We have chosen three recercadas from this, the publication which has ensured his name to prosperity as being the first printed ornamentation manual for the player of bowed string instruments. With this set of recercadas, Ortiz becomes a starting point for the entire school of viola da gamba playing in Italy: these divisions will, in fact, constitute the only Italian solo literature specifically dedicated to this instrument. And, considering that divisions (or recercadas) were almost always performed on the spot by the virtuoso, these works are also amoung the few printed testimonies of the practice.

Many dances of the 16th and early 17th centuries (in particular gaillards, pavanas and passamezzos) are structured according to a scheme similar to that of the romanesca. The same scheme occasionally appears also under different titles such as in England - Greenleeves.

'But now to observe the stepps of the grand metamorfosis of musick, whereby it hath mounted into those altitudes of esteem it now enjoys; I must remember that upon the Restauration of King Charles, the old way of consorts were layd aside at court, and the King made an establishment, after a French model of 24 violins, and the style of the musick was accordingly. So that became the ordinary musick of the court, theaters, and such as courted the violin. And that instrument had a lift into credit before, for one Baltazarre a Sweed came over, and did wonders upon it by swiftness, and doubling of notes, but his hand was accounted hard and rough, tho he made amends for that by using often a lyra-tuning, and conformable lessons which were very harmonious, as some coppys now extant in divers hands may shew; but this manner, which was but a complement to the lute, and not fitt for consort, did not take at all.'

Anthony Wood (1632-95), English antiquary and amateur musician, compared him several times with the English violinist Davis Mell, who 'play'd farr sweeter than Baltsar, yet Baltsar's hand was more quick and could run it insensibly to the end of the finger-board'. Mell was also in Oxford in 1658, and their divisions on John, come kiss me now probably record some sort of playing contest. They show that Mell was no match for Baltzar, as a composer as well as a player.