Hallelujah (Leonard Cohen Song) - Musical Composition and Lyrical Interpretation

Musical Composition and Lyrical Interpretation

"Hallelujah", in its original version, is a song in "6/8 feel", which evokes the styles of both waltz and gospel music. Written in the key of C major, the chord progression follows the lyric "it goes like this, the fourth, the fifth, the minor fall, and the major lift": C, F, G, A minor, F.

Cohen wrote around 80 draft verses for "Hallelujah", including a writing session during a stay at the Royalton Hotel in New York where he was reduced to sitting on the floor in his underwear, banging his head on the floor. His original version, as recorded on his Various Positions album, contains several biblical references, most notably evoking the stories of Samson and traitorous Delilah from the Book of Judges as well as the adulterous King David and Bathsheba: "she cut your hair" and "you saw her bathing on the roof, her beauty in the moonlight overthrew you".

Following his original 1984 studio-album version, Cohen performed the original song on his world tour in 1985, but live performances during his 1988 and 1993 tours almost invariably contained a quite different set of lyrics with only the last verse being common to the two versions. Numerous artists mix lyrics from both versions, and occasionally make direct lyric changes, such as Rufus Wainwright, a Canadian-American singer, substituting "holy dark" and Allison Crowe, a Canadian singer-songwriter, substituting "Holy Ghost" for "holy dove".

Cohen's lyrical poetry and his view that "many different hallelujahs exist" is reflected in wide-ranging covers with very different intents or tones of speech, allowing the song to be "melancholic, fragile, uplifting joyous" depending on the performer: The Welsh singer-songwriter John Cale, the first person to record a cover version of the song in 1991, promoted a message of "soberness and sincerity" in contrast to Cohen's dispassionate tone; The cover by Jeff Buckley, an American singer-songwriter, is more sorrowful and was described by Buckley as "a hallelujah to the orgasm"; Crowe interpreted the song as a "very sexual" composition that discussed relationships; Wainwright offered a "purifying and almost liturgical" interpretation to the song; and Guy Garvey of the British band Elbow anthropomorphised the hallelujah as a "stately creature" and incorporated his religious interpretation of the song into his band's recordings.