The editor, Dennis Stevens, of the Mulliner Book issued a supplementary publication, not part of the Musica Britannica series, cf. ref. 2, that gives the original tablature of the cittern pieces and a transcription into modern keyboard notation. The pieces are also discussed by Thurston Dart in ref. 3. While stylistically they are very much of their period, they – in general – lack a bass line, and the harmonic sequence reflects the tuning of a cittern, rather than what a lute would achieve in certain instances. The realisations that can be heard by activating the 'play' buttons, are for ten-string classical guitar (lute is not available) and endeavor to address the limitations noted, while staying in period.

Very little is known with absolute certainty of Thomas Mulliner. The one sure reference is in the records of Corpus Christi College, Oxford where on 3rd March 1563 he is noted as 'modulator organorum', i.e., he was college organist. As the catholic playwright and musician, John Heywood, who held a court appointment from 1519–1558 (he was latterly Mary Tudor's virginalist), attests to Mulliner's ownership of the book by inscription, a period in London seems highly likely. A further eighteenth century inscription by a John Stafford Smith, who owned the book, to the effect that Mulliner was a master at St. Paul's School, has not – so far – been verified. The foregoing is essentially what is available in the standard reference, New Grove, cf. ref. 4. I am indebted to Christopher Goodwin, cf. ref. 5, for further references, cf. refs. 6, 7, 8, which add significantly to an understanding of a possible background to Mulliner and his life.

In view of the connections of Oxford University with the court and the general political-religious movements of the time, it is not possible to believe that Mulliner did not know that Mary Stuart was viewed as a threat by the Elizabethan government from the time of her arrival in Scotland in 1560. So, why did he dedicate a dance to her? Although it may be a natural speculation to believe that Mulliner may have been associated with persons involved in plots that had Mary Stuart as their centerpiece, the inference of references 6 to 8 is that Milliner was almost certainly catholic and the book itself provides evidence of this. The poems have one reference to Our Lady that is entirely catholic in nature, and the book as a whole is now viewed as a record of study pieces, making it practically certain that Mulliner was a pupil of Heywood. Thus, while through a series of associations, it is possible that Mulliner was not utterly remote from plotters, a more reasonable explanation is that Mary Stuart was viewed as something of an icon by English catholics and the galliard, simply a personal expression of regard.

It is not practicable to offer a short summary of references 6, 7 and 8, particularly 8. Such an attempt would inevitably fail to do justice to the detailed documentary and correlative social evidence amassed by the authors. It is strongly recommended that those interested in pursuing Mulliner's background should obtain access to the quoted references. However, one plausible and interesting speculation by Flynn is that Mulliner came from the Lancashire recusant catholic family of Molyneux. The vagaries of sixteenth century spelling – particularly in Lancashire dialectical form – combined with some evidence of spelling of the name in mid-sixteenth century with 'r' rather than 'x' and the known presence at Oxford and then in London of another Molyneux at comparable periods, can be construed in conjunction with inferences as to age, that Thomas Mulliner was probably a son of Sir Richard Molyneux of Sefton in Lancashire. If so, it would appear that Thomas Mulliner left Oxford and acted as steward on estates at Tickhill 1566–89, returning to Gray's Inn, London in 1589, and may have performed in the musical events associated with Gray's Inn.

1. "The Mulliner Book", ed. by D. Stevens, Vol. 1, of Musica Britannica, published by Stainer and Bell, London, 1951.
2. "The Mulliner Book, a Commentary", by D. Stevens, published by Stainer and Bell, London, 1952.
3. "The Cittern and its English Music", by Thurston Dart, in Galpin Society Journal, I, 1957.
4. "The New Grove Dictionary of Music and Musicians", ed. by Stanley Sadie, published by MacMillan, London, 1980.
5. Christopher Goodwin, Secretary, The Lute Society, Southside Cottage, Brookhill, Albury, nr., Guildford, Surrey, GU5 9DE.
6. "The Mulliner Book Revisited - Some Musical Perspectives and Performance Considerations", by Gerald Gifford, in "The Consort", vol. 58, 2002, pp. 13-27.
7. "Thomas Mulliner's Oxford Career", by Francis Knights, in "The Organ", no. 292, vol. 5, Summer 1996, pp. 132-137.
8. Jane E. Flynn, "A Reconsideration of The Mulliner Book (British Library Additional Manuscript 30513). Music Education in Sixteenth Century England". Published by, UMI Dissertation Service, 1993.