What this site is for
Jazz Warrior publishes the part of this music that only exists once a whole tune is on the stand at once: the bars of the forms everybody already knows, the changes as a group plays them rather than as they were first written, and the four edits this idiom habitually makes to both. None of that belongs to a single instrument, which is exactly why no single instrument site can carry it.
The other side of that bargain is that this site will never teach you to play. It says the upright walks the change and the piano voices it; it does not put your hands anywhere. That is deliberate, and this page is the missing half of the deal.
Where each seat is taught
String WarriorDraws one chord across twenty-odd tunings on a single page, which is what you want the week somebody hands you an instrument at a session and expects a chorus out of it.
Theory WarriorThe site that answers WHY a substitution works at all, from first principles and without a tune anywhere in sight — which is the half of the argument this site deliberately never makes.
Keys WarriorComping is a decision about voices: how many, and which ones you leave out. That site is the deep home of the instruments where that decision is hardware as much as taste, from ten fingers on a piano down to a synth that allows four notes.
Ukulele WarriorNot a seat here, and the honest place to send anyone who wants these same forms under four re-entrant strings rather than six.
Bass WarriorTwo of this site's four seats are borrowed from there. Here they are a row of chord tones; there they are the whole subject, upright and electric alike, across every family the low end has.
Mandolin WarriorDouble courses and the tremolo that comes with them — an instrument these forms have been played on since Django's rhythm section, and one this site does not seat.
Guitar WarriorThe deep home of the seat this site opens on. Everything about the neck itself — shapes, positions, the whole moveable system — is taught there, and every guitar page here doors straight into it.
Banjo WarriorThe four-string tenor banjo held down the rhythm on these tunes before the guitar took the job, and that instrument's full account lives there rather than here.
Fiddle WarriorBowed strings take choruses on this repertoire constantly and are seated nowhere on this site; positions, intonation and the bow itself are that site's subject from the ground up.
Ear WarriorSubstitution only works if you can hear what was replaced. That site drills the sixteen qualities by sound alone and publishes the near misses — the ones a single moved tone apart, which is where a tritone sub lives.
Bluegrass WarriorThe other genre site built the same way — borrowed instruments, real reference sections — over a music whose subject is the room the players are standing in rather than the page in front of them.
Music Warrior NetworkComping and the changes are the subject here; that site is the map of the sisters underneath them — the theory, the keyboard, the ear training — with each one's subject in a sentence and whether its door is open yet.
Nashville WarriorRoman numerals do this job in the standards; that site is the country-session dialect of the same idea, with fewer symbols and a hard rule that it be read at tempo. Its ten marks carry more per character than a chord symbol does.
Mariachi WarriorHarmony handed out by section rather than negotiated in the moment — the chord arrives as a block, the bass doubles at the octave, and nobody substitutes anything. A clean counterweight to a music built on choosing.
Country WarriorWhere three chords is the entire vocabulary rather than the first bar. Seeing how a country arrangement fills the space a jazz group would spend on substitution is a quick way to notice what the harmony was doing for you all along.
Tres WarriorA vamp is where jazz goes when the changes stop. Cuban son begins there and builds an entire music on it, with the interest moved out of harmonic motion and into exactly where in the bar each note lands.
Sitar WarriorImprovising over changes is the assumption under every page here; a raga improvises over nothing changing at all, with the constraint moved out of the chord sequence and into which notes may be touched and in what order.
Oud WarriorTaqsim is improvisation with no changes underneath it at all: the constraint moves out of the harmony and into the jins. It is the closest thing to a control experiment for working out what your chord sequence is actually giving you.
Cuatro WarriorFour strings, one folded down inside the range, and a rhythm role that never rests. Joropo asks a harmony instrument to do the opposite of comping, which makes it a useful mirror for working out what comping actually is.
Charango WarriorVoicing as a fact of the instrument rather than a choice. A GCEAE neck fixes which note lands on top before the player decides anything, which is the exact inverse of comping and instructive for it.
Cavaquinho WarriorChoro is the closest thing to this repertoire outside it: memorised tunes, fixed changes, and everybody improvising against them. Its comping instrument gets a whole site, with the right hand written out in a detail the standards rarely get.
Gear WarriorVoicings are free; the archtop, the amp and the flatwound sets are not. That site prices the rig and names the companies that now own the badges on it.
Blues WarriorThis site owns the jazz blues and the minor blues as tunes. That site reads the plain forms, from the twelve-bar to the sixteen-bar, for what the blues scale does against each bar rather than for what a jazz player does to its chords.
Flamenco WarriorA standard's harmony is open to reworking here. That site deals in a fixed cycle instead: four palos, each twelve counts long with set accents, and the cadence each one comes home on, in any key.
Progression WarriorThis site applies named edits to a standard's form. That site runs in the other direction: give it any chord line and it detects the moves already in it, from a borrowed minor iv to a dominant a tritone away.
Pedal Steel WarriorExtended chords here are stacked by the hand on a keyboard or a fretboard. The C6 pedal steel reaches them by pedal, and that site works out its five pedals and one knee lever into what a straight bar holds.
Scales WarriorJazz players learn the melodic minor's modes, the altered scale and the Lydian augmented among them. That site places them among 49 modes and lists each one's neighbours, one altered degree away.
Music Warrior AIComping needs every extension spelled right, and an assistant writing from memory can miss one. That site is an endpoint it can call instead: a tune's changes transposed in one call, and voicings with the degrees each one actually sounds, cited to the page that owns them.
One family, one home
Every instrument in the network has exactly one site that owns it, and a genre site owns none of them. The four seats here are borrowed for display: they serve the same reference sections their owners serve, at the same addresses, and every one of those pages carries the door back. That rule is enforced mechanically rather than by good intentions — a page that quietly lost its door would fail the build.