C maj7, as the Melody Takes It

C maj7 spells C – E – G – B. Which of those tones reach the air, and in what register, is decided by the section holding them — so the grip below is the answer for one instrument in one section, not a universal fingering.

In the melody section this instrument is the melody section's written line — several players bowing one part together, so intonation is a group problem before it is anybody's solo. A chord on a bowed neck is really a choice of double stops drawn from these tones, plus the arpeggio a bow can walk through the rest — and a section playing in unison has to agree on which one, because two answers at once is a chord nobody wrote.

The diagrams mark stopping points on the G–D–A–E fingerboard, and nothing on this neck marks them for you. Each dot is a place a finger has to find by ear, and the playback is there to check that it did — which in section work is a group problem, since several players have to find the same one.