Rachie
Rachie, frequently sung to the hymn I Bob Un Sydd Ffyddlon, is a Welsh hymn tune. The music was composed by Caradog Roberts, with lyrics by Henry Lloyd, who is better known by his bardic name Ap Hefin. The lyrics are a call to battle, as can be seen with the English translation.
Composer
The composer of the tune was Dr Caradog Roberts who was born in Rhosllanerchrugog, near Wrexham. The tune was named after Rachel Williams, nee Jenkins, of Resolven, near Neath. Composed during the First World War, Roberts said of his tune:Name
The name of the tune derives from a visit, on 7 April 1918, by Caradog Roberts to Resolven, to conduct a Cymanfa Ganu at the Jerusalem Chapel, which could seat 970 people. Roberts was hosted by the minister of the chapel, Reverend Robert Enoch Williams, whose tenure at the chapel extended from 1902 to 1934. His daughter was popularly known as Rachie, although christened Rachel. At the time "Rachie" was pronounced by the family as "Ray-chee" and not as "Ratch-ee" which sometimes now occurs.Dr Caradog Roberts introduced his new tune to the Cymanfa Ganu in Jerusalem Chapel. Subsequently, he wrote to the Reverend Williams and asked if he could name the tune after the minister’s 12-year-old daughter Rachie. Her father agreed.
Publication and usage
"Rachie" was first published in 1921 in a Welsh Independents hymn book Y Caniedydd Cynulleidfaol Newydd, which was co-edited by Roberts. The words sung in Welsh to "Rachie" are typically "I Bob Un Sydd Ffyddlon", and were written by Henry Lloyd, who is better known by his bardic name Ap Hefin. The lyrics are a call to battle, this can also be seen in the English translation. The words express a similar call to arms as does the hymn "Onward, Christian Soldiers".In 1931, the Salvation Army published the tune "Rachie" being sung to the words: "Hark! the sounds of singing, coming on the breeze. Notes of triumph winging, over lands and seas". The tune was published in The Salvation Army Tune Book for Congregational Singing. Later, the tune became the perfect accompaniment for the words of the hymn "Who is on the Lord's side?". This pairing was popularised in various hymn books from the 1960s onwards, sometimes transposed to the key of G major rather than the original A flat major.
The first recording of the tune "Rachie" appears to be on 23 June 1934 by the Salvation Army, recorded at a large Territorial Congress Salvation Army event at the Crystal Palace. The old 78rpm recording was one of the first to be made by a mobile recording van; previously all recordings being made in a studio. The 78rpm disc went on sale just three months later.
This first recording of "Rachie" started with the then General of the Salvation Army, General Edward Wiggins, who introduced the hymn, followed by a musical introduction from the united bands. The single microphone is suddenly moved around–first to record General Wiggins singing, then a soprano cornet, followed by the congregation singing. It is available on https://www.regalzonophone.com/Albums/Blue-Regal-Zonophone-78s-MF220-MF239.
The well-known male voice choir version of "Rachie" to the words I Bob Un Sydd Ffyddlon is an arrangement by Alwyn Humphreys and has popularised an extra ending to "Rachie". This arrangement finishes with Haleliwia, Haleliwia, Moliant iddo byth, Amen that musically derives from the finale of the Welsh hymn tune Mawlgan.
"Rachie" is used in hymn singing in places of worship and as an exuberant tune for choirs, congregations and organs.
The opening chord of the tune "Rachie" does not follow the standard harmonisation of hymn tunes. Wyn Thomas, Senior Lecturer in Music at Bangor University, Wales, comments as follows: "This tune is exceptional amongst Welsh hymn tunes, in that it begins with a tonic chord in its first inversion. This is unheard of in the Welsh hymn tune repertoire because all other hymn tune composers establish the fundamental tonic chord at the outset, with the tonic note in the bass part. Though Dr Caradog Roberts opens "Rachie" with a tonic chord, the 3rd of the chord appears in the bass part. This chordal arrangement gives rise to tonal ambiguity and can cause difficulty during unaccompanied performances."