John Dowland, like William Byrd and other composers who moved in the courtly circles of Elizabethan England, often wrote music dedicated to his various friends and patrons. Any composer of the time knew the value of dedicating entire printed collections to the crowned heads, but the English also seemed prone to write music for a wide variety of other, lesser courtly figures. Some of these pieces may have been composed for a particular noble family member to perform, some merely for their ego and entertainment while listening. The distinguishing feature that so fascinates the twenty first century audience is the personality of having a dance named for some delighted squire or lady. Dowland's lute solo known as Mrs. White's Nothing even adds a cryptic title to such a charming historical situation. What is a "nothing," anyway?

In musical form, Mrs. White's Nothing resembles an English gig. It falls into two sections, the second of which is repeated, and proceeds in simple, danceable harmonic progressions and clear four-bar (6/8 meter) phrase structures. Sprightly and snappy rhythmic motives drive the music forward, despite its fairly dense chordal texture. The piece is over almost before it has begun, lending credence to our romantic image of Mrs. White the courtly amateur musician; though but an amateur, she has a Dowland solo named for her, and one that she can even play.

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