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It is common to teach beginners chords with the root in the bass as a first introduction. However inversions and alternate voicings are perfectly acceptable. Since the low open A string is the 5th of the D maj chord it is not offensive to put it there. The same is true for the lowest, open E, string and the C maj chord. E is the 3rd of C and it is fine to include the low E in the bass of the C chord, resulting in a 1st inversion. It has a minor 6th as the lowest interval and can sound a less consonant than the root form of the chord, but again it is still a C maj chord. By the same reasoning you can play the open E in the bass of the A maj chord.

Some books do in fact include all possible open strings that are part of the chord. I personally think it's important to provide all these options to the student but just to make things easy for a beginner I'd start with root forms (note corresponding to the chord name in the bass) and then add to these forms in time. From another perspective the Mel Bay approach for playing through band chord charts (which is not widely followed these days) seeks to have the lowest note played on the low E string for all forms. The D maj might be played as follows (2, 0, 0, 2, 3, 2) or (2, 0, 0, 2, 3, x) etc. where numbers = frets, 0 = open string and x = damped string. The second chord form has a geometry very similar to an F# dom7 chord. This is useful for transitions from D maj to B min (the relative minor) with F# a common tone.

When it comes to why certain chord forms are used it is not necessarily because roots inversions are preferred, in fact they are not, it is driven by what forms will move smoothly into (and out of) each other. The rules for "smooth movement" come from harmony theory. The Mel Bay method creates progressions with a lot of close, or small, interval movement (even though the chords can feel awkward to play). Another guitar method that emphasizes smooth chord movement is W. Levitt's guitar method in 3 volumes.

As I stated above, as a beginner you have to start somewhere so why not learn the standard C-A-G-E-D forms all in root position. Levitt's work is quite ingenious as he teaches simple chord melodies (3 part harmony) first, then later teaches the chord forms in block diagrams. This introduces the student's ear to good harmony before getting locked into a limited set of shapes.

In closing I'd say that the simple answer to your question is that it is NOT standard to present chords with the root in the bass. You are assuming and answer based on you specific example you have before you.

Indeed. You play it like that to have the D in the bass. You can of course play the A string (and even use your thumb to fret an F# on the E string) if it fits the arrangement, but then the chord would be considered an inversion. But it's more or less standard to play the open D chord on four strings and the open A and C chords on five strings, especially in beginners' courses.

D A C

(Although the jTab plug-in used on this site shows the D on five strings. Oh well, it's not a hard rule, and it depends on the circumstances.)

Is it because it's considered important for the lowest played string to be the "titular" note?

As other answers have said, in general a 'D' chord doesn't have to be played in root position (with a D as the lowest note). However, root position often will be what is wanted:

• It generally has the strongest, most consonant sound


• The root position chord will especially often sound more consonant when played through distortion, which is important in a rock guitar context


• The movement of the bassline is often important in rock and pop music - playing different inversions may be less faithful to the bassline of the original piece.

Of course there are plenty of occasions where the A in the bass will be what's wanted (e.g. if that is more faithful to the desired bassline). In these cases, sometimes the chord will be notated D/A, using a slash.

There is no reason you cannot imitate a cadential 6/4 chords progression and end on a D chord in second inversion ie with the open A in the bass and have it end on the A chord.

This may be a bit next level for an intro course to handle but it is in essence sound theory. The further away a chord goes from its root position the more unstable and 'weaker' it becomes. Seeing as general strumming does not use the chord progressions with second inversions in them, or rather as a rule don't use them often, they want the strongest inversion of chord which is usually root position.

Most teachers/writers are attempting to teach "solo guitar", and a "D chord" on solo guitar needs a D in the bass most of the time. "A" is definitely a D chord member, but to play it would have the guitar sounding (and is generally notated or spoken as) "D/A" or "D Major, 2nd inversion". Such a chord is also of significant musical use but it's not the same as "D" technically, or aurally.

On solo guitar, you're often playing the bass line and accompanying harmony more/less simultaneously. In a "two beat" country tune you would actually probably play the following to emulate a bass player:

 D D/A A A/E D D/A D D/A
From this valley they say you are leaving
 D D/A D D/A A A/E A A/E
We will miss your bright eyes and sweet smile*

Of course this whole argument goes out the window if there's a bass player available to play a lower "D" for you (or, indeed, the entire bass line). As a matter of fact, if you have a bass player playing "D", you can play just an A and an F# and still get your D Major sound.

But the reason it's shown in your book(s) with D in the bass is, as I said, because that's correct for a tonic, root position chord on solo guitar which is what most pieces of music are likely to expect when "D" is required, unless the chord is especially marked or supposed to be over a different chord tone.

• "Red River Valley", originally "Bright Mohawk Valley", American Folk Tune, author unknown

You can play the open A string when playing some songs with the D chord to get a fuller sound or in country songs like Good Hearted Woman by Waylon Jennings and Willie Nelson. You can go along with the bass line of the song,which you pick the D string open and then the chord; than the A string open and then the chord.This is a root-D, 5th-A strum pattern in Country music(D-E-F#-G-A-B-C#)...
We often teach that you go from the root note of the chord to get the best sound of the chord.In the case of a C chord, it is different. The open E string theoretically should work because there is an E, which is a major 3rd of the C Major scale(C-D-E-F-G-A-B), but when you strum all the strings with the open E- 6th string,the C chord it sounds dissonant or out of tune. I hope this helps..God Bless! Rob