In particular, I’m interested in placing the 5 under the continuation line on beat 3 of measure 1 and having the single continuation line in measure two, beat three that extends under the figure for beat 4. I can adjust them in Engraving mode (as shown here) but the problem arises when the music respaces as I add notes, then the lines that I’ve collapsed in measure 2 beat three return.
Here’s the original (Walter Piston “Harmony”, pg 338):
For the first measure, insert the second figure as 6+5, then on the figure before it, in the properties panel under duration, select “draw line through figures at end” and drag the endpoint until the 6 disappears. You can remove any manual visual adjustments you made to it.
I think a similar operation should work for the second measure, but if not, I’ll comment back here again shortly.
Ok, so that second measure is decidedly trickier, and the figured bass tool gave me some inexplicable grief, but I’ve sorted something out.
Use ctrl+shift+I or cmd+shift+I to open up input options. Under Figured Bass, set the first option to “Follow Input Literally.” Then with the 3rd beat G selected, open the figured bass popover and insert 6b->13+, 4->11+,3b. In the properties panel, set the Resolution pos. to 1, set the Duration to 1, and flip the switches for “Draw line though figures at end” and “Show compound intervals as simple.”
That all said, I’d love to know if anyone is able to come up with a simpler solution. I feel like there must be one, but I haven’t used the figured bass feature in several months and I’m a bit rusty…
Thanks for the help! I don’t seem to be able to replicate your steps for the first example you give. Refer to the attached image.
As input the figures are arranged with the first figure aligned with the second figure as shown. Extending the line does not cause either of the second figure’s numerals to vanish. If the first figure 6 is lifted (in engrave mode) to align with the second figure six, the line can be extended through the second 6 without that number going away. Clearly I’m missing something.
Oh dang! I think it might be because you’ve got your figures above instead of below (so the bottoms of the figures are aligned instead of the tops). Let me look into that and get back to you in about an hour (unless someone else can figure it out first); I may or may not be in the middle of a meeting at the moment 
I can get the result if I add a figure (natural 3) to the first figure and then in engraving mode move the line that extends from the n3 to the 5 back until it vanishes)
However, I know that the second line will reappear when I start adding the harmony.
OK, I fixed the engraving options to have the figures aligned top down. Now your formula works!
Your second formula worked (with the caveat that the figures are drawn top-aligned).
Again, thanks for your help.
Do you know if there is a comprehensive dictionary of Dorico figured bass popover syntax? I ask rhetorically. I know the manual is a bit more comprehensive and I’ve studied Ben’s ScoringNotes tutorial but neither one covers the edge cases as shown here.
To answer, if only rhetorically, unfortunately as far as additional materials on figured bass syntax go, I seem to know what you know. There definitely could be more out there, but most of my understanding of the tool comes from brute force trial and error (that combined with the fact that I happen to have written at least one contemporary piece for baroque orchestra and included figures, some of which were… advanced). But also, in glancing at Ben’s tutorial, I also can’t say I know too much more than what he’s got there, at least as far as popover syntax goes.
I will say that one of the devs did show me a pretty neat trick regarding suspension chains in this thread here though: The Future of Figured Bass - #9 by claude_g_lapalme
But beyond that, hard to say what else is out there.