Salut ! Ta réponse ne porte pas à confusion, c'est plutôt cette liste de noms issus plus ou moins de l'histoire de la musique occidentale que j'ai toujours trouvé très ambiguë et pas claire ! Il ne semble pas avoir vraiment d'alternative autre.
Paradoxalement, la musique est universelle mais la théorie musicale ne l'est pas du tout du moins, quand il s'agit de "nommer" les choses concernant la théorie musicale.
Citation:
Hirajōshi scale, or hira-choshi (Japanese: 平調子 Hepburn: hirachōshi?, chōshi = tuning and hira = even, level, tranquil, standard or regular) is a tuning scale adapted from shamisen music by Yatsuhashi Kengyō for tuning of the koto.[1] "The hirajoshi, kumoijoshi, and kokinjoshi 'scales' are Western derivations of the koto tunings of the same names. These scales have been used by rock and jazz guitarists in search of 'new' sounds."[2]
Burrows gives C-E-F♯-G-B.[3] Sachs,[4] as well as Slonimsky,[5] give C-D♭-F-G♭-B♭. Speed[2] and Kostka & Payne[6] give C-D-E♭-G-A♭. Note that all are hemitonic pentatonic scales (five note scales with one or more semitones) and are different modes of the same pattern of intervals, 2-1-4-1-4 semitones.
The five modes of hirajoshi can also be derived as subsets of the Ionian, Phrygian, Lydian, Aeolian, and Locrian modes.[citation needed]
Synonymous scales have different names per region of Japan, as well as according to several ethnomusicologists and researchers, which may lead to some confusion. For example, the Iwato scale bears the same intervals as Slonimsky's concept of the Hirajoshi scale, and is also the fourth mode of the In scale. The same scale given by Kostka & Payne matches the third mode of the In scale.
http://en.wikipedia.org/wiki/H(...)scale
