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Chord

Root position

A chord is in root position when its root is the lowest note. If the third is at the bottom, it is the first inversion, if the fifth is at the bottom, the second. The chord keeps its name in all inversions, but the sound becomes firmer or more flowing.

Root position
root in the bass
First inversion
third in the bass
Second inversion
fifth in the bass
Notation
C, C/E, C/G (the bass note follows the slash)
Effect
root position stable and firm, inversion more flowing

The root at the bottom

The page Chords gives the rule: a chord keeps its name whichever of its notes lies at the bottom. If the root lies at the bottom, we speak of root position. If the third lies at the bottom it is the first inversion, if the fifth lies at the bottom, the second. The notes are the same, only their order from bottom to top changes.

C major in root position

C E G 4 st 3 st

The root C lies at the bottom. Above it are two thirds, first the major with four semitones (st), then the minor with three. The numbers under the notes are the distances in semitones.

First inversion (C/E)

E G C 3 st 5 st

The third E lies at the bottom. The root C has moved up. The distance between G and C is now a fourth with five semitones.

Second inversion (C/G)

G C E 5 st 4 st

The fifth G lies at the bottom. Here too they are the same three notes, only their order from bottom to top is different.

The sign for the bass note is the slash. According to the Chords page C/E is a C major chord with E in the bass, so an inversion. The letter before the slash names the chord, the one after it the lowest note. If there is no slash, the root is in the bass.

The sound: firm or flowing

The page Harmony describes the difference: a root in the bass sounds stable and firm, an inversion more flowing and less final. Composers use this to lead a bass line smoothly. The Chords page adds a practical advantage: inversions give smoother transitions, because fewer notes have to move far when the chord changes.

Croot positionC/E1st inversionC/G2nd inversionCroot position

In the listening example C major sounds first in root position, then in the first and in the second inversion and finally in root position again. According to the page Harmony the two inversions in the middle sound more flowing and less final than root position.

Try it yourself: In Identify Chords you hear triads and determine their type. In Build Chords you stack triads from thirds.

Why the ending demands root position

The article Major and minor: the third as a switch explains why the third is better on top than at the bottom: a major triad with the third in the bass sounds floating and light, because the third as the lowest note forms a weak foundation. For a firm final chord you therefore take root position.

The page Cadences makes this a rule for the ending: a perfect authentic cadence demands both chords in root position, and the root of the tonic lies on top in the soprano. Only then does the ending sound completely closed. If an inversion is present or the third or fifth is in the soprano, we speak of an imperfect authentic cadence: also an ending, but with some residual tension. See also Full close (authentic cadence).

Root position on the guitar

Chord diagram C: E string not played, A string fret 3, D string fret 2, G string open, B string fret 1, e string open × E– AC DE GG BC eE
C major in root position: C at the bottom on the A string.
Chord diagram C/E: E string open, A string fret 3, D string fret 2, G string open, B string fret 1, e string open EE AC DE GG BC eE
C/E, first inversion: the open low E string lies at the bottom.
Chord diagram C/G: E string fret 3, A string fret 3, D string fret 2, G string open, B string fret 1, e string open EG AC DE GG BC eE
C/G, second inversion: G at the third fret of the low E string lies at the bottom.

The open C shape begins on the A string with the root C, the low E string stays silent. If you play it open as well, E is in the bass: C/E. If you fret it at the third fret, G is in the bass: C/G. In all three cases the chords sound like C major, only the lowest note changes the character. The Chords page gives the symbol C/G as an example of the bass note after the slash.

A chord without root position

The article The diminished seventh mentions a special case: the diminished seventh chord has no audible root, because each of the four notes has the same surroundings. If you turn the chord over, it contains the same intervals, and every inversion is again a diminished seventh chord. The distinction between root position and inversion does not exist there.

Common mistakes

  • Confusing inversion and chord name: C/E is no different chord from C, only with a different bass note.
  • Judging root position by the highest note: What matters is the lowest note, not the top one.
  • Playing every ending in inversion: For a firm close you stay in root position.

Continue on Maikstrings

Chords

Triads, inversions, seventh chords and chord symbols at a glance.

Cadences

Why the perfect authentic cadence demands root position.

Major and minor: the third as a switch

Why the third sounds better on top than at the bottom.

Related terms

InversionTriadChordSix-three chordSix-four chordRootFull close (authentic cadence)BassThirdSeventh chord

Editor: Maik Krohm · reviewed on 3 October 2026

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