Sorry, but I don't understand this. My point is that Vivaldi seems to have written unplayable music for the violin (and cello and viola). Some of it goes off the range, some of it is unplayable.
Are you saying that in every case that Vivaldi wrote notes for both the violin and the viola that go off the range of the instruments (as in the bass or tenor clef below G, or C for viola) that this is a signal of some sort? What about where the bass is still playing? Isn't it possible that it just goes off range, like the other instruments? What about the parts for both cello and violin in the operas that are impossible to play, even in scordatura? And if Vivaldi writes notes that go off the range of the violin and viola, or are unplayable, isn't that relevant to similar situations for the other concertos for other instruments? dt <<ajn>>Guess he forgot.<g> The "guy" in Leipzig also wrote violin parts in the bass clef. Sometimes. When the violins are the sole bass instrument, usually in a Solo section, like those in RV 532 (2 mandolins), J. S. Bach, like Vivaldi, uses the same convention of violins in bass clef. It is a signal to the continuo player (or more likely the copyist of the parts) that the bass line continues (="basso continuo") in the violins. If it were written in treble clef the continuo player would probably interpret that to mean "tasto solo," or perhaps the copyist might give the continuo line rests. Basta! ajn <<<snip>> >dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
