What this site is for
Pedal Steel Warrior covers the two steels played with a bar: the lap steel in its one open tuning, and the ten-string pedal steel on both of its necks. Every chord here is a bar position, and on the pedal steel every pedal and knee lever is worked out from its copedent — what it moves, and what the bar then holds.
That narrowness is what lets the copedent have its own pages here, every combination resolved from its sources, and what lets each chord be computed against its own neck's open strings rather than borrowed from a fretted instrument. It is also why this is the wrong site for almost every question that is not about a steel. Pointing you at the site that owns the question beats writing a thin section here for completeness.
Where to go instead
String WarriorThe same chord drawn on twenty-odd necks at once, fretted and barred side by side — the quickest way to see what a straight bar can reach that a fretting hand cannot, and the other way round.
Theory WarriorA copedent tells you which strings a pedal moves and where the bar then finds a chord. Why that chord pulls toward the next one is a separate argument, made there without a neck in the way.
Keys WarriorEvery pedal and lever on a steel exists to get notes a straight bar cannot reach. A keyboard reaches all of them at once, which makes it the clearest place to hear the chord the pedals are chasing.
Ukulele WarriorThe other re-entrant tuning in the network: a small four-string whose top string sits below its neighbour. The E9's strings 1 and 2 do the same thing on ten strings, and reading both explains why players tune that way.
Bass WarriorThe register a steel leaves alone. The low strings of both necks are there to fill a chord, not to walk under it, and the bass line in a band with a steel is somebody else's job, explained there.
Mandolin WarriorA chop on the backbeat and a steel swell across it are two halves of the same band sound. That site covers the instrument whose short, dry chord is everything a held bar is not.
Guitar WarriorThe dobro's deep home — the squareneck resonator is played with a bar too, and lives with the guitar family there — and the six-string most steel players picked up first.
Banjo WarriorA fixed roll of the picking hand filling every note of the bar, where a steel lets one chord ring and moves the bar or a pedal under it. The two right hands answer different questions about sustain.
Fiddle WarriorThe other melody voice in a string band that slides between notes rather than stepping. Where the bar glides along a string, the fiddle's finger does the same, with no fret marker to aim for.
Ear WarriorA pedal change is heard before it is seen: one string bends up a step while the rest hold still. Training the ear to name that interval, and the chord it lands on, is that site's whole subject.
Bluegrass WarriorA band covered seat by seat, with the dobro in the room. It is the closest the network comes to how a steel shares a stage with fiddles and banjos without stepping on them.
Music Warrior NetworkThis site covers the steels played with a bar and nothing else; that one maps the whole network — one card per sister, the subject each owns, and which door to try first for a question that is not about a bar.
Nashville WarriorThe chart a steel player reads on a session floor, with the steel's chair described in prose. Numbers name the chord; the copedent pages here show which pedals get the bar there from the last one.
Mariachi WarriorAn ensemble built on strings that hold a pattern while the melody moves above it. Its cells are declared slot by slot, which is a useful contrast to a steel's sustained, pedal-moved chord.
Jazz WarriorThe C6 neck's home ground as much as any: sixth and ninth chords, and changes that move by small steps. That site reads the tunes; this one shows where the bar and pedals find those chords.
Country WarriorThe arrangements the E9 neck is most often heard in, laid out chair by chair. That site says who plays what in a country band; this one shows what the steel's pedals are doing while it happens.
Tres WarriorThree doubled courses turning a chord into a picked, repeating figure. A steel holds the chord and bends it instead — two answers to the same problem of keeping harmony moving.
Sitar WarriorThe other instrument whose notes glide rather than step, pulled along the string instead of pressed onto it. Meend on a sitar and a bar slide on a steel are close cousins of the same sound.
Oud WarriorA fretless neck where every pitch is placed by ear, like the bar over a steel's painted markers. There the finger finds the note; here the bar does, and both have to land exactly.
Cuatro WarriorTwo instruments that share a name and nothing else, kept apart page by page — the same honesty rule that keeps the lap steel and the pedal steel apart here.
Charango WarriorSmall, high and strummed, with a tuning that turns back on itself. The opposite end of the string family from a ten-string steel, and a good test of what a re-entrant tuning is for.
Cavaquinho WarriorA small four-course instrument that drives the rhythm with every stroke. A steel mostly sustains and swells; hearing both shows how much of an instrument's job is set by its attack.
Gear WarriorA steel reaches the audience through a volume pedal, a few effects and an amp; that site puts the pedal chain in order, budgets its power supply and names who owns the companies that build the boxes.
Blues WarriorA steel slides into a note and holds it; the blues leans on notes the chord does not hold. That site lists which ones, bar by bar through four blues forms in any key.
Flamenco WarriorA steel holds a chord and bends into the next one. That site is about when the next one comes: four palos, each a twelve-count cycle with its accents marked, and the cadence each comes home on in any key.
Progression WarriorThis site shows which pedals get the bar to the next chord. That site names the chord's place in the song: type the line and every chord gets a Roman numeral against the key it implies.
Scales WarriorPressing one pedal on a steel changes a few strings and leaves the rest alone. That site maps the scale version of that idea: modes that differ by one altered degree, across 49 modes in seven families.
Music Warrior AIThrough that site an AI assistant can look up a chord on the lap steel or the E9 or C6 pedal steel, read from this network's data rather than guessed, and cite the steel page that owns it.
How the sites divide the work
Each instrument family has exactly one home, and kinship follows strings and tuning rather than name or body shape. This site is the network's only two-family home, and the reason is the shared name: two instruments that nobody would file together on the evidence, and that everybody files together on the label. Keeping them here, on separate pages, is the honest arrangement — the alternative is a reader arriving for one and being handed the other.
String Warrior is the one site that does not work this way at all. It carries every instrument at once, which is what lets it lay a single chord across twenty necks side by side — something no 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.