The conductor cuts off the orchestra because the trumpets didn’t play their entrance. One bold player raises his hand to ask a question:
“Are you cueing beat 3 or right on the downbeat?”
“No, the hold goes through the measure. I’ll cut off and then give two beats and then we’re on……..”
This scene, or one like it, has happened in every pit orchestra I’ve ever played in. It’s not the fault of the players and it’s not the fault of the conductor. The parts need to be fixed.
If you’re the copyist always ask yourself “Is there any way this could be misinterpreted?” If the answer is yes, find a better way to write it.
Here are the most common sources of confusion and my recommended remedies:
In the above sample, it is unclear if any music occurs on beats 2,3, and 4 after the caesura. If there isn’t, the conductor won’t conduct through the measure. Move the caesura to the end of the measure.
If there is a pick-up, include it as a cue.
Dialogue as Fermata
This one is especially common and often leads to missed entrances. Dialogue shouldn’t be treated as a note. If there is a break in the music for dialogue at the fermatas on beats 2 and 4 it’s not clear to the player.
Even if it requires a time change, use caesuras.
What if the dialogue is long? Still use the caesura, but give an extra indication for how long. Including the last line of dialogue is also a useful courtesy for especially long pauses. I’ve held a trumpet to my face for several minutes during rehearsals before. All I needed was a simple cue.
In 2 versus In 4
This one seems pervasive despite all logic. Be consistent with the use of cut time. Always default to a 4/4 unless the tempo dictates otherwise. There’s no reason for a ballad to be in cut time.
Clean and easy to read parts are the goal. Never settle for ambiguity.