Like many elements of music theory, triads and inversions are concepts that can be understood and applied in various ways, along a whole spectrum of difficulty from the bare bones to more complex ideas.
If you’re playing a bunch of gigs and finding it difficult to remember all those tunes, consider some of these transcription tips from Ken Dow.
Not every bar in an 8- or 16-bar progression needs a different chord; it’s about balancing variety (things that are different) with unity (things that repeat).
A great tool for adding a different color in a chord progression is to include one or more half-diminished seventh chords (sometimes just called half-diminished chords).
It is entirely possible to have a long, successful guitar career without much musical theory knowledge. But, theory is great to know for a variety of guitar-related tasks and activities, such as songwriting, teaching, and accompanimental playing.
The most common and most useful of these chords is the seventh, which you can use pretty much anywhere just to add a slightly different color to a chord, or in some types of progression to give the sequence of chords some extra thrust, because the added seventh is a mild dissonance, or clash, that makes the chord sound like it wants to move somewhere.