Piano Guidance
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What is the secret chord?

The 'secret chord' is a biblical reference. David was a King from the Hebrew bible, and although we all mostly remember him for being the underdog who defeated Goliath, he was, first and foremost, a musician. So we know David played a 'secret chord', whatever that may be.

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What is the ‘secret chord’ mentioned in Leonard Cohen’s ‘Hallelujah’?

By Sofia Rizzi

Leonard Cohen hides a sneaky message in his lyrics, and it's all amazingly reflected in the music. Below are the somewhat confusing lyrics of the first verse of Leonard Cohen’s best known song, ‘Hallelujah’.

Now I’ve heard there was a secret chord

That David played, and it pleased the Lord

But you don’t really care for music, do you?

It goes like this

The fourth, the fifth

The minor fall, the major lift

The baffled king composing Hallelujah.

It’s all about chords, music, numbers, minor and major. But what does it all mean?

The ‘secret chord’

The ‘secret chord’ is a biblical reference. David was a King from the Hebrew bible, and although we all mostly remember him for being the underdog who defeated Goliath, he was, first and foremost, a musician. So we know David played a ‘secret chord’, whatever that may be. The next part of the verse explains this a little further... ‘it goes like this’.

The fourth, fifth, minor fall and major lift

The line ‘the fourth, the fifth / the minor fall, the major lift’ is in fact a description of the chord sequence taking place under those words. Here's the breakdown: – 'The fourth': This phrase sits on the fourth chord of the scale, or sub-dominant chord (IV) of F major. – 'The fifth': The melody moves up one note to the fifth chord of the scale, the dominant (V) of G major. –'The minor fall': Again, the melody moves up one note here to the sixth chord, the submediant (vi) of A minor. The 'fall' in this phrase is referring to the minor, or 'fallen' third of the chord. –'The major lift': This is a first inversion chord of the fourth, or sub-dominant (IV) of F major. The 'lift' refers to the chord changing from a minor to a major chord, and in the process 'lifting' the harmony. There is only one changing notes in this chord, it moves from A–C–E to A–C–F. It's Leonard Cohen giving a subtle nod to musicians – and for non-musicians, it's an actual explainer of what's going on in the music.

What does this mean?

A simple take on it would be that David played a secret chord that 'goes like this': IV – V – vi – IV. But of course, that isn't just one chord, it's a chord progression.

So is David's 'secret chord' in fact the underlying chord progression of the song – which in essence makes up the whole song?

Meanwhile, the whole song and its message is 'Hallelujah' – so is Cohen saying that the song itself is the 'secret chord'?

Cohen's lyrics and harmony leave a lot to the imagination – which is maybe the whole point. He himself said that he chose the word 'Hallelujah' because it means so much in so many ways.

All in all, we're very impressed and a little confused, Mr. Cohen.

Buy Leonard Cohen's 'Hallelujah' here >

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The Gospel of Mary is an early Christian text deemed unorthodox by the men who shaped the nascent Catholic church, was excluded from the canon, and was subsequently erased from the history of Christianity along with most narratives that demonstrated women's contributions to the early Christian movement.

Religious history is often preserved by the winners of ideological debates. The twenty-seven books composing the New Testament canon were selected by prevailing players in the battle for ideological supremacy within the early Christian movement and the emerging Catholic Church. The struggle culminated with an accepted definition of orthodoxy and a tradition of apostolic succession for legitimizing religious texts. The Gospel of Mary is an early Christian text deemed unorthodox by the men who shaped the nascent Catholic church, was excluded from the canon, and was subsequently erased from the history of Christianity along with most narratives that demonstrated women’s contributions to the early Christian movement. My thesis explores the intricacies of early canon formation within the context of the controversy surrounding women’s participation in authoritative roles within early Christianity and how the Gospel of Mary was labeled as an unorthodox text due to its pro-feminine narrative. I maintain that the motive for excluding the Gospel of Mary was not the text’s lack of conformity to the requirements of apostolic succession or orthodoxy, but was grounded within the struggle to suppress the agency and participation of women from the patriarchal hierarchy that defined the developing structure of the Catholic Church. I claim the exclusion of the gynocentric narrative of the Gospel of Mary facilitated the androcentric interpretation of religious doctrine and history that has predominated Christian scholarship for almost two millennia.

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