1771 · Newbury Port
With 62 compositions, primarily for 3 voices but some for 2 and 4, textless, no attributions, one traced to an American source (Psalm 100 New), 55 traced to non-American sources, 6 unidentified, 33 in the core repertory.
Tunes in order of appearance:
Putney; Morning Hymn; Rickmansworth; St. Helens; Norwich; Sutton; St. Martins New; Farnham; Dunchurch; Trinity; Worksop; Barby; St. Patrick's; Portsmouth; Landaff; Wells; Newbury Port; Orange; Gilford; Little Malborough[!]; New York; Bromsgrove; Epsom; Strowdwater; Colchester New; Hexham; Plymouth; Cambridge; Stanes; Egham; Ely; St. Anns; York; London New; Fareham; Evning[!] Hymn; Dalston; St. Michaels; 100th Ps. Tune; St. Edmunds; Mear; Lutterworth; Isle of White; Fetterlane; Buckingham; Wantage; Sunday; Worminster; All Saints; Mansfield; Canterbury; Windsor; Standish; Bangor; Buckland; Quercy; Warwick; 100 Psalm New; St. James's; Funeral Thought; Kidderminster; and St. Martins.
Upper margins trimmed, affecting titling ("The Name of the Notes") to head of page 2 and titling of tunes but not affecting notation. Browned, as usual, more heavily to upper and outer margins of last two leaves; very occasional minor foxing.
Bound, as often, with:
Brady, N. and N. Tate. A New Version of The Psalms of David, Fitted to the Tunes used in Churches. Boston: Printed for, and Sold by A. Barclay, at the Gilt Bible in Cornhill. 1771. 1f. (recto title, verso blank), -276 followed by Appendix, Containing A Number of Hymns, Taken chiefly from Dr. Watt's Scriptural Collection. Boston: Printed and Sold by John Boyles, in Marlborough-Street. 1771. 1f. (recto title, verso blank), 3-84 pp. Browned and slightly foxed. Second edition of The Essex Harmony, the first edition of which was published one year earlier. Warrington: Books Relating to Psalmody p. 42. Hixon: Music in Early America p. 30. Evans 11979. Metcalf: American Psalmody p. 12. ASMI p. 137.
"In the decade preceding the [Revolutionary] war, Bayley was by far the most active American compiler and publisher, accounting for some two-thirds of the 21 sacred music collections that survive from the years 1764-74. His tunebooks introduced to New England a large repertory of mid-century British sacred music, including several works that came to be standard favorites." Grove Dictionary of American Music Vol. I, p. 163. (Inventory #: 36237)