Some freak I know named Fred(I'm sure he will read this, so there...)pointed out to me that I use the term 'major scale algebra' in posts but do not adequately explain it. He is correct.
There is a universal math to the whole theory thing that makes music a quantifiable entity. The basis for all numeric nomenclature is the major scale; familiarity with it opens up all of the weird-ass naming we give some chords(say, Bb-7(no 5)9/#11/13)because all descriptions of any chord or scale are in comparison to the major scale algebra.

In C: C is 1, D is 2, E is 3, F is 4, G is 5, A is 6, B is 7 and C, once again, is 1. This wraparound goes on forever. Now, exclude the note names and let's reduce it to:

1  2  3  4  5  6  7  1

Now, each note is a whole step(two frets)or a half-step(one fret)away from each other. ALL major scales follow this pattern:

whole whole half whole whole whole half

1, whole step to 2. 2, whole step to 3. 3, half step to 4. 4, whole step to 5. 5, whole step to 6. 6, whole step to 7. 7, half step to 1.
So, start on C at the third fret on the A string. A whole step is two frets so move to the fifth fret for 2, or D. Whole step to 3 or E- seventh fret, half to 4 or F- eighth fret, whole to 5 or G- tenth fret, whole to 6 or A- twelfth fret, whole to 7 or B- fourteenth fret, half to 1 or C- fifteenth fret.

Non scale tones are named by what natural(a note that belongs in the scale; the fancy name is "diatonic")note was changed and in what direction. So, in C, what is Eb? Well, E is 3 so Eb is "flat 3." How about F#? F is 4, so F# is "sharp 4." Bb would be "flat 7."

I almost don't want to get ahead of myself, so I'll just answer a bunch of questions. This is just scratching the surface.

Here is a question what is the fingering for that crazy ass Bb chord and how on earth does one know how to form such a chord without some sort of music sheet in front of them:/

Okay, in the algebra, a major 7 is 1 3 5 7(in Bb: Bb, D, F, A), dominant 7 is 1 3 5 b7(Bb, D, F, Ab)and minor 7 is 1 b3 5 b7(Bb, Db, F, Ab). The fifth is F, so don't play one. When it comes to tensions(9, b9, #11, etc.)they are described as 9(replacing 2), 11(replacing 4)and 13(replacing 6). Ultimately we describe major scale chord tones as 1 3 5 7 9 11 13 rather than 1 2 3 4 5 6 7. Tensions replace the nearest lower neighbor chord tone and are only present when the 7 is present. So, in any order, play Bb, Db, Ab, C, E and G. I use it in a song and play the Db later(hence, implying the minor third but it's not present in the chord itself); middle finger 6th fret low E, mute the A, ring plays 6th on the D, index plays 5th on the G, pinky plays 8th on the B, open high E.

I guess in polychord speak one could call this "C triad over Bb minor seven." Piano players love that stuff.

you guys must have started playing guitar a long time ago. I'm just a beginner

re: "...I guess in polychord speak one could call this "C triad over Bb minor seven." Piano players love that stuff."

...here's a "generalization" formula that I use for "creating" 'polytonal' chords:

X9 = X7 + iiim7-5
X11 = X7 + Vm7
X13 = X7 +bVIIMaj7

...for example:

a) playing a Em7-5 (3rd above C) over a C7 chord...yields a C9 combination.
b) playing a Gm7 (5th above C) over a C7 chord...yields a C11 combination.
c) playing a BbMaj7 (7th above C) over a C7 chord...yields a C13 combination.

* NOTICE they are all ODD steps (1, 3, 5, 7) above the root (1)...and it's a dominant 7 not a Major 7.

...it's sorta easy to remember too: R+3 for 9th sound, R+5 for 11th sound, and R+7.

...the C7 chord serves as the "foundation" tones and the "added" chord serves as the "color" or "upper" (literally!) tones.