**This is for pedagogical reasons.** In general, root-position chords are the most common, and when inversions are used, it usually sounds just fine to substitute with a root-position voicing (especially if you have a bassist or other instrument covering the bass notes). On the other hand, replacing a root-position chord with an inversion can create an unstable or even unpleasant sound if you don't give due consideration to the harmonic context. This is especially true of second-inversion chords, such as your example of an A chord with the low E string ringing out—namely, A/E. In an A major context, this chord doesn't sound "final." It sounds like it should go somewhere, as in the following progressions:

- The so-called grand cadence: ` A | D | A/E | E | A `
- Something a little more colorful: ` A | A7/C♯ | D | B7/D♯ | A/E | Fdim7 | F♯m7 | B7 | D | E7 | A`
  

If there is an inversion that you are trying to play and can't find on a guitar chord chart, it's probably because there isn't a good open voicing for it. Even fairly basic guitar chord charts usually include the open inversion chords D/F♯ and C/E, for example, because these are relatively easy to play and are common in guitar music. **For a chord like E♭/G, there isn't really a good open voicing;** instead you will play a generic shape for "major triad in first inversion," and figuring that out requires some theory knowledge that is readily available elsewhere on this site.

>Especially when those same sites show 'scales' which include all available notes in a certain position - those below and above the root - which actually aren't part of a 'proper' scale (starting/finishing on root).
>
>Seems like two differing concepts.

**They *are* different concepts.** A scale doesn't have a "bass note" in the way that a chord does. It has a *root note,* but this is a theoretical abstraction that allows us to give specific names to the different modes (E lydian, D locrian, etc.). There is no requirement that every instance of a scale contain the root note as the lowest note in the melody—otherwise music would sound strange indeed!

On the other hand, a D/F♯ chord isn't a D/F♯ chord unless the lowest note being played (by whomever is playing it; it could be a bassist or pianist instead of you) is an F♯.