What this site is for
A number chart works by leaving things out. It states the harmony a player could not have guessed and says nothing whatever about how to produce it, which is exactly why one page survives a change of key, a change of tempo and a change of personnel. Nashville Warrior publishes that page and the rules for reading it — and inherits the same silence about everything the page omits.
So this site will never teach you to play. It says a guitarist turns a digit into a shape; it does not put your left hand anywhere. That is deliberate, and this page is the missing half of the bargain: a list of where the playing itself is taught, and where the harmony behind the digits comes from.
Where the rest of it is taught
String WarriorOne page that draws the same chord across twenty-odd tunings at once — the page you want the afternoon somebody hands you an instrument the chart assumes you can already read on.
Theory WarriorThe reason a five wants to go home is theirs, worked out from intervals rather than from convention. Everything this site says about pull, resolution and why one degree feels unfinished is a sentence borrowed from there and repaid with a link.
Keys WarriorSession players read numbers there too, and they have a problem no chart expresses: how many voices to put where, on an instrument that will happily hand you ten. That site is where those seven instruments and their limits live.
Ukulele WarriorNot a reader this site borrows at all, and the honest place to send somebody who wants the same shorthand under four reentrant strings rather than six.
Bass WarriorHere a bass player is somebody who converts a number into one note and obeys a slash mark. There, the low end is the entire subject, walked note by note across every instrument that carries it.
Mandolin WarriorA mandolinist reads the same digits everybody else does and answers with a chop nobody wrote down. That instrument, its tremolo and its right hand are taught properly there and deliberately not here.
Guitar WarriorA digit only becomes a shape if the shapes are already under your hands. That site is where the shapes come from — the whole family, the alternate tunings, and the technique this one refuses to paraphrase.
Banjo WarriorAnother instrument that turns up at sessions and gets no reference section here, because a five-string tuned to an open chord answers a number very differently from a guitar. Its own site is where that answer belongs.
Fiddle WarriorBowed instruments read charts too, and this site draws no diagram for one — a fingerboard with no frets is the wrong thing to render as a fretted shape. Bowing, position and intonation all live on that site instead.
Ear WarriorThe numbers only help once you can hear which degree just went past. That site removes the page entirely: a sound arrives in a key the seed picked, and you name it before anything is revealed.
Bluegrass WarriorA genre site about the ROOM: who is standing in the circle, what the etiquette is, and how a turn gets handed on. Nothing on that site is written down at a music stand, and nothing on this one is about who is standing where.
Music Warrior NetworkThe number system is this site's subject; that site is the map of where the numbers land — which sister owns each instrument and each theory question, and whether it is open, so a chart can be followed to the instrument playing it.
Mariachi WarriorCalling the form hands out the meter, the bar grid and the pattern in a single word — a page's worth of instruction compressed into one. Worth seeing beside a page that spells the harmony out and leaves the parts open.
Jazz WarriorNumbers there too, and for the same reason — a tune has to work in whatever key it gets counted off in. What differs is what the numbers permit: a player who substitutes the chord rather than playing the one written.
Country WarriorThe numbers are only half the job — a page of digits says what to play and nothing about who plays it or when they stay out. That site is the other half: a standing part for every chair, assigned, with the rests written in.
Tres WarriorThe number system assumes a song travels through its changes. A montuno vamps on two or three and takes its motion from placement instead — the clearest case of a song whose chart would tell you almost nothing that matters.
Sitar WarriorThe number system exists so a band can move a song to any key on the spot; a sitar is tuned to its player's own Sa and stays there for the whole performance — the opposite answer to the same question, and worth having met.
Oud WarriorThe number system works because a song's harmony can be lifted whole into another key; a maqam cannot travel that way, since its ajnas carry intervals that change character when moved — the most instructive thing that can happen to a number-system habit.
Cuatro WarriorNumbers travel between instruments, but not between metres. Joropo's fast triple pulse is where a chart's assumptions about the bar quietly stop applying, and the cuatro is the instrument holding that pulse together.
Charango WarriorNumbers survive any key because they ignore the instrument. A GCEAE neck is the counterexample worth seeing — the tuning reorders the pitches, so the same number arrives as a different stack of notes.
Cavaquinho WarriorNumbers tell a band what to play and say nothing about when to hit it. That site is the counterweight: the same bar written as a stroke pattern, eighth by eighth, for a music where the when is the whole style.
Gear WarriorA number chart works in any band on any instrument, which is precisely when the question turns into which instrument to own — answered there with prices and company histories rather than charts.
Blues WarriorA twelve-bar blues fits on one line of numbers: a 1, a 4 and a 5 in a fixed order. That site reads the same bars for what the blues scale does over them, each note filed as chord tone, colour or rub.
Flamenco WarriorA chart here sets a song's numbers in bars. A palo is counted in twelve beats with its own accents, and that site lays out four of them, from the soleá to the seguiriya, with each cadence written in the key you pick.
Progression WarriorThis site writes a song down as numbers once the key is known. That site works the other way round: it reads letter-name chords, finds the key and mode they imply, and labels each chord with a Roman numeral and the move it makes.
Pedal Steel WarriorThis site draws a chart's changes as pedal moves on the E9 and C6 necks. That site is the steel's own home: both copedents cell by cell, every combination the knees allow, and the lap steel besides.
Scales WarriorA number chart says which chords come when, not which mode the melody is in. That site maps the modes: 49 of them in seven families, with every pair that differs by one altered degree.
Music Warrior AIA chart called in a new key is a transposition, and an AI assistant can get one wrong. That site is an endpoint it can call: a whole progression moved from one key to another in one call, and each chord's voicings on the instrument in hand, cited to the page that owns them.
How the network divides the work
One family, one home. Every instrument this site draws has a sister that owns it outright, and nothing is taught twice: the two reference sections here exist to answer the chart's own question — what is under your hands when the page says 4 — and every one of their pages carries the door to the site that owns the instrument.
Sisters still being built are not in the list above; each joins it the day it opens. The piano’s reading has its own pages on this site, starting with the piano chords, and every one of them carries the door to the keyboard site itself.