Thanks again, @jaskarbong.
Definitely get that copy of Gould, just as a reference. I would imagine that few have read it straight through, but it is good to refer to for orientation whenever something doubtful comes up. At least you will know what one person thinks about it. However, I find that looking through the standard literature at IMSLP is perhaps even more helpful. Then you know what a lot of people think and have thought about it.
These discussions always get one thinking.
I just realized that I have no trouble letting a cue break off at a bar line followed by a rest when the phrase continues on beyond the entrance of the new player. In fact that is what breaking off would mean to me: you are entering in the middle of someone else’s phrase. For this reason it sends the wrong message if the player is actually responding to or continuing a phrase.
Rhythmic issues can also be at play, but I think it is more a matter of the feeling of the entrance. There is a big difference between entering in the middle of something and entering in response to something.
@MicheleGalvagno I just discovered that the first workaround doesn’t work in practice because the added note winds up in the score and is awkward to remove. I’m just getting the hang of the global vs. local thing in Dorico. So a separate cue line may be the only way to achieve this.
Gould doesn’t absolutely oppose overlapping the rhythmic values of the cue and the first played note(s) and even gives an example, but thinks it best if they do not overlap for clarity.