What this site is for
Tres Warrior covers one instrument: the Cuban tres, three doubled courses tuned G–C–E. That is the whole subject. Because it is the whole subject, every page can assume the figure — the repeating one-bar cell that is how this instrument states harmony — and write from there. A site that also had to explain strumming, flatpicking and bowing could not put the guajeo 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 chords do not get a strum pattern. It is also why a tres page is the wrong place for most questions that are not about a tres. 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 three-course voicing turns into everywhere else.
Theory WarriorA cell tells you what order the tones come out in, but not why a vamp's two chords pull at each other the way they do; that argument happens there, with no instrument in the way.
Keys WarriorThe piano figure and this instrument's are the same idea in two hands versus three courses. That site is where the keyboard side lives, along with six other keyboards that differ by how many voices they hold.
Ukulele WarriorThe nearest neck in the network: its G–C–E–A is this instrument's three open courses with one string added on top, so a tresero's grips arrive there almost intact — into an utterly different job.
Bass WarriorThe figure's dance partner: in a son band the bass tumbao and the tres cell interlock around the same anticipation, and hearing the other half of that conversation is what that site is for.
Mandolin WarriorThe other doubled-course tremolo machine, tuned in fifths instead of a triad — none of your shapes survive the trip, but everything you know about making paired strings ring does.
Guitar WarriorSix strings played in blocks rather than walked in figures, and where most treseros started; go there to see what the rest of your hands already know how to do.
Banjo WarriorThe network's other picking-pattern site: its rolls fill every eighth with a fixed finger cycle, where a cell here earns its push by resting — reading both is the fastest way to understand either.
Fiddle WarriorBowed, fretless, and carrying the melody — the violin section a charanga floats over the vamp answers to that site's fingerboard, not this one's frets.
Ear WarriorA figure that loops rather than travels puts the same few chords past your ear over and over, which is either practice or wallpaper. That site makes it practice: eight famous loops, drilled for the order they arrive in.
Bluegrass WarriorA whole band covered seat by seat — a different repertoire from this one, but the closest thing the network has to how a son conjunto actually divides its labour.
Music Warrior NetworkThree courses and the figure that loops are the subject here; that site is the map of every sister — which one owns the harmony, the ear training, or the other neck the same figure lands on, and whether it is open yet.
Nashville WarriorA montuno takes its motion from placement rather than from travelling through changes, which is exactly the case a page of digits describes badly. Worth reading to see what that notation is confident about and where it goes quiet.
Mariachi WarriorAnother ensemble where a struck chord carries the time instead of a drummer. What differs is unison: there the armonía plays one declared pattern together, where a montuno is a single voice's figure.
Jazz WarriorA guajeo holds a two-bar harmony and repeats it; that repertoire moves its harmony every bar or two and repeats almost nothing. Both are figures built to state a change, and the contrast makes what a guajeo is really doing much easier to see.
Country WarriorAnother music where the time is carried by hands already busy playing something else. Country splits an absent drummer's jobs across a whole band of chairs; reading how it hands them out sharpens what the tres is really holding down.
Sitar WarriorThe tres builds a whole part from three courses and a figure that comes round again; the sitar builds one from a fixed drone and a line that never repeats the same way twice — two small-necked answers to filling a room, neither of them the guitar's.
Oud WarriorThree courses over frets, one figure that comes round again, a whole groove; six courses over a bare fingerboard, one melodic line, no groove at all — the two far ends of what a doubled-course plucked instrument can be asked to do.
Cuatro WarriorThe other Caribbean small-bodied instrument permanently mistaken for a little guitar, and the contrast is sharp: this one takes a chord apart into a loop, while the Venezuelan cuatro closes on all four strings at once and drives.
Charango WarriorBoth necks refuse to climb in pitch order, and both make it the point. Where the tres spends it on a figure, the charango spends it on a strum — the same trick, two traditions, opposite ends of the continent.
Cavaquinho WarriorTwo Latin instruments with four courses and entirely different jobs: yours states a figure, that one drives the pulse. Both are the engine of their dance music, and the contrast is the fastest way to hear what a guajeo is not.
Gear WarriorThe tres is built by few enough people that "who made this" has a real answer, and that site is where the answer is looked up instead of guessed at.
Blues WarriorA guajeo repeats a two-chord cell; a blues moves through a cycle where every chord is a dominant seventh. That site follows the cycle bar by bar and marks which notes of the blues scale fit each one.
Flamenco WarriorThe clave sets a son's cycle as three strokes against two. A palo sets its own across twelve counts, and that site marks where for four of them, grouped 3+3+2+2+2 or 2+2+3+3+2.
Progression WarriorA guajeo can spin on two chords for a whole song without saying which key they belong to. That site reads a typed chord line and names every key it could be read in, calling a tie a tie.
Pedal Steel WarriorThe tres doubles its strings in three courses. The pedal steel has ten single strings, and that site works out which of them each pedal and knee lever retunes on the E9 and C6 necks, and by how much.
Scales WarriorSon repertoire mostly stays in major and minor. That site maps what lies beyond them: seven families of seven-note scales, 49 modes, and the single altered notes that connect them.
Music Warrior AIA tres is strung in doubled courses that an AI assistant tends to flatten into a guitar. Through that site it reads the tres's own tuning and chord voicings from this network's data, 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 tres claims only itself: the Puerto Rican cuatro is a different instrument with a different home, however often the two share a stage, and the guitar the tres physically resembles is four strings and a worldview 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.