<P> So that your servants may, with loosened voices, Resound the wonders of your deeds, Clean the guilt from our stained lips, O St. John . </P> <P> "Ut" was changed in the 1600s in Italy to the open syllable Do, at the suggestion of the musicologue Giovanni Battista Doni (based on the first syllable of his surname), and Si (from the initials for "Sancte Iohannes") was added to complete the diatonic scale . In Anglophone countries, "si" was changed to "ti" by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter . "Ti" is used in tonic sol - fa (and in the famed American show tune "Do - Re-Mi"). </P> <P> In the Elizabethan era, England and its related territories used only four of the syllables: mi, fa, sol, and la . "Mi" stood for modern si, "fa" for modern do or ut, "sol" for modern re, and "la" for modern mi . Then, fa, sol and la would be repeated to also stand for their modern counterparts, resulting in the scale being "fa, sol, la, fa, sol, la, mi, fa". The use of "fa", "sol" and "la" for two positions in the scale is a leftover from the Guidonian system of so - called "mutations" (i.e. changes of hexachord on a note, see Guidonian hand). This system was largely eliminated by the 19th century, but is still used in some shape note systems, which give each of the four syllables "fa", "sol", "la", and "mi" a different shape . </P> <P> An example of this type of solmization occurs in Shakespeare's King Lear, I, 2 (see § Literature). </P>

Do re mi fa so la ti do translation