Semiotic Relationships in Amazing Grace

Amazing Grace version from John Newton as well as Aretha Franklin both show paradigmatic and syntagmatic relationships. These are used to describe a shift from hymns to secular hymns.

PARADIGMATIC RELATIONSHIP
In John Newton's hymn, paradigmatic semiotics is shown by the use of simplistic chords and melody, unlike the Franklin version. This is because the Church banned the use of discordant triads, such as V^7 triad. Another explanation for the simplicity is because it is considered a hymn. All hymns have to be simplistic because the congregation has to be able to sing and learn it easily. Thus, this explains the simplistic melody. However, Franklin's version of Amazing Grace demonstrates the complete opposite semiotics that Newton expresses. Paradigmatically, Franklin wrote a version in 1972 of the piece shortly after the Civil Rights Movement. Also, the Jazz Age of the 1920s was combined with blues from African-American communities to create a mix genre of R&B, which is used in Franklin's version. This genre has V^7 triads and blues scales are used in order to corporate the African American aspect of the music, which emphasizes the spirituality needed through slavery.

SYNTAGMATIC RELATIONSHIP
In Newton's hymn, syntagmatic semiotics were shown by the key signature and kinds of chords that were incorporated in the piece. We can tell that the piece is written in a major key (Bb to be exact), which gives a happy impression to the congregation. After all, how many hymns do you that are depressing? Another reason it's in a major key is because Newton is trying to express the happiness and excitement of God's grace, and how he found in times of trouble. Franklin's version of Amazing Grace has very similar features, however, some are added to the piece. For example, Franklin's version uses a blues scale as well as tremolos throughout the piece to emphasize the blues aspect. This is important because it ties into the social history, where African Americans are using God's grace to fight slavery.


JOHN NEWTON VERSION

V               I                  IV       II         I

Amazing Grace! how sweet the sound,

V       III       VI               II     V

That saved a wretch; like me!

I           V     I               IV             I

I once was lost, but now am found,

V  III   VI     II      V       I

Was blind, but now I see 

ARETHA FRANKLIN VERSION

I               I⁷                     IV                   I

Amazing Grace! how sweet the sound,

                        II⁷                     V⁷

That saved a wretch; like me!

I                   I⁷              IV           I

I once was lost, but now am found,

       II⁷             V⁷   I     V⁷

Was blind, but now I see