The Cup Of Tea reel

I think I first heard this reel on an old album by "The Wild Geese". It’s quite a popular reel and a good one to liven up any session.

I’ve shown a fairly basic version of the tune here. As always, you could spice it up with some tastefully applied ornamentation.

For instance, at the start of the second part, you could either turn that D note into a triplet or slide up to it from C sharp.

For a very NON-basic version of the tune, check out Liz Carroll’s version on Lost in the Loop on the first track (along with Sevens and Michael Kennedy’s). Wild!

Zina

In set with "Greiggs pipes" and "the Congess" on album "Kieran Hanrahan-plays the Irish tenor banjo". Brilliant!

Adorian instead of Edorian — it sounds great on the fiddle!

It’s on the Thistle and Shamrock Christmas Ceilidh.

Isn’t this sometimes called "The Unfortunate Cup Of Tea"? If so, why is it unfortunate? Is there a story behind this?

Horslips had an album entitled The Unfortunate Cup of Tea and it is under that name if you look in the contents of O’Neill’s. Other than that, I’ve only heard it called the Cup of Tea.

Recorded by Phil Martin:
http://www.archive.org/details/PhilMartinTheCupofTeaTheFloggingReel2
By Michael Gallagher (1924):
http://www.archive.org/details/MichaelGallagherLucyCampbellTheCupofTea
By Sláinte (2000):
http://www.archive.org/download/CupofTea/11.ogg

Try,

Drowsy Maggie, The Morning Dew, The Cup of Tea

Does anyone know why it is ‘Unfortunate’ - this would seem to be the older name of the tune. There must be a story behind it …someone?

Watch the Young Tulla Ceili Band play the tune: http://youtu.be/rNtgQS3n-bA

play video

If I’m not mistaken, one of the fiddlers is Sorcha Costelloe.

I’d say "unfortunate" refers to a spilt cup of tea. We’ll all spilt a cup at some stage but it can be particularly unfortunate if, for example, it was the last teabag. Maybe you’d just carried it all the way out to the shed, having taken care not to spill any of the full-to-the-brim cup on the garden patio only to have an accident at the finish line all lose everything.

No idea about keys,

X:1
T:A Cup of Tea
M:C|
L:1/8
R:Reel
C:Traditional
Q:120
K:HP
|:e3/2A/2 A2 g2 f3/2g/2|e3/2A/2 A2 B3/2G/2G3/2B/2|e3/2A/2 A2 g2 f3/2g/2|a3/2f/2g3/2e/2 d3/2g/2f/2g3/2:|
|:e3/2a/2a3/2g/2 e3/2f/2g3/2e/2|e3/2a/2a3/2g/2 e3/2d/2B/2d3/2|e3/2a/2a3/2g/2 e3/2f/2g3/2e/2|a3/2f/2g3/2e/2 d2 c3/2d/2:|

It’s A mixolydian. Tunes in A keys tend to have lots of notes within A chords (e.g. A major = AC#E).
A part: 1st, 2nd and 3rd bars all start with EAA.
B part: 1st, 2nd and 3rd bars all start with eaa

Also, try to imagine what note you would play after the last note, to finish the tune off. In this tune it might be an e, but as part of an A chord, or you might feel that a solid A would be the note. Either way, it’s the note that’s not written at the end which may reveal the key.

Now post it properly as a setting!

Why not post them where they actually belong? https://thesession.org/tunes/3038

Wasn’t aware there was "A" Cup of Tea and "THE" Cup of tea - both being different Reels, now I am.

I posted this setting the way we play on banjo. It’s very much like the other settings posted here but I’ve added chords for the backup guitarist.

Great rendition of the tune by Ronan O’Flaherty: http://www.youtube.com/watch?v=8A87DXX3Xc8

play video

Perhaps Edor at the beginning of this reel, with the first 2 bars letting hear E/G/B, but, as last bar of the 4th part resolves on D (can’t imagine adding a coda to end on an E), and all this part being based on D arpeggios,I would have said DMaj… But perhaps am I wrong as I am no accompanist ?…

This setting is from boxplayer Michael Reynolds of Boston. Mike has a number of great reel sets where he will play the first time through in a common manner (usually similar to how it might be written in the original O’Neill’s) and then play subsequent passes with different settings to keep the tune alive, to the point that he might play a single reel 4 or 5 times and keep it interesting and the listeners wanting more. This setting is particularly fun as the second ending of C, when the eighth notes are swung, leaves the tune feeling as though it is hanging, waiting to descend into part A. This is usually the meat in a set.