Solfege is literally just another name for notes or degrees. What other purpose is there? Besides singable single syllables.
I donāt read music. I play lots of various songs.
Iām just asking How would you guys structure the descending chromatic scale?
All right, well, Iāve put in my two cents towards the big picture here and hope thatās valuable to someone reading it. Best of luck to you and your music.
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Yes, thank you for your time.
Though I have been asking the same simple question multiple times in multiple different ways.
I appreciate it none the less.
Nah. Just remeber main notes on your fretboard: A,B,C,D,E,F,G thatās actually all you need actually. From what I know itās ebough to play any piece of music you want (since you know that flat is just one fret left and sharp is one fret right).
I play usual tuning guitar, C-tuning guitar, and sometimes use āopen-Gā tuning. When playing in speed I often donāt actually know what notes Iām playing since all that tunings are mixed up in my head. But because a lot of practice my fingers know where to land. So once I have at least one reference note (open E for example) itās not a problem to play any music from a sheet.
Itās not like you see C# in your sheet and then press C# on a guitar because you know your fretboard. It would be too long. Itās more like you see that itās a typical descending 6-notes minor run down to a root note, and because you practiced scales enough your finger automatically choose what you need. Same for arpeggios and other different passages.
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You should search the forum. Weāve gone into detail.
Your generalizations are killing me. Iām speaking from the perspective of a jazz guitarist that sings lines in solfege, uses chromaticism all of the time, rarely listens to Yngwie, and uses the Harmonic Minor daily.
Donāt confuse āchromaticismā (as an appearance of non-diatonic notes in tonal piece of music) with āchromatic scaleā (where all scale notes considered as full-functional and quite autonomous)
Thereāre not so many examples of using chromatic scale in music (serial music is an example that comes in my mind).
Anyway, jazz theory is another story in general. Thereāre nuances which is a forever topic for arguments between classics and jazzists )
Search the forum is a good way to kill the forum. It was a very simple question. Of which Iām seemingly getting some attitude for 
And if you have issue with ASTN making genuine attempt at helping perhaps you can explain How the sharps n flats shift in a chromatic scale. Seems to me They donāt, itās literally just replace what were sharps ascending with flats descending?
Huh? I really donāt know what this supposed to mean. I think itās totally reasonable to expect people to search the forum for topics being discussed before posting, to glean as much context as possible and avoid repetition.
You may not have intended, but your question about what purpose there is for solfege does read to me as rather dismissive in tone. Itās not a topic I personally know much about, but these discussions seem worth reading if you want to learn more:
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Doesnāt have to be an argument at all, I assure you. Iām out.
Just a qustion of context and historical reasons. Lets say you write a song in C-major. It means you have C,D,E,F,G,A,B as your āmainā notes. They say that in that case you have 5 so called relative tonalities: d-moll, e-moll, F-dur, G-dur, a-moll.
Now you want to insert some chromatic notes. Ok.
In ascending motion your chromatic note is treated as leading note to one of that relative tonalities. Say you have movement from C to D through one chromatic note (C#? Db?). Lets call it X for now ) So we have a passage C-X-D
Since youāre moving to a D note, it is considered as a movement to d-moll tonality. Traditional movement is: from leading note (7th) to a tonic (1st). In d-moll 7th note is C. But we have it raised so itās C# actually. So we have a passage: C-C#-D.
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I donāt mind some discussion. Itās like that chitchating after a repetion when musicians talk about different stuff while packing their instruments. Itās always fun )
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If one were to just search without posting a question you have little posters. I appreciate the links though Iāll check em out 
I am dismissing it as I donāt want to use it, I understand itās use and context, and if my non willingness to integrate it offends peopleā¦ Thatās just weird. Iād rather use the note names, itās a far more direct and efficient approach.
Actually main goals of solfege are to be able to analyse music you hear, and to hear written music in your head. It may be done without note names at all, just by operating degrees (like I-III-V-VI arpeggio over a T, and then V-IV-III-II-I run over S,D and T)
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And the do re mi can be replaced with anything. I already know the note names so best to use them.
The thing thatās frustrating is that, to be somewhat blunt, if youāre just wrapping your head around note names you simply donāt know enough yet about music, harmony, etc to know its use. You have very little ability to say whether something is direct or efficient because A. youāre at a very early stage in understanding all this stuff and B. you havenāt clearly defined your endpoints.
You may know your feelings or reaction to a concept but both of those are based on a very limited amount of information compared to whatās out there.
Edited to add: again, my point isnāt about how solfege is what you need - my points are that A. you havenāt clearly defined what your goals are so the whole discussion is much less useful and B. itās definitely off-putting for someone to be dismissive/resistant to a new concept when theyāre also asking for help on very fundamental topics. I donāt mean for this to get personal, but it might help you better understand the bit of rift thatās going on here.
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Problem is that do-re-mi are universal. You can use not knowing the key of current song. Note named suppose that you know the key, the tonality. Without context note names mean nothing. The same note could be G or Fx or Abb.
So, when you say that you want to know all these chromatic notes on your fretboardā¦ well, itās impossible. Since one and the same note could be named differently in different scale. Theoretically speaking any pitch could have infinite number of names. Thatās life 
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Then tell me, besides sounding out the notes, what else does solfege do?
I told you my goal, to understand music theory better, Iām asking seeming low level questions to solidify this stuff.
Itās not that new, Iām the one who brought it up in the first place lol
The naming convention confused me but itās alright I got it, the simple answer to what I asked about 5 times is it includes the octave as a flat. So Ab G Gb Fā¦ etc. Thatās what was confusing. So as far as I see this would be considered Ab chromatic scale And the ascending would be A# chromatic scale?
I appreciate all the help, Iām not dismissing the basic concept of solfege like some child that should be self evident, I just donāt want to memorise a whole new bunch of names, I already have the notes down in a solid form. I can sing it all just adding S or F to the end.
From a practical point of view itās just a training to hear (and to sing) patterns. Intervals, scales, arpeggios. Nothing more.
After hours of singing that stuff you just hear these elements without any note names, without even do-re-mi.
Just - Boom! - ok, it was major phrygian run, then - Bang! - ok, it was chromatic movement from D up to T. Then - tin-tin-tin -ā¦ Iām not sure, but it was like running through the wholetone scale with some grace notes.
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