What this site is for
Sitar Warrior covers one instrument: the sitar, five strings tuned C–G–C–G–C on a long fretted neck. That is the whole subject. Because it is the whole subject, every page can lead with the honesty a shared multi-instrument reference cannot afford: chords and scales are labelled as a 12-TET convenience, and the ten thaats — the classification frames Hindustani theory actually sorts ragas under — get their own computed engine instead of a paragraph.
That same narrowness is why sargam and komal/tivra marks get real tables here rather than a footnote, and why a sitar page is the wrong place for most questions that are not about a sitar. Pointing you at the site that owns the question is more useful than a thin section written here for completeness.
Where to go instead
String WarriorOne instrument at a time is this site's entire method; there the same chord is drawn on twenty-odd necks at once, sitar's five CGCGC strings among them, so you can see what a shape here becomes on any other neck.
Theory WarriorA thaat sorts ragas by which seven swaras are available; it says nothing about why a ii–V–I pulls the way it does in Western harmony, and that argument lives there, with no instrument in the way.
Keys WarriorTwelve fixed pitches, decided by a tuner before the player arrives, is precisely what this instrument's movable frets and bent notes refuse. Looking at the seven keyboards built on that assumption is the clearest way to see what is being refused.
Ukulele WarriorFour strings, no long neck, and a re-entrant top string that behaves nothing like this instrument's two open pitch classes — go there for a genuinely different fretted-strings problem to solve.
Bass WarriorLow, sustained, and built for a rhythm section a sitar performance never carries — that site answers a question about groove this one has no honest angle on.
Mandolin WarriorDoubled courses tuned in fifths and picked with a plectrum, tremolo included — a fretted-strings cousin whose whole playing technique is a different animal from this one's fingerstyle long neck.
Guitar WarriorSix strings, chords held down and strummed as blocks — the reference layer this site's own chord charts borrow their grammar from, spelled out in full over there.
Banjo WarriorA genuine drone string of its own, unlike anything on this five-string neck, plus a whole picking-hand vocabulary (rolls) this site never claims for the sitar.
Fiddle WarriorBowed and fretless, which sounds like a sitar's own honesty problem until you look closer: that site's continuous pitch is a bow's doing, not meend, and the two techniques do not transfer.
Ear WarriorA tradition tuned to its own Sa works by relation rather than by absolute name, which is the argument that site makes about the entire Western vocabulary. It never names the key either.
Bluegrass WarriorA whole ensemble covered seat by seat, built on breaks and jam keys — a repertoire this site has no claim on, and the closest thing the network has to a genre home.
Music Warrior NetworkThis site starts from the raga and refuses the chord; that site is the map of the sisters that start elsewhere — one card per site, the question each one answers, and which to open when a Western harmony term needs its own page.
Nashville WarriorA sitar is tuned to its player's own Sa and stays there for the whole performance; that notation exists so a song can be moved to any key on the spot. The same question about where the tonic lives, answered in opposite directions.
Mariachi WarriorAn ensemble that assigns every part in advance and plays it together — the furthest thing in this network from one performer shaping a piece as it unfolds. Worth meeting for the contrast alone.
Jazz WarriorA raga fixes its notes and lets time do the developing; that music fixes its bars and lets the chords move underneath them. Two opposite decisions about what is allowed to stay still, and seeing the other one made deliberately is worth the trip.
Country WarriorAn arrangement built entirely from fixed, repeating parts: no chair invents its role, and the same figure returns every chorus. About as far as this network gets from a performance composed as it unfolds.
Tres WarriorTwo instruments whose repeating figures carry a piece where a chord progression would in Western music — but this one's ground is a drone that never moves, and the tres's is a short cycle that comes round hard on the beat.
Oud WarriorThe network's other site that refuses to draw what it cannot spell — but where this instrument builds its frets tall and curved so a note can be pulled between them, the oud has none at all, and the hand finds a neutral second with nothing underneath it.
Cuatro WarriorBoth sites refuse an easy simplification. This one refuses to draw what twelve equal steps cannot spell; that one refuses to let two unrelated instruments disappear into the single name they share.
Charango WarriorFive courses tuned so the pitches do not ascend, in a repertoire built on a right hand that repeats fixed cells. A very different decision about what is allowed to stay constant and what is free to move.
Cavaquinho WarriorA different way of organising time: not a cycle that returns, but a bar cut into eighths with a direction assigned to each one. Worth seeing what a tradition does when the rhythm is fixed and the ornament lives in the right hand instead.
Gear WarriorA sitar is bought once, from a workshop, at a price that is hard to sanity-check from the outside; making that comparison possible is that site's job.
Blues WarriorA raga sets which notes may bend toward which. That site asks a Western version of the question for the blues: over each bar of four forms, which notes of the blues scale sit in the chord and which rub against it.
Flamenco WarriorA tala can divide its cycle into sections of unequal length, and a palo's accents divide twelve counts the same way. That site lays out four palos like that: where each accent falls, the grouping it makes and the cadence that closes it.
Progression WarriorA raga has no chord line to read, which is what makes the contrast useful. That site starts from a row of Western chord symbols and works back to the key and mode they imply.
Pedal Steel WarriorA sitar's meend bends a note by pulling the string along the fret. A pedal steel bends its strings with pedals while the bar holds still, and that site lists, string by string, how far each pedal and lever moves them.
Scales WarriorHindustani music sorts its ragas into ten thaats. That site sorts Western modes into seven families instead and maps which sit one altered degree apart: the same kind of question, asked of a different system.
Music Warrior AIThis site starts from the raga, and that site's endpoint does not spell one. What an AI assistant can read through it is the sitar's tuning and a Western scale's notes in any key, with the sitar page that owns the scale 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 repertoire. The sitar claims only itself: no other network site models its five-string reference tuning or its thaat classification system, and no amount of surface resemblance to a long-necked lute elsewhere in the network changes that.
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.