The standard grips this chord is usually shown with.
C is C, E and G.
It sounds plain and completely at rest. The reference every other chord on this page is a modification of.

| C | E | G |
|---|---|---|
| 1 | 3 | 5 |
Tonic — the chord a progression stops on.
Also written Cmaj, CM or C major. The same chord either way; which spelling you meet depends on who wrote the chart.
C in 2nd inversion puts G in the bass instead of C, the 5th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of C’s 7 common shapes does this: xx5558.
Start with x32010 — no barre and 2 open strings. 1 of the 7 shapes here sits in open position. 4 of the 7 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x32010 | open position | C, root position | E | 2 open strings |
| x35553 | 3rd fret | C, root position | G | barred |
| 875558 | 5th fret | C, root position | C | barred |
| xx5558 | 5th fret | G, 2nd inversion | C | barred |
| 8-10-10-9-8-8 | 8th fret | C, root position | C | barred |
| x-x-10-12-13-12 | 10th fret | C, root position | E | all fretted |
| x-15-14-12-13-12 | 12th fret | C, root position | E | all fretted |
The same notes rebuilt from scratch give 48 triad and 3 open string voicings, each on its own page.
How you get to it. The turn that lands on C is Dm7 to G7 — the ii and the V of C — and G7 shares its third and seventh with Dm7, so the hand barely moves between them.
In which keys. Every note of C belongs to C major (the I), D minor (the ♭VII), E minor (the ♭VI), F major (the V), G major (the IV) and A minor (the ♭III).
Every note of C is in C major pentatonic, C major, C lydian, C mixolydian and C lydian dominant.
Change one note of C and you have Cm (the major third becomes a minor third), Csus2 (the major third becomes a ninth), Csus4 (the major third becomes a fourth), Cmaj7 (add the major seventh), Cadd9 (add the ninth) or C5 (drop the major third).
C is a major chord — root, major third, fifth. Major chords on every root.
On C’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.