: Is it important that we only use Do-Re-Mi-Fa-Sol-La in chant theory? Is it important that we only use Do-Re-Mi-Fa-Sol-La in chant theory? Ti(Si) doesn't exist in chants (eg Gregorian chant) I understand.

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Gregorian chant has six solfège syllables, though the first is ut, not do, and eight pitch classes, to borrow a term from modern theory, namely A, B-flat, B, C, D, E, F, and G. These apparently contradictory facts are reconciled by the fact that each solfège syllable is not associated with only one note letter.
Rather, ut can fall on F, C, or G. The hexachord built on F is called the "soft" hexachord (Latin molle), and it contains the "soft" B as its fa, written with a rounded form, which is the origin of the modern flat symbol. The hexachord built on G is by contrast the "hard" hexachord (Latin durum), and its mi is the "hard" B, written with a square form that is the origin of the modern sharp and natural symbols, as well as of the fact that some languages call that note H. The remaining hexachord, you may be unsurprised to learn, is the "natural" hexachord (Latin naturale).
In any single piece, you are likely to need to use two hexachords, "mutating," as it is called, from one to another. In later pieces, you might even need to use all three, and in medieval and renaissance polyphony it started to become necessary to use so-called "fictitious" hexachords, or musica ficta, built on notes other than F, C, or G.
More information may be found at en.wikipedia.org/wiki/Guidonian_hand. Whether it is important to use this theory in the modern day depends on your purpose.
To be more precise, this system was developed in the early 11th century; it was published then by Guido d'Arezzo. Because some chants are older than this, while others are newer, it is worth bearing in mind that the system must have been developed to describe existing practice, but it also will have influenced the practice of later composers. In that way I suspect that it is similar to roman-numeral analysis, which arose to describe existing practice and then continued to influence subsequent composers for several centuries, from the late baroque to the present day.
If your goal is to assign solfège syllables to an existing chant, you can use a modern system (including ti or si) if you like, or you can use the Guidonian system. Each has its advantages.
Similarly, if your goal is a theoretical analysis of some chant, you may find it useful to base your analysis on Guidonian theory, or you may find some use for later theories. You can even analyze chant using functional harmony theory, using harmonies implied by the chant melody (for example, the melodic cadence is frequently a descending whole step, corresponding to the authentic V-I or V-i cadence in tonal theory).
If your goal is to compose an authentic-sounding chant, something with which I have little to no experience, then Guidonian theory may certainly be useful, but again it is probably by no means the only useful way of looking at it.

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The use of solfa is helpful in all songs and instrumental pieces, it can be important for a just intonation for string, brass and woodwind instruments. To me it is very helpful for singing, memorizing and analyzing, harmony, chords progression, bass line, improvisation, and for beginners it will also help to find the correct intervals on a trumpet or any other brass instrument with nature tones.
It doesn’t matter whether there is a seventh degree or not - like e.g. chant, it will also support you when learning a pentatonic tune or a blues melody. Mind that these syllables always tell you something about the root note and the repercussions tone.