Learn the tunes and techniques of one of the legends of old-time clawhammer banjo, Wade Ward, taught by one of the icons of contemporary old-time music.
Check out these songs featured in the Wade Ward–Style Banjo course.
Wade Ward’s solo version of the square dance tune “Mississippi Sawyer” is a little different than the way it would be played for a square dance, in that it drops a beat at the end of each part. It’s played in double-D tuning: aDADE, where the fourth string is D, third string is A, second string is D, first string is E, and fifth string is A. Bruce shows you the tuning and gives you advice on getting in tune. In addition to walking you through the basic A and B parts of Wade Ward’s version of “Mississippi Sawyer” phrase by phrase, Bruce shows you some of the embellishments and variations that Wade Ward played on “Mississippi Sawyer,” including some cool pull-offs and slides. He also talks about how Wade would accent the brush on the offbeats by playing all four strings and separate the brush from the melody on the high strings, giving it a great propulsive feeling.
Wade Ward played the traditional song “Reuben” (also called “Reuben’s Train”) in an unusual E major tuning (g#EG#BE), in which the fourth string is tuned to E, the third string to G#, the second string to B, the first string to E, and the fifth string to G#. Bruce shows you the tuning and then walks you through both parts of Wade Ward’s version of “Reuben,” which includes a short (four-bar) B part that starts with an E7 chord and a strong melody note on the seventh. You’ll also learn a pull-off embellishment you can add to the basic bum-ditty pattern.
The fiddle tune “June Apple” is an old-time music standard and, not surprisingly, Wade Ward had a unique way of playing it. It’s in A tuning, the same as G tuning, but tuned up a whole step, and the B part includes a flatted seventh chord, G in the key of A.
“Wade’s Lost Indian” is in an unusual tuning: F#DADE, which is like double dropped-D tuning but with the fifth string tuned down to F#. The A part is “crooked,” meaning that it isn’t just a straight eight or four bars, but consists of two 4½-measure parts. And while it has only a couple of melodic phrases, they occur in different places in the second half of the A part. The B part of “Wade’s Lost Indian” is straighter than the A part, with four regular phrases played in succession. In addition to walking you through the basic A and B parts of “Wade’s Lost Indian,” Bruce shows you a few variations on the last phrase of the A part as well as a “reverse double thumb” lick you can use at the ends of the B part phrases.
Wade Ward’s recording of the song “Married Man’s Blues” is one of the first he ever made, recorded in 1925 for OKeh Records. In this lesson you’ll learn how to play “Married Man’s Blues” instrumentally as well as how to backup your singing. Bruce starts by showing you the tuning he sings “Married Man’s Blues” in: an F tuning that is the same as G tuning but tuned down a step. Then he shows you the instrumental version, which is based on a simple bum-ditty strum and includes some bluesy slides and drop-thumb licks. Bruce also shows you how to give the song a nice syncopated feel by leaving out the first note in the drop-thumb pattern. You’ll also learn how to backup your singing on “Married Man’s Blues” by taking a simple bum-ditty strum pattern and adding some of the melody notes as you sing.
“Polly Put the Kettle On” is a classic old-time dance tune and Wade Ward’s version has some interesting rolls and drop-thumbing. It’s in double-D tuning (aDADE), and the B part of consists of three four-bar phrases. In addition to the basic A and B parts of Wade Ward’s version of “Polly Put the Kettle On,” you’ll learn some variations, including a couple different ways to play the roll that starts the A part and some syncopated phrases in the B part.
Wade Ward recorded the square dance tune “John Lover Is Gone” (also called “Johnny Lover’s Gone”) with fiddler Glen Smith. It’s in the key of D and played in double-D tuning. Bruce plays the whole tune through slowly and then breaks it down phrase by phrase, starting with a roll across the top two strings and a thumb note on the fifth string on the downbeat.
Wade Ward’s version of the old-time favorite “Shady Grove” has two parts and some unusual timing. It’s in an A modal tuning: aEADE. Bruce breaks it down for you phrase by phrase and talks about accenting the backbeat and varying the timing of the pull-offs that start the tune and the hammer-ons in the middle.
“Sally Ann” is a favorite tune in the Round Peak area of Virginia and in all old-time music circles. There are some different versions of the tune, but Wade Ward plays the standard two-part tune in his own inimitable style. It’s in the key of D and played in double-D tuning. In addition to showing you Wade’s version of each part, Bruce also gives you a few variations that Wade played on the A part.
The fiddle tune “Old Joe Clark” is one of the most popular in the fiddling world and there are many versions. Wade Ward’s version is very distinctive and is illustrative of how “Old Joe Clark” is played in the Round Peak area of Virginia, with, for example, an E chord in the B part instead of the G chord that is used in most other versions. “Old Joe Clark” is played in the key of A, and Bruce tunes his banjo up to A tuning (aEAC#E), which is the same as G tuning, but tuned up a whole step. Wade Ward’s version of “Old Joe Clark” includes reverse double thumbs, rolls, and a cool sliding double stop.
Like so many of Wade Ward’s versions of standard tunes, Wade approaches it a little differently than what has become standard. Many of the common versions of “Cluck Old Hen” use a G chord (the bVII in the key of A) in the B part, but Wade, like many musicians in his part of Virginia, plays an E chord instead of G.