I've been fooling around with DADGAD recently, and I'm finding that this tuning is not restricted to chords with open strings or "melody with drone" structures, which seems to be a common misconception about DADGAD. Restricting myself to the top 4 strings, I've mapped out all the 7th (and other four-note) chords I can think of, with their inversions: Major 7th Dominant 7th Major 6th Minor 7th Minor 6th Minor 7th b5 Minor-major 7th Dominant 7th #5 Diminished Augmented (let me know if I've missed any ) The astonishing (for me, at least) discovery I made, was that in DADGAD nearly all of these chords with their inversions are playable on the guitar, in closed spacing (R357, as opposed to R573 or "drop 2 voicing" which is the common way to play these chords in regular tuning). In standard tuning, there are actually very few close-spaced 7th chords that are playable. Not that there is anything wrong with drop 2 voicings, of course, but personally I'm a little bored with this sound. I'll try to find some suitable chord diagram software to plot the DADGAD chords (recommendations are welcome), and I'll continue my explorations (9th, 11th and 13th chords with omissions and alterations, and linear playing). So far, DADGAD seems like a cool and refreshing way to approach jazz chords.