What this site is for
Oud Warrior covers one instrument: the six-course Arabic oud, tuned C–F–A–D–G–C with no frets anywhere on its neck. That narrowness is what lets every page start from the fingerboard itself — a chord names the position and finger for each course, a scale is a position map with every root marked, and the five ajnas this site can chart in 12-TET are computed from that same tuning rather than typed in by hand. A site that also had to explain a guitar's frets or a violin's bow could not spend its first paragraph on where a tone actually sits the way this one does.
The same narrowness is why maqam gets an honesty clause instead of a chart: rast, bayati, sikah, and saba live on quarter tones this fingerboard's twelve positions cannot draw, and saying so plainly beats faking a fret-equivalent for a pitch that was never there. It is also why an oud page is the wrong place for most questions that are not about the oud — pointing you at the site that owns the question serves you better than a thin section written here for completeness.
Where to go instead
String WarriorOne instrument at a time is this site's whole method; there the same chord sits across twenty-odd necks side by side, which is the fastest way to see what an open-C oud voicing becomes on a fretted neck.
Theory WarriorA jins names which tones sit together, not why one chord in a progression pulls toward the next; that argument happens there, with no fingerboard standing in the way.
Keys WarriorA bare fingerboard asks the hand to find every pitch; a keyboard hands over all of them already decided and asks instead how many can sound at once. Opposite constraints, and the contrast sharpens both.
Ukulele WarriorThe network's other small plucked instrument, though its top string reenters below the rest while every one of this fingerboard's courses only climbs — a different puzzle for a similar right hand.
Bass WarriorLow C anchors this fingerboard's outer courses two octaves apart; hearing that same pitch class carry a whole band's low end from four fretted strings is that site's job, not this one's.
Mandolin WarriorThe network's other doubled-course design, strung in fifths and fretted where this one is neither; comparing the two shows what paired strings do and do not have in common.
Guitar WarriorWhere a fretting hand first learns to move at all, before an oud takes the frets away and asks that same hand to find its own positions by ear.
Banjo WarriorA fixed right-hand roll fills every eighth note there; a risha's downstroke-upstroke pull answers a different question entirely, and the contrast is worth hearing both ways.
Fiddle WarriorThe network's only other honestly fretless fingerboard, bowed rather than plucked — reading both sites side by side shows two different instruments refusing the same lie.
Ear WarriorWhere a note lands is a judgement the hand makes, so a trained ear is not optional equipment. That site drills the distances one at a time and holds a steady reference pitch for as long as you need it.
Bluegrass WarriorA whole ensemble covered chair by chair, worlds away in repertoire, but the closest thing the network has to how a mixed maqam takht actually divides a room.
Music Warrior NetworkMaqam and the bare fingerboard are this site's subject; that site is the map of the network around it — which sister owns which question, who each is written for, and whether its door is open.
Nashville WarriorA maqam cannot be lifted whole into another key, because its ajnas carry intervals that change character when moved. That site rests on the assumption this one keeps testing, that harmony transposes cleanly, which is what makes the contrast worth having.
Mariachi WarriorTwo of its necks carry no fixed pitch positions at all, so where a note lands is the player's judgement — the same condition this site starts from, met inside a section playing in unison rather than alone.
Jazz WarriorMaqam develops a melody by moving where the tonic sits; that repertoire moves the harmony beneath a melody that stays put. The comparison is unusually direct, because both are traditions of improvising against a structure everybody in the room already knows.
Country WarriorA music organised around who plays when, rather than around where a melody may travel next. That site assigns a standing part to every chair and writes the rests in, which makes it the sharpest available contrast to a solo tradition.
Tres WarriorThe network's other single-instrument satellite played with a plectrum on doubled courses, and the far side of the same question: the oud spins one long line that never repeats, the tres one short figure that does almost nothing else.
Sitar WarriorMaqam and raga are the network's two great non-Western pitch systems, and the contrast is the useful part: the oud finds its microtones on a bare fingerboard, the sitar builds movable frets to sit between them and then bends straight past those.
Cuatro WarriorTwo instruments under one name, both descended from the Spanish-colonial line that sits far downstream of the oud itself — a useful reminder of how far a plucked box travels, and how completely it changes on the way.
Charango WarriorAn instrument with no fixed pitches at all, beside one whose pitches are fixed twice over — five doubled courses, tuned out of order. The comparison sharpens what the oud's freedom of placement actually costs and buys.
Cavaquinho WarriorAn instrument whose whole subject is the right hand, where this one's is the left. Reading a tradition that writes down the direction of every stroke throws the oud's freedom of placement into relief.
Gear WarriorMaqam is knowledge. An oud is a purchase from a named luthier, and which of those names are workshops rather than factories is researched there.
Blues WarriorThe blue third sits between a minor and a major third, a little like a neutral interval on this instrument. That site uses equal temperament and asks a narrower question: over each bar of a blues form, is that note a chord tone or a rub.
Flamenco WarriorAn iqa' is a cycle of heavy and light strokes. A palo is a cycle too, twelve counts with five of them accented, and that site lays out four palos that way, with the cadence each comes home on.
Progression WarriorA maqam is identified by its ajnas, not by chords. That site does the Western equivalent from the other end: it reads a typed chord line and decides which key and mode the chords add up to.
Pedal Steel WarriorThe oud has no frets, so a note sits wherever the finger stops it. A steel has no fretting hand either, only a bar, and that site charts where a straight bar finds each chord on the lap steel and two pedal steel necks.
Scales WarriorThis site works in quarter tones that no Western mode holds. That site stays in equal temperament and maps 49 modes, the double harmonic with its two augmented seconds among them, by which sit one altered degree apart.
Music Warrior AIMaqam stays this site's subject; that site's endpoint does not spell one. What an AI assistant can read through it is the oud's tuning and chord shapes from this network's data, with this site's page for each chord cited as the source.
How the sites divide the work
Each instrument family has exactly one home, and kinship follows strings and tuning rather than geography or a shared word in the name. The oud claims only itself: the guitar it sometimes shares a stage with is a different instrument with a different home, and no Turkish or Persian tuning variant gets a page here until the registry itself supports one.
String Warrior is the one site that does not work this way. It carries every instrument at once, which is what lets it lay the same chord across twenty necks side by side — something no single-family site here can do, and the reason this one does not try.
More sites are still being built, and each will join the list above the day it opens — not before, since a door onto a site that cannot be read yet helps nobody.