The manuscript P-Pm MM-42 (olim Ms. 1577), with organ tablatures (same system used by Venegas de Henestrosa, Hernando de Cabezón and Correa de Araujo), contains the only four works known by this organist/composer: two are titled Obra and the other two Registro. According to Preciado (1999-2002), p. 715, the obras are "llenos para órgano" and the registros are "registros partidos de mano derecha (de uno y dos tiples, espectivamente)"; the four works are like tientos. He points out: "Es notable la Obra de 5º tono, porque en su segunda mitad introduce el autor un motivo de jota riojana, que le confiere un aire de fiesta popular. Antonio Brocarte aclara el estilo organístico español de su tiempo, haciéndolo menos farragoso y más transparente".
Two 16th-century inventories of polyphonic music at Tarazona cathedral attribute a Sanctus and a Credo ("Patrem omnipotentem") to "Logroño", an unknown composer with the name of a location; this name is probably the result of the scribe's misreading of an ascription or it indicates the origin of the composer. See links below to the two documents (inventories) and the three items (descriptions of the choirbooks) where Logroño's name appears.
1560-1561 Catedral de Plasencia, maestro de capilla
1564 Catedral de Jaén (?), maestro de capilla
1574 Catedral de Murcia (?), maestro de capilla
As pointed out by José López-Calo and Cristina Diego Pacheco, documents related to the brothers Alonso, Pedro and Rodrigo Ordóñez often do not mention the first name, and thus it is difficult sometimes to ascertain their identity. In E-V 05 there are four polyphonic works attributed to Alonso Ordóñez and one to "Rº Ordóñez"; although the initial in the latter ascription has been interpreted as "Racionero" (to refer to Alonso Ordóñez), it is most likely that it refers to Rodrigo Ordóñez. There are no known works attributed to Pedro Ordóñez.
López-Calo mentions many possible locations that can or could be related to Rodrigo Ordóñez.
1786-1839 Monastery of Santa Ana de Ávila (singer, organist, harpist).
According to Alfonso de Vicente (1989), p. 17, "Carmen Sáenz de Tejada, cantora, organista y arpista" (singer, organist and harpist), born in Logroño in 1772, was professed as a nun in the Monastery of Santa Ana de Ávila in 1788, and she died there in 1836. The same author, though, in a later publication (2019), available at http://www.historicalsoundscapes.com/evento/1016/avila/es, annotated: "Carmen Sáenz y Tejada nació en Logroño, tomó el hábito en 1786 con catorce años por lo que hubo de esperar dos años hasta el 18-VII-1788 para profesar. Murió el 10-I-1839. Fue cantora, organista y arpista; numerosas partichelas indican su nombre como intérprete". The recitado and aria A ti, padre amoroso / Ven, de Cristo esposa (1788) by Agustín Gutiérrez, chapelmaster in Santa Ana's Monastery, for soprano, organ and accompaniment, was composed for her religious profession (No. 635 in Vicente's catalogue, 1989, p. 156).