C7 G7 D7 A7 E7
F C G D A
Dm Am Em Bm F#m
The four major keys here are “C”, “G”, “D”, and “A” arranged in the middle row with their 7ths adjacent in the top row and their relative minors in the bottom row. By centering the middle finger on a major chord button, the accompanying chords in that key can be easily reached with the index or ring finger. To change keys, that same pattern can be moved a position or two to the right or left and the same fingering can be used.
Premium chord bar felt is densely packed (not woven) and comes with “peel and stick” adhesive on one side. It adheres well but to avoid problems down the road, I apply contact adhesive to the bar and let it dry a little before applying the strip. For this type of chord bar holder, I trim the felt about 1/32″ beyond the end of the bar to eliminate noisy clatter.
Chord bar felt is cut to allow the notes of the chord to ring and to mute the rest. Each chord, of course is different and I don’t want to make any mistakes, so I work methodically by marking each bar on the inside end, applying the labels on the buttons, and returning each bar to its place in the holder. Sheets of labels for strings and chord buttons can be purchased from Pete Daigle.
A strip of graph paper with the string notes helps me mark the string positions on the felt. After placing the chord bar in its actual slot, I press it down and mark the felt with a fine point “sharpie”. This “F” chord has three notes, “F”, “A”, and “C”. Starting in the bass with the tonic note, in this case “F”, I make a light mark on the felt where it meets each “F”, “A”, and “C”. The process is repeated with each chord bar and its relevant notes, checked, and rechecked, before the cutting.