In the concertos of the second half of the 18th century, the last measures of the initial tutti were intended to announce the imminence of the entry of the soloist. This standard was created backwards, starting from the rupture point which is the entry of the soloist. Initially, composers foresaw a silence separating the first tutti from the first solo, in order to catch the attention of the public and to acoustically sever the soloist from the orchestra. Later, this silence was preceded by three quarter notes, stressed by all the orchestra, on the first degree of an authentic cadence in the main tonality. The coups du brigadier were born. The name refers to the three blows struck before beginning a theatre performance by a stick known as the brigadier. Particularly eloquent in Mozart's pieces, it forms the standard of exposition closure during forty years, and also relates to other key moments of the first movement, as for example announcing a cadenza. Its disappearance later starts with a progressive weakening in the concertos of Viotti, and is entirely perpetrated by Beethoven and Hummel who propose a new type of entry of the soloist with a cross fade.