As far as I know, no one has produced a single-row zydeco instructional video. There are differences in the Cajun style and zydeco style approaches to the single-row. There are common chords and fingerings in C&Z, but the rhythm between the two are as different as night and day. While I'm a homegrown player here's a few "GENERALIZED" observations I've noted between the two styles:

1) Zydeco beat = two kicks + one snare; Cajun beat = two snares + one kick (this is ONLY in the majority of cases -- not always).

2) Ornamentation in Cajun uses more "rocking" between octaves, alternating between the push and draw; whereas in zydeco, more grace notes are created in sublime triplet patterns, especially on the draw.

3) Zydeco players use more staccato synchopation, e.g., "bouncing" rhythms -- more sparse rhythms and not as many ornament fills as Cajun.

4) More often, zydeco tunes feature the draw throughout a tune whereas Cajun tunes utilize more of the push.

5) I've noted a lot of zydeco patterns are almost in reversed order of Cajun patterns.

6) A lot of zydeco tunes are played on the upper half of the fingerboard (low notes).

7) Zydeco tunes feature the bass box notes as fills -- not as a "time-keeping structure" as in Cajun tunes.

8) Many zydeco tunes will throw an unexpected push on a single chord or note in the middle of a phrase for accentuation.

9) Cajun style, compared to zydeco seems far more intricate and complex -- generally speaking, it is! It's a "prettier" style with roots in European melodic struture. Zydeco is more synchopated off-the-one-beat rhythms, with roots in Afro-Carib styles.

People who embrace strictly Cajun music will tell you that zydeco is too simple to challenge them, but in my experience, it's the atypical zydeco rhythms and the unexpected grace notes that make zydeco so difficult for Cajun players to nail. Conversely, few zydeco players take the time to study the complex expressions identified in Cajun music.

There are many times when the two styles overlap in all of these observations, they are afterall, two genres from the same region. But, you'll note also that Cajun music can be performed acoustically with greater acceptance than zydeco. That's why most zydeco bands are most often backed by a full band with bass and drums.

Again, these comments are painted with a broad swath and are aimed at single-row styles. Both music forms have top-notch accordionists that borrow from both categories - Wayne Toups, Travis Matte, Keith Frank, Jamie Bergeron, Chris Miller, Steve Riley and Chris Ardoin are just a few modern artists that often meet on common ground, taking the time to study the styles at the opposite spectrums.

My gerneralized assessments... pass the salt, please.

R!CK

...and Horace Trahan! He's probably the one accordionist that has truly understood and seized the "big picture" of C&Z music! But look at the flak he's had to deal with...

R!CK

Rick..thanks for the great explanation..which makes perfect sense in every way.

Zydeco is less virtuoso perhaps..but requires as much or more feeling to make it work..

Thanks.. this demystifies alot for me..

G.

Rick, I would agree with you about Horace Trahan.
Now, if only Wilson Savoy would make an instructional video of H.T. teaching us how to play zydeco on both the single and triple row.
And Wilson should do likewise for Jeffrey Broussard! I think those two videos would fill a great need and be important documents.

Boy, no kiddin'! A Jeffrey Broussard vid would really rock! (Not to mention, even one by Lil' Guyland!) That kid could teach this ol' dawg a riff or two!

All of Wilson's videos are absolute genius and a great education for any fan of Louisiana music. While Horaces' video doesn't cover technique, it's an interesting biography nonetheless.

R!CK

I've enjoyed watching every video Wilson's put out so far, and hope for more. I really like Rick's comparison of C/Z accordion styles, and his appreciative list of players that have learned both styles. I play accordion in two bands, one zydeco (bass, drums, rhythm guitar, frottoir, accordion) and one traditional Cajun (fiddle, guitar, triangle, accordion). I find that techniques and rhythm patterns I learn for Cajun two-steps add intensity to zydeco music, but it doesn't work in the other direction. If I play a zydeco lick in a Cajun song, even something as "innocent" as syncopating a phrase's last two notes, by anticipating the final note instead of playing it square, the flow is disrupted. For me, both styles thrive when a deeply felt rhythm pattern extends from the first note to last, linking the notes in a phrase, phrases in a song, and ultimately one song to another. When I practice, I strive to focus more on rhythm and less on notes. Once I'm with bandmates, the songs come alive when we focus on supporting the same rhythm patterns in our respective parts. There's nothing like hearing myself recorded to teach me what works and what to toss out.

I've seen some rough footage of some great players on U Tube. Anybody ever wonder if the cringe when they hear they are up there?
Checked under Planet Zydeco, Hot Tamale and Rose Sinclair but couldnt find it.
Can you check it and post a link...please.

Here it is in link #2. Enjoy. I do this in Dm on a C box. She is doing it in the G pull position I think. Both work. This was a terrific band. Too bad they broke up. And Rose, thanks again for that Gold Castiglione triple note.

Jim:

Someone further down this thread mentioned 'wish Wilson Savoy would..." regarding zydeco instructional video.

Check out the second link above--it's not Jeffrey Broussard or Horace Trahan, but it is a solid and respected triple row player on disc from Wilson.

I haven't sampled the video--so I can't vouch for the teaching methods, but the trailer for the video at the site looks like it has information shared in a helpful manner.

Peace,
Griff