Three notes across one string set.
D is D, F# and A.
It sounds plain and completely at rest. The reference every other chord on this page is a modification of.

| D | F# | A |
|---|---|---|
| 1 | 3 | 5 |
Tonic — the chord a progression stops on.
Also written Dmaj, DM or D major. The same chord either way; which spelling you meet depends on who wrote the chart.
Three notes on one string set. No seventh, so nothing is claimed about the chord beyond its quality.
Thin on their own, excellent over a bass line or against someone else’s harmony.
D has 47 of them, on the bottom three strings, the high-middle three, the top three strings, the top four strings, the bottom four strings, the middle four strings, the low-middle three, strings 5-3-2-1 and strings 6-4-3-2, from the 2nd fret up to the 14th — every inversion the chord has: D in the bass, F# in the bass and A in the bass. The one to learn first is the F# shape at the 2nd fret, which is the easiest grip here.
6 of them sit on the top four strings, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with xx0232 — no barre and 1 open string. 1 of the 7 shapes here sits in open position. 4 of the 7 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0232 | open position | D, root position | F# | 1 open string |
| x54232 | 2nd fret | D, root position | F# | all fretted |
| x57775 | 5th fret | D, root position | A | barred |
| 10-9-7-7-7-10 | 7th fret | D, root position | D | barred |
| x-x-7-7-7-10 | 7th fret | A, 2nd inversion | D | barred |
| 10-12-12-11-10-10 | 10th fret | D, root position | D | barred |
| x-x-12-14-15-14 | 12th fret | D, root position | F# | all fretted |
The same notes rebuilt from scratch give 2 open string voicings, each on its own page.
How you get to it. The turn that lands on D is Em7 to A7 — the ii and the V of D — and A7 shares its third and seventh with Em7, so the hand barely moves between them.
In which keys. Every note of D belongs to D major (the I), E minor (the ♭VII), F# minor (the ♭VI), G major (the V), A major (the IV) and B minor (the ♭III).
Every note of D is in D major pentatonic, D major, D lydian, D mixolydian and D lydian dominant.
Change one note of D and you have Dm (the major third becomes a minor third), Dsus2 (the major third becomes a ninth), Dsus4 (the major third becomes a fourth), Dmaj7 (add the major seventh), Dadd9 (add the ninth) or D5 (drop the major third).
D is a major chord — root, major third, fifth. Major chords on every root.
On D’s sound and use this page follows Edward Aldwell & Carl Schachter, Harmony and Voice Leading (Schirmer / Cengage, 4th ed., 2011). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.