Yes, it is's just a
C major triad.
It's in root position, but you already know about chord inversions.
I would say there are two related ideas/terms to be aware of:
- four-part harmony
- doubled tones
It may seem obvious that it's four-part harmony, but the important thing is in common practice harmony - where chords are primarily triadic with seventh chords less prevalent - the difference between four-part harmony and fewer voices is significant. Either the chords are complete seventh chords or some number of chord tones are doubled. Good part writing is picky about how doubled parts are handled. There's no need to go into the details here - things like: don't double a tendency tone - just be aware of it and look up part writing for more info.
There aren't specific names/terms for particular doublings -
CCEG etc. would all be just root position
C major chords in four-part harmony. You can just name the doubled tones, like
C major with the root doubled or
C major in first inversion with the fifth doubled, etc.
You might also consider...
- voicing, open or closed (or if dealing with jazz there are 'drop' voicings)
Adding octave numbers will be helpful...
C4 E4 G4 C5 is closed voicing where all the tones fit within the smallest range. There is only one form for each inversion of a chord in closed voicing.
E3 C4 G4 C5 or
C4 G4 E5 C6 would be examples of open voicings. There are lots of possible open voicings, but usually only one or two tones are skipped. Also, it's common for the bass to be much lower than upper voices like
C3 E4 G4 C5. Technically an open voicing, because of the large interval between bass and tenor, but all three upper voices are in closed voicing relative to each other.
You can have combinations of doublings, partial chords, and open voicing like: a four-part, first inversion, open voicing,
G dominant seventh chord with the chord's fifth omitted and the root doubled. A mouthful to say, but perfectly descriptive. The actual chord could be
B2 G3 G3 F4 or
B2 G3 F4 G4 etc. Actually, other than the inversion specifying which tone is in the bass the various possible distribution of the other voices into different octaves doesn't matter that much. In terms of good part writing the harmony will be handled more or less the same regardless in which octave the parts are placed.
The main descriptors:
- number of parts
- open/closed voicing