I was taught in the US, and Solfege was used prominently in my voice classes, but rarely in my theory and piano classes. I think it's a system that works well w

I was taught in the US, and Solfege was used prominently in my voice classes, but rarely in my theory and piano classes. I think it's a system that works well when you don't have to think about the actual note name that you're singing, as it describes intervals very well, but relates somewhat poorly to pitch. I grew up attending a Church of Christ, which used full congregational singing with four part harmony. Our songbooks used a variation on music notation that used shape notes, and the shapes corresponded to Solfege. If you knew your musical intervals, you could completley ignore the key signature, because a Do was always drawn as a triangle, a Sol was a circle, a La was a square, etc etc. This was especially handy because the song leaders were always men, and could not always sing as high as the written music required. They picked whatever key they could sing comfortably, and the congregation adjusted to them. Drove the music majors in the audience nuts. :D https://en.wikipedia.org/wiki/Shape_note https://en.wikipedia.org/wiki/Shape_note Growing up with that system meant that Solfege was simply the easiest system I had to understand music. To this day, I struggle with pieces in unusual modes, and with passages that modulate their key and make use of unusual progressions, because it breaks down my innate understanding of music and requires me to think in a different way.