Cues, clefs, octave signs

[RMK]

Well, that cue won't be of much help since the rhythm is incorrect. The first three notes of the second measure should be a triplet and the last note a half.

It would be interesting to see how the newer critical editions handle this.

[Magnus Johansson]

Well, that cue won't be of much help since the rhythm is incorrect. The first three notes of the second measure should be a triplet and the last note a half.

It would be interesting to see how the newer critical editions handle this.

Yes, and the slur and the dynamics marking of the trumpet cue do not sit right either. It should be:

Screenshot_20260704_204915.png (3.11 KiB) Viewed 1126 times

[John Ruggero]

The original editions of Debussy's music have many errors. Ravel also. See viewtopic.php?t=1206

[RMK]

Yes, and the slur and the dynamics marking of the trumpet cue do not sit right either. It should be:
Screenshot_20260704_204915.png

Cues often omit articulations and dynamics. I do not see this as a problem.

[Magnus Johansson]

Yes, and the slur and the dynamics marking of the trumpet cue do not sit right either. It should be:
Screenshot_20260704_204915.png

Cues often omit articulations and dynamics. I do not see this as a problem.

But here it had both so if the information is there it is better to make it correct.

[John Ruggero]

Examples of initial cuing from Brahms Symphony no. 4 B&H Complete Works:

Brahms 4A.png (176.27 KiB) Viewed 1070 times

Brahms 4B.png (149.06 KiB) Viewed 1070 times

Brahms 4C.png (131.04 KiB) Viewed 1070 times

Brahms 4D.png (736.01 KiB) Viewed 1070 times

Elaborate cuing from Berg Lyric Suite:

Berg.png (852.02 KiB) Viewed 1070 times

[LSL2026]

Can you imagine after ca 200 measures counting, coming one measure early with bass trombone in ff?
 

Screenshot 2026-07-02 at 23.50.30.png

Yes, that would be something, wouldn't it?

I always wondered why a timpanist earns more than a tutti violinist, who often plays far more notes in a concert.  But when you think about the level of responsibility involved, it is actually very very scary!

As a percussionist, who often got stuck with Crash Cymbals, it seemed like every piece of music went like this:

200 bars rest.

1 crash.

And then 1 more crash at the end just to make you count all of the measures between the first and last crashes!!!

And of course the music leading up to the crash (which had no cue - either single line staff or I guess they assumed we couldn’t read pitch) would be some amorphous mess with no distinct rhythm or anything you could hold on to, and it was simply watch the conductor and make sure you’re damn sure it’s YOUR cue they’re giving!