Verzonden: zaterdag 8 oktober 2022 19:05
Aan: Lukas-Fabian Moser <lfm@gmx.de>
CC: Craig Bakalian <craigbakalian@gmail.com>; lilypond-user@gnu.org <lilypond-user@gnu.org>
Onderwerp: Re: Solfege Syllables Easy Notes
Lukas-Fabian Moser <lfm@gmx.de> writes:
> The problem is that there's really a large number of different
> "solfege" methods, some being considered as "natural" in a couple of
> countries or by a certain school of theoreticians, and in fact I have
> to deal with the issue of finding a common ground for students from
> many different backgrounds quite often, being a theory teacher at a
> major European music university with a very international student
> base. For example, I know
Musing about the historical correctness of absolute vs relative solfege
is kind of an exercise in futility considering it had been invented in a
frame of tonalities very much foregoing black keys.
--
David Kastrup
> The problem is that there's really a large number of different
> "solfege" methods, some being considered as "natural" in a couple of
> countries or by a certain school of theoreticians, and in fact I have
> to deal with the issue of finding a common ground for students from
> many different backgrounds quite often, being a theory teacher at a
> major European music university with a very international student
> base. For example, I know
Musing about the historical correctness of absolute vs relative solfege
is kind of an exercise in futility considering it had been invented in a
frame of tonalities very much foregoing black keys.
--
David Kastrup