Sheffield Park three-two

Sheffield Park has been added to 6 tunebooks.

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Three settings

X: 1
T: Sheffield Park
R: three-two
M: 3/2
L: 1/8
K: Dmaj
"A7" (A/G/)|"D" FFA GE "D" DDD FD|"A7" EEE FG "G" BB A2 G|
"D" FA dcA "D" dc BAD|"D" FF AGE "D" DD D3|
X: 2
T: Sheffield Park
R: three-two
M: 3/2
L: 1/8
K: Dmaj
AG|F2 F2 A2 G2 E2|D2 D2 D2 F2 D2|E2 E2 E2 F2 G2|B2 B2 A2- A2 G2|
F2 A2 d2 c2 A2|d2 c2 B2 A2 D2|F2 F2 A2 G2 E2|D2 D2 D2- D||
X: 3
T: Sheffield Park
R: three-two
M: 3/2
L: 1/8
K: Fdor
[M:3/4]B,2|E4 E2|E2 G2 B2|c2 B2 G2|B6-|B4 B2|B4 G2|
G2 B2 G2|G2 F2 E2|F6-|F4 B2|B4 B2|E2 G2 B2|
A2 G2 F2|E6-|E4 B2|B4 B2|c2 B2 A2|G2 A2 F2|E6-|E4||

Eleven comments

Its in 5/4

Sorry but I tried all the options and could not find anything that would let me set 5/4 as the time signature.
Its transposed to D from the original (in C )

Is this really the whole tune? Just one part? Also you can’t just rewrite 5/4 as 3/2. They are very different.

At the very least,

T: Sheffield Park
M: 4/4
L: 1/4
R: reel
[M:5/4] A/G/| F F A- G E| D D D- F D| E E E- F G| B B A2 G|
F A d- c A| d c B- A D| F F A- G E| D D D2|]

Urgh, worst sheet music I’ve seen in a while.


Has anyone sussed this one out yet ~ as to source?


Hmmm. The submitter describes themselves as "multitalentless playing bodhran (off beat) whistle (off key) and melodeon (off tune)"…perhaps a self-penned one?

He has played with the Redheughers ceilidh band, placing him in NE England, so could be a NE tune?

Sheffield Park could be the railway station,, the landscape garden, or the pre-1983 constituency up in Sheffield!



The earliest version of this lament that mentions Sheffield Park is on a single slip printed by Evans of 42 Long Lane, London, titled The Young Man of Sheffield Park, c1794. It consists of four double stanzas and largely corresponds to the standard ten-stanza version printed in the early nineteenth century by Pitts and Catnach and their contemporaries, and then by many of the provincial printers up as far as Newcastle. The first double stanza is the first of the common version and one not found in this version; the second double stanza equates to stanzas 2 and 3 of the common version; the third double stanza to 4 and 5; and the fourth is stanza 6 of the common version and one not found there. Therefore the last four stanzas of the common version are new, but three of them appear to have been added from a ballad of c1686 titled The Constant Lady and false-hearted Squire; Being a Relation of a Knight’s Daughter near Woodstock Town in Oxfordshire printed for Richard Baldwin near Fleet street, London. (See Pepys Vol 5, p285) Some of its stanzas are found in the black-letter ballad The Diseased (Deceased) Maiden Lover printed by Coles, Vere and Wright c1663-74. (Pepys Vol 3, p124) Stanzas from this general stock have also crept into the various laments that form the large family of Died for Love/ Brisk Young Sailor songs. They continued to be refashioned into other songs into the early eighteenth century. D’Urfey’s Pills to Purge Melancholy, 1720, Vol 3 p52 has A Forlorn Lover’s Complaint which is a contraction of the Coles, Vere and Wright version.

Perhaps not coincidentally the first three stanzas of the standard ten stanza version of Sheffield Park also frequently turn up amongst the various members of the Died for Love family.

Frank’s fourth stanza, line 4, has been influenced by another love song Young Colin stole my heart away. In other versions the lover’s name is William. His first five stanzas are stanzas 1, 2, 3, 5 and 9 of the standard version, but the first part of his sixth stanza rather curiously harks back to The Constant Lady and False-hearted Squire mentioned above;

‘Now there’s a flower,’ she did say,
‘Is named Heartsease, night and day.’

But this is also found in later versions using the general stock of verses in Died of Love family songs.



"The words are collated from Dorset and Essex versions.
The tune is from Puddletown, Dorset.
This tune is unusual, in that it is written in 5/4 timing."

"In Sheffield Park o there did dwell
A brisk young lad, I loved him well,
He courted me, my heart to gain,
He’s gone and left me full of pain.

There is an alehouse in this town
Where my love goes and sits him down,
And takes a strange girl on his knee,
And tells her what he don’t tell me.

I went upstairs to make the bed,
I laid me down and nothing said,
My mistress came to me and said,
What is the matter with you, my maid ?

O mistress, mistress, you little know
The pain and sorrow I undergo.
It’s put your hand on my left breast,
My fainting heart can take no rest.

So take this letter to him with speed,
And give it to him, if he can read,
And bring me an answer without delay,
For he has stole my heart away.

She took the letter immediately,
He read it through while she stood by,
As soon as he had the letter read
Into the fire he threw it with speed.

How can she think so fond I’d be,
That I could fancy none but she ?
Man was not made for one alone,
I take delight to hear her mourn.

Green leaves they gathered for her bed,
And a flowery pillow for her head.
The leaves that blow from tree to tree
Shall be a covering for thee."

Whether it is even the same thing


Five time

It sounds like a five time waltz.

Re: Sheffield Park


The earliest extant printing of "Sheffield Park" is under the title "The Unfortunate Maid,"from "The Choice Spirits Delight Part II: Being a Choice Collection of New Songs, Sung this and the Last Season, at Renelagh, Vauxhall, Sadler’s Wells, the Theatres, and in the Politest Companies…" printed by Dicey & Company in Aldermary Church-Yard, Bow-Lane, London, dated 1770.

The new ending found in the Pitts "Sheffield Park" is similar to stanzas from "Constant Lady" c.1686 as mentioned. Because stanzas from "Constant Lady" are the basis for ‘Love has Brought Me" "She’s Like the Swallow" and are found in many "Died for Love" songs, many collectors have assumed that "Sheffield Park" is related to, for example, "Died for Love" when in fact Sheffield Park’s antecedent, "The Unfortunate Maid" is not related at all to these ballads.

Further, "Constant Lady" was recreated in part from two companion broadsides "The Deceased Maiden Lover," (stanzas 12-15) and "The Faithlesse Lover" (stanzas 15-16) which were printed together on a single sheet by "the Assignes of Thomas Symcocke" about 1628. The nine stanza "Deceased Maiden Lover" is likely an expansion of the four stanza, "A Forlorn Lover’s Complaint" (As I walked forth one summer’s day) by lutenist Robert Johnson, c. 1611. The stanzas found in Constant Lady are not copied exactly but are a recreation. The three antecedent ballads are written in a different form, a quatrain stanza with a two line chorus.