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The instrument was common among amateurs, and many homes would have a so-called chest of viols which would contain one or more instruments of each size. Gamba ensembles, called consorts, were common in the 16th and 17th centuries, when they performed vocal music (consort songs or verse anthems) as well as that written specifically for instruments. By 1540, King Henry VIII had an entire consort of Italian viol players. Only the treble, tenor, and bass sizes were regular members of the viol consort, which consisted of three, four, five, or six instruments. Music for consorts was very popular in England in Elizabethan times, with composers such as William Byrd, John Dowland and during the reign of King Charles I by composers such as John Jenkins and William Lawes. The subdued, mellow tone that the viol produced was especially loved in Germany. [Heinrich Schutz] incorporated the viol into his music. Johann Sebastian Bach often used the viol as an obligato instrument in his works concerning sacred subjects. Telemann also used the viol in his chamber pieces. The last music for viol consorts before their modern revival was probably that written in the early 1680s by Henry Purcell. The reason for the downfall of the viol was the same as the reason for its popularity: it's mellow tone. While the viol sounded its best with the blending of harmonies and intricate rhythms with other viols, a violin needed no other instrument, and was perfect for solos. With the rise of the violin, the viol could not compete with an instrument that had a larger sound in a concert hall.

There are several important treatises concerning the viol. The first was by Silvestro Ganassi: Regola Rubertina & Lettione Seconda (1542/3). Diego Ortiz published Trattado de Glosas (Rome 1553), an important book of music for the viol with both examples of ornamentation and pieces called Recercadas. In England, Christopher Simpson wrote the most important treatise, with the second edition being published in 1667 in parallel text (English and Latin). This has divisions at the back which are very worthwhile repertoire. A little later in England, Thomas Mace wrote Musick's Monument, which deals more with the lute, but also has an important section on the viol. After this the French treatises by Rousseau, Danoville (1685) and Loulie (1700) show further developments in playing technique.

The bass viola da gamba continued to be used (as a solo instrument and also to accompany the harpsichord in basso continuo) into the 18th century, by which time it had acquired associations of courtliness and antiquity; composers such as Marin Marais, Johann Sebastian Bach and Karl Friedrich Abel wrote music for it. However, the instrument fell out of use as concert halls grew larger, and the louder and somewhat more strident tone of the violin family became more popular. In the last one hundred years or so, the viola da gamba has been revived by early music enthusiasts, an early proponent being Arnold Dolmetsch.