Chords for Midnight At The Oasis - Guitar Lesson Preview
Tempo:
142.25 bpm
Chords used:
Ab
Eb
Db
B
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Ab]
[Bb] [Eb]
[Gm] [Ab] [Db]
[Eb]
[Ab]
[Db] [Eb]
[Ab] [Db]
[Gb] [B]
[Ab] [Bb]
[Eb]
[Em]
Midnight at the Oasis.
This is a, besides being a catchy tune, it's a fun song too.
This was, [N] of course, appeared on Maria Moldauer's first album, her eponymous album, called Maria Moldauer.
And written by a young guitar player who she had been collaborating with a little bit.
And he was playing the acoustic guitar on the song.
He also had a set of great studio musicians doing this whole thing and playing along with her.
Now Maria, in this lesson, well wait, where do I want to start with this?
Let's go with a little history of the song first of all, and Maria's history.
Now she was kind of the, part of the 60s Greenwich Village music scene.
And there were a lot of different bands going out there.
Jim Queston, and she was part of the Even Dozen Jug Band.
There are some really interesting things going on in this song with the chords and with the left hand in general.
So, but the first thing I want to talk about is that a lot of the chords are based on standard bar [Gb] chords.
Either an [B] E shape or an A shape.
And they're common variations.
Maybe a seventh chord out of the E's.
I'm playing a bar at the second fret, which would make this of course an F [Gb] sharp 7.
So we're going to [C] see seventh [Gm] chords out of the E shapes in various places.
[E] And then we're going to see [B] seventh chords out of the A shapes [G] that would look like this.
We're also going to see major seventh chords out of the A shapes that would look like [B] this.
[A] Based on our A major 7's, a chord with a G sharp in it.
So, we have one other [D] main variation on the A chord family up there.
And that's, those are ninth chords.
Now the typical ninth chord is played kind of from the B7 shape.
Where I've got my second finger on B, [A] my first finger on D sharp, third finger on A.
[G] And then fourth finger on [B] F sharp.
This would be B7.
But if we want to make that a ninth, we have to [G] flatten your third finger out and play all three top strings at the second [B] fret.
[Eb]
Well, the left hand is complicated enough and the right hand has its own challenges in this song.
But the basic technique that's going on is a constant flow of, we're strumming at the speed of sixteenth notes.
Every stroke would be a sixteenth.
[Ab] So the beats are going, these would be the quarter note beats.
And we're going to have four strokes [A] available in every measure.
[E] So we just have to pay really close attention to various strumming patterns that are broken up into [F] sixteenths.
If we had a pattern of four sixteenths, that would be down, up, down, up.
[G] One E and a.
If we had two eighths, that would be two downs.
One and.
If we had an eighth and two sixteenths, it would be down, down, up.
[C] One E and a.
So there's all different kinds of things.
We might [A] have a dotted quarter where we'd hit the first down.
One E and a.
And catch the next up.
So, but we've got a couple important things going on with the [B] right hand.
And that is, sometimes [F] we want to hear a chord heavily [Eb] accented.
And other times, [A] we want it to be fairly soft.
So a lot of times I would write in the tab, I might have written [Gm] less of the notes.
Like on this one at the very beginning of the verse, we'd want to hear all the notes of the E flat major seven right and clear.
But then the next ones are lighter.
Maybe just more on the middle strings.
And the next ones are going to be bigger again because I want it to be a little bit louder.
[D]
So that's one thing that's going to be happening here.
Other times we might just focus the strumming on a bass [Db] note.
[D] Hit a passing [Eb] bass note that happens like that, a single string.
[N] Another thing I want to talk about kind of preliminarily is accents.
Because the most important thing that, well, there are a ton of things that are important about getting this to sound right.
But one of them, so maybe not the most, is.
It might be though.
Is accenting the, getting the accents in the right places.
And they usually happen on chord changes, but occasionally not.
Sometimes you stay on the same chord and just have to hit it a second time.
But, so the best thing for us to do is make sure that we know that we are on top of every eighth note beat in the measure.
We really have to account for it [D] and count which ones have heavy accents on them and which [F] ones don't.
So if I was playing just an E flat major 7 [Eb] chord, to count it quarter note [Db] wise, we'd be counting [Gm] 1 and 2 and 3 and 4 and.
[E] But, most of the [Eb] time, I'm going to start, as we continue throughout this lesson, we might start counting [D] the eighth notes more and count them in groups of four.
Two groups of four for each measure to make sure we know which of those four beats has an accent on it.
Now, if I just played E flat major 7 for one [Eb] measure, 1, 2, 3, 4, 1, 2, 3, 4.
I counted to four twice for one measure, one [G] set of four quarter notes.
And then went to A [Ab] flat 7, sorry, it was E flat major 7.
I might [Gm] have said 7, I'm not sure.
[Ab] Then to A flat 7 for [B] a half a measure, four eighth notes, [Ab] 1, 2, 3, 4.
Then [Db] to D9 for four eighth notes, 1, 2, 3, 4.
I [Gm] would have something like this.
[Ab] [Db]
[Eb]
[Ab]
[Db] And [E] if I only do downs in [Eb] there.
[Ab]
[Db]
[N] And what I just did right there was accented one every time because that was the first beat of every chord.
[Eb]
[Ab] [Db]
Well, if what we talked about in the last segment is starting to sink in, you probably can get through the chorus by yourself.
But [E] I'm going to walk through it anyway, just in case, just for fun, because I should be able to do this.
And what we have here is the changes keys.
It moves into the key of E from kind of the key of E flat.
Again, there's so much going on with this song, I'm not going to go into a whole harmonic analysis of it right now.
So we get to our E chord, and we've got that same quick accent on the fourth eighth note going to the F sharp sixth.
[Gb]
And the [B] similar one from the A to the B chord, both of which have wrong bass notes.
[Db]
[N]
[Bb] [Eb]
[Gm] [Ab] [Db]
[Eb]
[Ab]
[Db] [Eb]
[Ab] [Db]
[Gb] [B]
[Ab] [Bb]
[Eb]
[Em]
Midnight at the Oasis.
This is a, besides being a catchy tune, it's a fun song too.
This was, [N] of course, appeared on Maria Moldauer's first album, her eponymous album, called Maria Moldauer.
And written by a young guitar player who she had been collaborating with a little bit.
And he was playing the acoustic guitar on the song.
He also had a set of great studio musicians doing this whole thing and playing along with her.
Now Maria, in this lesson, well wait, where do I want to start with this?
Let's go with a little history of the song first of all, and Maria's history.
Now she was kind of the, part of the 60s Greenwich Village music scene.
And there were a lot of different bands going out there.
Jim Queston, and she was part of the Even Dozen Jug Band.
There are some really interesting things going on in this song with the chords and with the left hand in general.
So, but the first thing I want to talk about is that a lot of the chords are based on standard bar [Gb] chords.
Either an [B] E shape or an A shape.
And they're common variations.
Maybe a seventh chord out of the E's.
I'm playing a bar at the second fret, which would make this of course an F [Gb] sharp 7.
So we're going to [C] see seventh [Gm] chords out of the E shapes in various places.
[E] And then we're going to see [B] seventh chords out of the A shapes [G] that would look like this.
We're also going to see major seventh chords out of the A shapes that would look like [B] this.
[A] Based on our A major 7's, a chord with a G sharp in it.
So, we have one other [D] main variation on the A chord family up there.
And that's, those are ninth chords.
Now the typical ninth chord is played kind of from the B7 shape.
Where I've got my second finger on B, [A] my first finger on D sharp, third finger on A.
[G] And then fourth finger on [B] F sharp.
This would be B7.
But if we want to make that a ninth, we have to [G] flatten your third finger out and play all three top strings at the second [B] fret.
[Eb]
Well, the left hand is complicated enough and the right hand has its own challenges in this song.
But the basic technique that's going on is a constant flow of, we're strumming at the speed of sixteenth notes.
Every stroke would be a sixteenth.
[Ab] So the beats are going, these would be the quarter note beats.
And we're going to have four strokes [A] available in every measure.
[E] So we just have to pay really close attention to various strumming patterns that are broken up into [F] sixteenths.
If we had a pattern of four sixteenths, that would be down, up, down, up.
[G] One E and a.
If we had two eighths, that would be two downs.
One and.
If we had an eighth and two sixteenths, it would be down, down, up.
[C] One E and a.
So there's all different kinds of things.
We might [A] have a dotted quarter where we'd hit the first down.
One E and a.
And catch the next up.
So, but we've got a couple important things going on with the [B] right hand.
And that is, sometimes [F] we want to hear a chord heavily [Eb] accented.
And other times, [A] we want it to be fairly soft.
So a lot of times I would write in the tab, I might have written [Gm] less of the notes.
Like on this one at the very beginning of the verse, we'd want to hear all the notes of the E flat major seven right and clear.
But then the next ones are lighter.
Maybe just more on the middle strings.
And the next ones are going to be bigger again because I want it to be a little bit louder.
[D]
So that's one thing that's going to be happening here.
Other times we might just focus the strumming on a bass [Db] note.
[D] Hit a passing [Eb] bass note that happens like that, a single string.
[N] Another thing I want to talk about kind of preliminarily is accents.
Because the most important thing that, well, there are a ton of things that are important about getting this to sound right.
But one of them, so maybe not the most, is.
It might be though.
Is accenting the, getting the accents in the right places.
And they usually happen on chord changes, but occasionally not.
Sometimes you stay on the same chord and just have to hit it a second time.
But, so the best thing for us to do is make sure that we know that we are on top of every eighth note beat in the measure.
We really have to account for it [D] and count which ones have heavy accents on them and which [F] ones don't.
So if I was playing just an E flat major 7 [Eb] chord, to count it quarter note [Db] wise, we'd be counting [Gm] 1 and 2 and 3 and 4 and.
[E] But, most of the [Eb] time, I'm going to start, as we continue throughout this lesson, we might start counting [D] the eighth notes more and count them in groups of four.
Two groups of four for each measure to make sure we know which of those four beats has an accent on it.
Now, if I just played E flat major 7 for one [Eb] measure, 1, 2, 3, 4, 1, 2, 3, 4.
I counted to four twice for one measure, one [G] set of four quarter notes.
And then went to A [Ab] flat 7, sorry, it was E flat major 7.
I might [Gm] have said 7, I'm not sure.
[Ab] Then to A flat 7 for [B] a half a measure, four eighth notes, [Ab] 1, 2, 3, 4.
Then [Db] to D9 for four eighth notes, 1, 2, 3, 4.
I [Gm] would have something like this.
[Ab] [Db]
[Eb]
[Ab]
[Db] And [E] if I only do downs in [Eb] there.
[Ab]
[Db]
[N] And what I just did right there was accented one every time because that was the first beat of every chord.
[Eb]
[Ab] [Db]
Well, if what we talked about in the last segment is starting to sink in, you probably can get through the chorus by yourself.
But [E] I'm going to walk through it anyway, just in case, just for fun, because I should be able to do this.
And what we have here is the changes keys.
It moves into the key of E from kind of the key of E flat.
Again, there's so much going on with this song, I'm not going to go into a whole harmonic analysis of it right now.
So we get to our E chord, and we've got that same quick accent on the fourth eighth note going to the F sharp sixth.
[Gb]
And the [B] similar one from the A to the B chord, both of which have wrong bass notes.
[Db]
[N]
Key:
Ab
Eb
Db
B
Gm
Ab
Eb
Db
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ [Ab] _ _ _ _ _
[Bb] _ _ _ [Eb] _ _ _
[Gm] _ _ _ [Ab] _ _ [Db] _
_ _ _ [Eb] _ _ _
_ _ _ [Ab] _ _ _
[Db] _ _ [Eb] _ _ _ _
_ _ _ [Ab] _ _ [Db] _
_ _ [Gb] _ _ _ [B] _
_ _ _ [Ab] _ _ [Bb] _
_ _ _ [Eb] _ _ _
_ _ _ _ [Em] _
Midnight at the Oasis.
This is a, _ _ _ besides being a catchy tune, it's a fun song too.
This was, [N] of course, appeared on Maria Moldauer's first album, her eponymous album, called Maria Moldauer.
_ _ And written by a young guitar player who she had been collaborating with a little bit.
And he was playing the acoustic guitar on the song.
He also had a set of great studio musicians doing this whole thing and playing along with her.
Now Maria, in this lesson, well wait, where do I want to start with this?
Let's go with a little history of the song first of all, and Maria's history.
Now she was kind of the, part of the 60s Greenwich Village music scene.
And there were a lot of different bands going out there.
Jim Queston, and she was part of the Even Dozen Jug Band. _ _ _ _ _
_ There are some really interesting things going on in this song with the chords and with the left hand in general.
So, _ _ but the first thing I want to talk about is that a lot of the chords are based on standard bar [Gb] chords.
Either an [B] E shape or an A shape. _
And they're common variations.
Maybe a seventh chord out of the E's.
I'm playing a bar at the second fret, which would make this of course an F [Gb] sharp 7. _
So we're going to [C] see seventh [Gm] chords out of the E shapes in various places.
[E] And then we're going to see [B] seventh chords out of the A shapes [G] that would look like this.
We're also going to see major seventh chords out of the A shapes that would look like [B] this. _ _ _
[A] Based on our A major 7's, a chord with a G sharp in it.
So, _ we have one other [D] main variation on the A chord family up there.
And that's, those are ninth chords.
Now the typical ninth chord is played kind of from the B7 shape.
Where I've got my second finger on B, [A] my first finger on D sharp, third finger on A.
[G] And then fourth finger on [B] F sharp.
This would be B7.
But if we want to make that a ninth, we have to [G] flatten your third finger out and play all three top strings at the second [B] fret.
_ [Eb] _ _ _ _ _
_ Well, _ the left hand is complicated enough and the right hand has its own challenges in this song.
But the basic _ technique that's going on is a constant flow of, we're strumming at the speed of sixteenth notes.
Every stroke would be a sixteenth.
[Ab] So the beats are going, these would be the quarter note beats.
And we're going to have four strokes [A] _ _ _ _ available _ _ _ in every measure.
[E] So we just have to pay really close attention to various strumming patterns that are broken up into [F] sixteenths.
If we had a pattern of four sixteenths, that would be down, up, down, up.
[G] One E and a.
If we had two eighths, that would be two downs.
One and.
If we had an eighth and two sixteenths, it would be down, down, up.
[C] One E and a.
So there's all different kinds of things.
We might [A] have a dotted quarter _ where we'd hit the first down.
One E and a.
And catch the next up. _ _
So, but we've got a couple important things going on with the [B] right hand.
And that is, sometimes [F] we want to hear a chord heavily [Eb] accented. _ _
_ And other times, [A] we want it to be fairly soft.
So a lot of times I would write in the tab, I might have written [Gm] less of the notes.
Like on this one at the very beginning of the verse, we'd want to hear all the notes of the E flat major seven right and clear.
But then the next ones are lighter.
_ Maybe just more on the middle strings.
And the next ones are going to be bigger again because I want it to be a little bit louder.
_ [D]
So that's one thing that's going to be happening here.
Other times we might just focus the strumming on a bass [Db] note.
_ _ [D] _ Hit a passing [Eb] bass note that happens _ like that, a single string. _ _ _
_ _ _ _ [N] Another thing I want to talk about kind of preliminarily is accents.
_ Because the most important thing that, well, there are a ton of things that are important about getting this to sound right.
But one of them, so maybe not the most, is.
It might be though.
Is accenting the, getting the accents in the right places.
And they usually happen on chord changes, but occasionally not.
Sometimes you stay on the same chord and just have to hit it a second time.
But, so the best thing for us to do is make sure that we know that we are on top of every eighth note beat in the measure.
We really have to account for it [D] and count which ones have heavy accents on them and which [F] ones _ don't.
So if I was playing just an E flat major 7 [Eb] chord, _ _ _ _ to count it quarter note [Db] wise, we'd be counting [Gm] 1 and 2 and 3 and 4 and.
[E] _ But, most of the [Eb] time, I'm going to start, as we continue throughout this lesson, we might start counting [D] the eighth notes more and count them in groups of four.
Two groups of four for each measure to make sure we know which of those four beats has an accent on it.
Now, if I just played E flat major 7 for one [Eb] measure, 1, 2, 3, 4, 1, 2, 3, 4.
I counted to four twice for one measure, one [G] set of four quarter notes.
And then went to A [Ab] flat 7, _ sorry, it was E flat major 7.
I might [Gm] have said 7, I'm not sure.
[Ab] Then to A flat 7 for [B] a half a measure, four eighth notes, [Ab] 1, 2, 3, 4.
Then [Db] to D9 for four eighth notes, 1, 2, 3, 4.
I [Gm] would have something like this.
_ _ _ _ _ _
_ [Ab] _ _ _ [Db] _ _
_ _ [Eb] _ _ _ _
_ _ _ [Ab] _ _ _
[Db] _ _ _ And [E] if I only do downs in [Eb] there. _ _ _
_ _ _ _ [Ab] _ _
_ [Db] _ _ _ _
[N] And what I just did right there was accented one every time because that was the first beat of every chord.
[Eb] _ _ _
_ _ _ _ _ _
[Ab] _ _ _ _ [Db] _ _
_ _ _ _ _ _
_ _ _ _ Well, if what we talked about in the last segment is starting to sink in, you probably can get through the chorus by yourself.
But [E] I'm going to walk through it anyway, just in case, just for fun, because I should be able to do this.
And what we have here is the changes keys.
It moves into the key of E from kind of the key of E flat.
Again, there's so much going on with this song, I'm not going to go into a whole harmonic analysis of it right now.
So _ _ we get to our E chord, _ _ _ and we've got that same quick accent on the fourth eighth note going to the F sharp sixth.
_ [Gb] _ _ _
_ And the [B] similar one from the A to the B chord, both of which have wrong bass notes. _
_ [Db] _ _ _ _ _
_ _ _ _ _ _
_ _ _ [N] _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
_ [Ab] _ _ _ _ _
[Bb] _ _ _ [Eb] _ _ _
[Gm] _ _ _ [Ab] _ _ [Db] _
_ _ _ [Eb] _ _ _
_ _ _ [Ab] _ _ _
[Db] _ _ [Eb] _ _ _ _
_ _ _ [Ab] _ _ [Db] _
_ _ [Gb] _ _ _ [B] _
_ _ _ [Ab] _ _ [Bb] _
_ _ _ [Eb] _ _ _
_ _ _ _ [Em] _
Midnight at the Oasis.
This is a, _ _ _ besides being a catchy tune, it's a fun song too.
This was, [N] of course, appeared on Maria Moldauer's first album, her eponymous album, called Maria Moldauer.
_ _ And written by a young guitar player who she had been collaborating with a little bit.
And he was playing the acoustic guitar on the song.
He also had a set of great studio musicians doing this whole thing and playing along with her.
Now Maria, in this lesson, well wait, where do I want to start with this?
Let's go with a little history of the song first of all, and Maria's history.
Now she was kind of the, part of the 60s Greenwich Village music scene.
And there were a lot of different bands going out there.
Jim Queston, and she was part of the Even Dozen Jug Band. _ _ _ _ _
_ There are some really interesting things going on in this song with the chords and with the left hand in general.
So, _ _ but the first thing I want to talk about is that a lot of the chords are based on standard bar [Gb] chords.
Either an [B] E shape or an A shape. _
And they're common variations.
Maybe a seventh chord out of the E's.
I'm playing a bar at the second fret, which would make this of course an F [Gb] sharp 7. _
So we're going to [C] see seventh [Gm] chords out of the E shapes in various places.
[E] And then we're going to see [B] seventh chords out of the A shapes [G] that would look like this.
We're also going to see major seventh chords out of the A shapes that would look like [B] this. _ _ _
[A] Based on our A major 7's, a chord with a G sharp in it.
So, _ we have one other [D] main variation on the A chord family up there.
And that's, those are ninth chords.
Now the typical ninth chord is played kind of from the B7 shape.
Where I've got my second finger on B, [A] my first finger on D sharp, third finger on A.
[G] And then fourth finger on [B] F sharp.
This would be B7.
But if we want to make that a ninth, we have to [G] flatten your third finger out and play all three top strings at the second [B] fret.
_ [Eb] _ _ _ _ _
_ Well, _ the left hand is complicated enough and the right hand has its own challenges in this song.
But the basic _ technique that's going on is a constant flow of, we're strumming at the speed of sixteenth notes.
Every stroke would be a sixteenth.
[Ab] So the beats are going, these would be the quarter note beats.
And we're going to have four strokes [A] _ _ _ _ available _ _ _ in every measure.
[E] So we just have to pay really close attention to various strumming patterns that are broken up into [F] sixteenths.
If we had a pattern of four sixteenths, that would be down, up, down, up.
[G] One E and a.
If we had two eighths, that would be two downs.
One and.
If we had an eighth and two sixteenths, it would be down, down, up.
[C] One E and a.
So there's all different kinds of things.
We might [A] have a dotted quarter _ where we'd hit the first down.
One E and a.
And catch the next up. _ _
So, but we've got a couple important things going on with the [B] right hand.
And that is, sometimes [F] we want to hear a chord heavily [Eb] accented. _ _
_ And other times, [A] we want it to be fairly soft.
So a lot of times I would write in the tab, I might have written [Gm] less of the notes.
Like on this one at the very beginning of the verse, we'd want to hear all the notes of the E flat major seven right and clear.
But then the next ones are lighter.
_ Maybe just more on the middle strings.
And the next ones are going to be bigger again because I want it to be a little bit louder.
_ [D]
So that's one thing that's going to be happening here.
Other times we might just focus the strumming on a bass [Db] note.
_ _ [D] _ Hit a passing [Eb] bass note that happens _ like that, a single string. _ _ _
_ _ _ _ [N] Another thing I want to talk about kind of preliminarily is accents.
_ Because the most important thing that, well, there are a ton of things that are important about getting this to sound right.
But one of them, so maybe not the most, is.
It might be though.
Is accenting the, getting the accents in the right places.
And they usually happen on chord changes, but occasionally not.
Sometimes you stay on the same chord and just have to hit it a second time.
But, so the best thing for us to do is make sure that we know that we are on top of every eighth note beat in the measure.
We really have to account for it [D] and count which ones have heavy accents on them and which [F] ones _ don't.
So if I was playing just an E flat major 7 [Eb] chord, _ _ _ _ to count it quarter note [Db] wise, we'd be counting [Gm] 1 and 2 and 3 and 4 and.
[E] _ But, most of the [Eb] time, I'm going to start, as we continue throughout this lesson, we might start counting [D] the eighth notes more and count them in groups of four.
Two groups of four for each measure to make sure we know which of those four beats has an accent on it.
Now, if I just played E flat major 7 for one [Eb] measure, 1, 2, 3, 4, 1, 2, 3, 4.
I counted to four twice for one measure, one [G] set of four quarter notes.
And then went to A [Ab] flat 7, _ sorry, it was E flat major 7.
I might [Gm] have said 7, I'm not sure.
[Ab] Then to A flat 7 for [B] a half a measure, four eighth notes, [Ab] 1, 2, 3, 4.
Then [Db] to D9 for four eighth notes, 1, 2, 3, 4.
I [Gm] would have something like this.
_ _ _ _ _ _
_ [Ab] _ _ _ [Db] _ _
_ _ [Eb] _ _ _ _
_ _ _ [Ab] _ _ _
[Db] _ _ _ And [E] if I only do downs in [Eb] there. _ _ _
_ _ _ _ [Ab] _ _
_ [Db] _ _ _ _
[N] And what I just did right there was accented one every time because that was the first beat of every chord.
[Eb] _ _ _
_ _ _ _ _ _
[Ab] _ _ _ _ [Db] _ _
_ _ _ _ _ _
_ _ _ _ Well, if what we talked about in the last segment is starting to sink in, you probably can get through the chorus by yourself.
But [E] I'm going to walk through it anyway, just in case, just for fun, because I should be able to do this.
And what we have here is the changes keys.
It moves into the key of E from kind of the key of E flat.
Again, there's so much going on with this song, I'm not going to go into a whole harmonic analysis of it right now.
So _ _ we get to our E chord, _ _ _ and we've got that same quick accent on the fourth eighth note going to the F sharp sixth.
_ [Gb] _ _ _
_ And the [B] similar one from the A to the B chord, both of which have wrong bass notes. _
_ [Db] _ _ _ _ _
_ _ _ _ _ _
_ _ _ [N] _ _ _