I don't know what others are thinking of, but I mentioned that the similarity between much (especially Italian) guitar writing and that for unaccompanied violin by such as Schmelzer, Biber, Matteis had struck me some years ago. Almost all guitar composer exhibit this in pieces from time to time but some particular ones which I recall being examplars of the fashion were: Pellegrini(1650), Carbonchi(1640), Pesori(1648), Coriandoli(1670), Valdambrini (1646/7), Bottazzari (1663), Granata (various).......
As I remarked earlier, it is probably a matter of different genres/compositional strategies. Foscarini's Gagliarda la Passionata could serve as an example of a predominantly melodic line interspersed with occasional chords. Still the bass line is implied and sometimes played. Several dances from Corbetta's 1639 book are written like that. And in some of the works of the composers you have listed there is a similar tendency. But as a description of the repertoire of the second half of the seventeenth century it definitely falls short.
Lex
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