What this site is for
Charango Warrior covers one instrument: the charango, five doubled courses tuned GCEAE. That is the whole subject. Because it is the whole subject, every page can assume the rasgueo — the whole-hand stroke pattern that is how this instrument states harmony — and write from there. A site that also had to explain flatpicking, fingerstyle, or bowing could not put the rasgueo at the centre of every chord page the way this one does.
The same narrowness is why the cells get their own engine here and a chord page never has to explain a second instrument's picking hand. It is also why a charango page is the wrong place for most questions that are not about a charango. 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, which is how you find out what your five-course voicing turns into everywhere else.
Theory WarriorA rasgueo tells you which direction the hand moves and on which beat, but not why a progression's two chords pull at each other the way they do; that argument happens there, with no instrument in the way.
Keys WarriorSmall, high and doubled against seven keyboards sorted by voice architecture: the interest is how differently two traditions answer "how many notes at once", one by adding strings and the other by adding circuits.
Ukulele WarriorThe nearest kinship in the network is a habit, not a shared shape: a ukulele's high reentrant string and this instrument's twin E both refuse to sit in simple pitch order, so a player who already trusts one out-of-order string adjusts fastest to the other.
Bass WarriorA rasgueo states its own bottom end by raking the lowest sounded course on the downbeat; hearing what a dedicated low voice does with that same pulse, freed from having to also carry the chord, is that site's job.
Mandolin WarriorThe network's other doubled-course instrument, tuned in fifths rather than a stacked seventh — none of your fretting shapes survive the trip, but everything you know about keeping a paired course speaking as one voice does.
Guitar WarriorSix strings sustained in blocks rather than raked in strokes, and where most charanguistas' fretting-hand habits started; go there to see what the rest of your hand already knows how to do.
Banjo WarriorThe network's other stroke-hand site, and close to an opposite number: a roll picks one string at a time in a fixed finger cycle, where a cell here rakes every fretted course at once — setting the two side by side is the fastest way to see what either actually is.
Fiddle WarriorBowed, fretless, and typically out front with the melody a rasgueo accompanies rather than states; the line your stroke pattern sits under answers to that site's fingerboard, not this one's frets.
Ear WarriorGCEAE reorders the pitches, so a familiar shape arrives with a note on top you did not choose. That site is where you find out whether you can hear which one — and which note your ear keeps offering instead.
Bluegrass WarriorA whole ensemble covered seat by seat — a different repertoire and a different continent from this one, but proof that the network's seat-by-seat treatment travels well past the string band it was first built for.
Music Warrior NetworkSmall, high and doubled is the frame here; that site is the map of everything outside the frame — which sister owns the theory, the ears, or the other instrument in the ensemble, and whether it is open to readers yet.
Nashville WarriorDigits survive a change of key because they ignore the instrument entirely. A GCEAE neck is the counterexample, where the tuning reorders the pitches and the same digit arrives as a different stack of notes.
Mariachi WarriorThe vihuela is the other re-entrant neck in this network and answers the same question differently: five strings whose open third is the highest pitch, struck as one tight block rather than picked apart.
Jazz WarriorA small high instrument is never going to hold the bottom of a chord, and that repertoire built its entire division of labour on someone else holding it. Useful for deciding what this instrument should be playing when it is not alone.
Country WarriorAn arrangement where every part is settled in advance and the interest lies in how the chairs interlock, not in what any one hand invents. Worth reading beside a tradition where the right hand is the variable.
Tres WarriorBoth build a region's entire sound from a handful of doubled courses — but the charango's pairs ring above the melody, and the tres's spell the harmony out underneath it, one eighth note at a time.
Sitar WarriorA charango's high doubled courses ring above the melody much as sympathetic strings do, except that you play them; a sitar's ring untouched, and that difference is a whole position on where a sound is supposed to come from.
Oud WarriorBoth are small doubled-course instruments with an unmistakable body and a repertoire welded to a region — but a charango sits over frets in a bright register, and the oud sits under none in a dark one.
Cuatro WarriorBoth are small, both are inseparable from a national music, and both are routinely undersold as mere accompaniment — but the charango rings above the tune where the Venezuelan cuatro sits underneath it and pushes.
Cavaquinho WarriorSmall, high and rhythmic in a dance music that is not this one's — the closest cousin to the charango's role the network has. Its right-hand patterns are written out stroke by stroke, which is a model for describing what this instrument does.
Gear WarriorBody, maker, and whether it left Bolivia or a factory somewhere else move a charango's price more than the repertoire ever does — and that site tracks the makers.
Blues WarriorMuch of the Andean repertoire sits in minor keys and their relative majors. That site works in a music where every chord is a dominant seventh, and marks bar by bar which blues-scale notes fit each one.
Flamenco WarriorA huayño strums eight even eighths to the bar. A palo spreads its weight unevenly across twelve counts, and that site marks where for four of them, with the cadence each one comes home on.
Progression WarriorThe chords under a huayno often swing between a minor key and its relative major. That site reads a typed chord line and says which key it settles in, and names a tie when the chords alone cannot decide.
Pedal Steel WarriorA charango's re-entrant tuning puts a high course in the middle. The E9 pedal steel has one too, its string 3 above strings 1 and 2, and that site charts every pedal and knee lever around it.
Scales WarriorHuayño melodies are often pentatonic, five notes to the octave. That site works with seven-note scales only, and maps how 49 of them connect, one altered degree at a time.
Music Warrior AIA charango chord asked of an AI assistant is usually answered from guitar habits. Through that site the assistant reads the charango's own tuning and voicings from this network's data instead, and cites this site's page for each chord.
How the sites divide the work
Each instrument family has exactly one home, and kinship follows strings and tuning rather than geography or body shape. The charango claims only itself: no sister site in this network yet models a second Andean instrument, and the guitar it is sometimes compared to at a glance is five fewer strings and a wholly different tuning away.
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.