I see that the "gap" is the space between the parts in the harmonic stack.
This is a really interesting theory, so I would like to try to frame
it--this is the best I could come up with.
1. Does Vivaldi write other music with a really wide gap, in other
words, is it part of the style?
2. Do mandolin sonatas have a wide gap--is it part of the mandolin style?
3, Does music without the viola part try to close the gap, or is that
a differerent sound style?
4. Are there concertos with very much wider gaps?
1. Vivaldi routinely writes music with a very large gap, because he
often exploits the upper registers of the violin. 3 octaves is not
unusual. You see it often in slow movements accompanied by continuo.
2. Mandolin music stylistically has a large gap between the bass and
the mandolin part. The same gap as in the D major concerto under discussion.
That's so you can use the same continuo group.
3. A whole genre of trio writing, ultimately derived from the
renaissance Vilanella, is based on a minimum
framework of tenths. These pieces have the gap built in to the
style. You can see the earliest origins of this sound in the famous
Capirola piece and in many setting of Franceschina.
4. Indeed there are concertos with very wide gaps. The lowest note on
the alto recorder is "one line F" the lowest on the "flautino" is "two line F"
The high notes then range to "four line F" and even G. In the
extended episodes, almost pieces in their own right, this gap easily
spans 5 octaves
G g g' g'' g''' g'''--far wider than anything in the mandolin
repertory. And G is not that low. Also, if we believe that Vivaldi
played beyond the limits of the fingerboard, he could add an extra octave.
dt
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