by Vaughan » Mon Jun 11, 2018 9:31 am
Is it Biber? Make sure you include the incipit with the string tuning (and omit the editor's continuo realisation!). With scordatura, there's no way you're going to get proper playback in Finale anyway because the notes are actually 'fingering notation', so you might as well make an expression (as Motet suggested) set to position correctly, and then place these at the beginning of every line after you've done the final layout. Since this notation is useless to anyone except the violinist playing it, why do you need to create a score? I recorded all the Biber sonatas and, instead of reading from the facsimile edition, which I'd rather have done, I notated most of the sonatas in Finale to avoid having to see both the scordatura and the editorial suggestions for the continuo realisation. The irony of a modern edition like the one you posted is that the realisation is only useful to a keyboard player who can't realise figured bass, but who needs to be reading actual pitches. If you're making an edition, I'd suggest either imitating the facsimile (as an exercise in unusual notational techniques in Finale) or making a practical version with the sounding pitches.
Vaughan
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