Keith Richards:
The beauty, the majesty of the five-string open G tuning for an electric guitar is that you've only got three notes--the other two are repetitions of each other an octave apart. It's tuned GDGBD. Certain strings run through the whole song, so you get a drone going all the time, and because it's electric they reverberate. Only three notes, but because of these different octaves, it fills the whole gap between bass and top notes with sound. It gives you this beautiful resonance and ring. I found working with open tunings that there's a million places you don't need to put your fingers. The notes are there already. You can leave certain strings wide open. It's finding the spaces in between that makes open tuning work. And if you're working the right chord, you can hear this other chord going on behind it, which actually you're not playing. It's there. It defies logic. And it's just lying there saying, "F*ck me." And it's a matter of the same old cliche in that respect. It's what you leave out that counts. Let it go so that one note harmonizes off the other. And so even though you've now changed your fingers to another position, that note is still ringing. And you can even let it hang there. It's called the drone note. Or at least that's what I call it. The sitar works on similar lines--sympathetic ringing, or what they call the sympathetic strings. Logically it shouldn't work, but when you play it, and that note keeps ringing even though you've now changed to another chord, you realize that that is the root note of the whole thing you're trying to do. It's the drone.
I just got fascinated by relearning the guitar. It really invigorated me. It was like a different instrument in a way, and literally too. I had to have the five-string guitars made for me. I've never wanted to play like anybody else, except when I was first starting, when I wanted to be Scotty Moore or Chuck Berry. After that, I wanted to find out what the guitar or the piano could teach me.
The five-string took me back to the tribesmen of West Africa. They had a very similar instrument, sort of a five-string, kind of like a banjo, but they would use the same drone, a thing to set up other voices and drums over the top. Always underneath it was this underlying one note that went through it. And you listen to some of that meticulous Mozart stuff and Vivaldi and you realise that they knew that too. They knew when to leave one note just hanging up there where it illegally belongs and let it dangle in the wind and turn a dead body into a living beauty - Life
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