I listen to the chords, and I'm listening for the melody notes. Not all inversions of chords contain the note you're listening for. The inversion you choose tends to dictate what position you are working at. That wouldn't be a factor if, like Dave, you just started with the naked
Of course, you can find the melody notes in different places too, like "on the way from one chord to another" if you see what I mean. And some chords are counter-intuitive. I'm working on Chris Rea's "Fool if you think it's over" and it calls for a D - but a D7 works better, and makes it easier/quicker to go from one chord to another. That way, you can play almost the whole song without moving the bar if you want.
Similar with "Isn't she lovely" by Stevie Wonder. Only 4 chords really, but you have to think about how to build them. And sometimes you go for different chords than the songbook suggests, because they contain the notes you need, and they are easier to get.
There's a lot in this. It's why I find it all so fascinating. I wish I had discovered the steel 30 years ago.


