Play and Sing Hallelujah on Piano and Reharmonize It (Part 1)

To reharmonize Hallelujah on piano, start with its simple C major chords (C, Am, F, G, E7) and then colour them with add and sus chords, seventh and ninth extensions built by stacking a triad a fifth above the bass, and passing slash chords such as G/B, C/E and D/F# placed between the original chords.

Video lesson by Jason Zac · Intermediate · 28 min

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This lesson from Jason Zac at Nathaniel School of Music shows you how to accompany yourself singing Leonard Cohen's Hallelujah on the piano, then begins a series of ten reharmonization methods. Part 1 covers the first three: add and sus chords, chord extensions and passing slash chords. It suits players who know their basic triads and want simple diatonic songs to sound richer. The same methods work for pop, folk, rock, ballads and film songs.

The original chords in C major

The song stays mostly within the seven diatonic chords of C major: C, Dm, Em, F, G, Am and Bdim. It has a 6/8 feel, so count 1 2 3 4 5 6 for each bar.

• I heard there was a secret chord / that David played and it pleased the Lord: C and Am, alternating.
• It goes like this, the fourth, the fifth: literally the IV and V chords, F and G.
• The minor fall, the major lift: Am, then F.
• The baffled king composing: G, then E7 instead of Em. The E7 leaves the key briefly and leads neatly into the Am on Hallelujah.
• Hallelujah: lands on Am. Stay on Am for an extra bar.

For an intro, simply alternate C and Am.

Method 1: Add chords and sus chords

An add chord is a triad with one extra note, usually a 2, 4 or 6. Start with notes that belong to C major.

• Add2: C add2 is C D E G. Am add2 is A B C E. Both work well on the opening line.
• Add b6 on Am: adding F to Am stays in the key. Let the F drop down to E so it acts like a suspension.
• Sus4: Csus4 (C F G) resolving to C major, the F falling to the third, E. When the third is removed and then returns, call it a sus chord rather than an add chord.
• On F: an add4 (Bb) steps outside the key but works as a suspension. An add #4 (B) gives a Lydian colour.
• On G: Gsus4 or G add4, using C.
• Rarer colours: a flat 2 for an exotic sound, or a major chord with a flattened sixth.

You do not need these on every chord. Use them where you like the sound.

Method 2: Chord extensions

Add diatonic sevenths: Cmaj7, Am7, Fmaj7 (add G for Fmaj9), G7sus4, and keep E7. Try voicings with the seventh tucked low in the chord. Fmaj7 with a #4 adds a Lydian sound.

The triad-over-bass trick

Play the chord's root in the left hand and a simple triad in the right hand:

• Major chord: go up a perfect fifth and play a major triad. Over C, play G major (G/C) for a major seventh and ninth sound.
• Minor chord: go up a perfect fifth and play a minor triad. Over A, play E minor, not E major, to stay in the key.
• F (Lydian): go up a major second and play G major over F, or go up a fifth and play C major over F.
• G (dominant): go down a tone and play F major over G, or go up a fifth and play D minor over G.

You are still only thinking in triads, but the bass note turns them into 9ths, 11ths and 13ths. When chords change quickly, plain triads are fine. E7 already sounds good as it is.

Method 3: Passing slash chords

A passing slash chord is a major chord with a note other than its root in the bass, squeezed in between two chords. Study your bass line to find it:

• C to Am: the bass moves C to A, so B fills the gap. G/B gives a smooth falling bass.
• Am to F: C/E, or C/G dropping to F.
• F to G: F# fills the semitone, harmonized as D/F#.
• G to Am: E7 with G# in the bass (E/G#).

The passing chord does not add time. Each bar keeps its six counts, so the passing chord borrows a little from the chord before it.

How to practise

1. Sing and play the original chords until the 6/8 feel is steady.
2. Add one method at a time, on one or two chords only.
3. Keep the melody in mind, adjusting it slightly if an added note clashes.
4. Then try the same ideas on any other simple song.

Questions about this lesson

What are the basic piano chords for Hallelujah in C major?

The verse alternates C and Am, then moves to F and G on the fourth, the fifth, Am and F on the minor fall, the major lift, then G and E7 before landing on Am for Hallelujah. The song has a 6/8 feel.

Why use E7 instead of E minor in Hallelujah?

E minor works, but E7 briefly leaves the C major scale and pulls strongly into A minor, so it leads neatly into the word Hallelujah.

What is a quick way to play jazzy extensions on simple chords?

Play the chord's root in the left hand and a triad a perfect fifth higher in the right hand, major over a major chord and minor over a minor chord, such as G/C or E minor over A. This gives you 9ths and other tensions while you still think in simple triads.

What is a passing slash chord?

It is a major chord with a note other than its root in the bass, slipped in between two chords to smooth the bass line, such as G/B between C and Am. It takes time from the existing bar rather than adding beats.

Practise it

• Voicing RoomA hands-on lesson room for piano chord voicings.
• Bass AlchemyKeep the upper notes in place while changing the bass.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

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