On my quest for learing music theory i've stumbled upon another issue
Chord construction, okay not so difficult right.. except:

With C Major as my root i have:

To make a major chord i've learned to take the notes of 1, 2 and 5
That would be: C, E and G

Tuning: D

|-----------------------------------| d
|-----------------------------------| A
|-----------------------------------| F
|------4--7-----------------------| C
|---5------------------------------| G
|-----------------------------------| D

Playing the C E G notes as you see above

hmm that does not seem right to me becouse its not a usual thing in chords,
in my mind should be like this:

|-----5----------------------------| d
|----7-----------------------------| A
|----7-----------------------------| F
|----7-----------------------------| C
|---5------------------------------| G
|---5------------------------------| D

Think of the way you would play a normal E chord

|---0-------------------------------| e
|---0-------------------------------| B
|---1-------------------------------| G
|---2-------------------------------| D
|---2-------------------------------| A
|---0-------------------------------| E

So what am i doing wrong
Last edited by martin.ouwehand at Dec 22, 2016,
Your example should read:

|-----------------------------------| d
|-----------------------------------| A
|------------2-----------------------| F
|------4-------------------------| C
|---5------------------------------| G
|-----------------------------------| D

you played it as an arpeggio ..not a chord "form"..

also "..i've learned to take the notes of 1, 2 and 5
That would be: C, E and G.." the 1 2 5 ahould read 1 3 5
play well

Quote by martin.ouwehand
So what am i doing wrong
Nothing (apart from 1-2-5 instead of 1-3-5 ).

The issue is that your first C chord had 2 notes on the same string - so you can't play them both at once!. One needs to be moved - and wolfen showed one option. The next problem is you have 3 other strings to fill up (or you'd have to mute them when strumming).

So if you start with this shape:

F--2 = G
C--4 = E
G--5 = C

You could expand it this:

D--2 = E
A--3 = C
F--2 = G
C--4 = E
G--5 = C
D--- (x)

Or this:

D--2 = E
A--3 = C
F--2 = G
C--0 = C
G--0 = G
D--- (x)

Recognise the shape? That's how all guitar chord shapes arise: by distributing the required notes across the strings (in any order) in such a way that the fingers can reach all of them, and no more than one string needs to be muted.
Okay thanks,
Just to get it straight,

This is a chord:
|---2-------------------------------| d
|---3-------------------------------| A
|---2-------------------------------| F
|---0-------------------------------| C
|---0-------------------------------| G
|---x-------------------------------| D

And this would be an arpeggio:

|------------------------------------| d
|------3--7------------------------| A
|---2-------------------------------| F
|-0---------------------------------| C
|------------------------------------| G
|------------------------------------| D
Arpeggios are chords! They're just broken up into separate notes.

As long as the notes are played (order doesn't really matter), you can count that as the chord. So D-A-F# and D-F#-A are both D major chords.


If the notes are as close to each other as possible (D-F#-A - can't fit an A between D and F# etc.), then it's called a closed position chord. Otherwise (eg. D-A-F#), it's an open position chord. This is tied into the concept of voicings, using different fingerings and octaves of notes to create different aural effects.
Arpeggios are chords too. They are just a specific way of playing chords (one note at the time).

BTW, sometimes you want to use chord voicings that have only three notes in them. A 6 string voicing will sound full and rich, but sometimes you don't want that. Sometimes less is more. It's really all about the context.

A good example of three-note voicings is the main riff of "Runnin' with the Devil".

  C D        D G A  E

You could of course also see those voicings as being part of the typical barre voicings:

  C D        D G  A  E

When playing in a band, normal barre chord voicings aren't necessarily that useful because they may sound too full (especially if you use heavy distortion). In a band you want everything to sound clear, and if everybody is playing really full sounding chord voicings, it just will not sound clear. The fact that many instruments are playing at the same time already makes the sound full, even if you are playing just single notes.

If it already sounds full when you are playing on your own, adding more instruments to it may make it sound too full.
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Quote by martin.ouwehand

Alright, but then what defines an arpeggio? just that the notes of a chord are played seperatly in a specific order?
just the playing separately, no order needed