Cyber Security Incident Responder as a musical conductor: an analogy

Those who know me personally may be aware that my main extra-curricular, spanning a full decade starting at age 11, was playing the viola in music ensembles which ranged from the intimacy of quintets to the power of 80-piece orchestras. In fact I'd taken piano performance the most seriously (read: via private lessons for eight years with a reputable teacher at the Royal Conservatory of Music) so I never became as proficient in viola.
In contrast to the years-long solitary struggle that comprised my endeavour to passably interpret several Beethoven sonatas, a few of Bach's keyboard works, and a Chopin mazurka or two however, my most vivid memories at school are social, involving becoming acquainted with compositions by actively collaborating with my fellow musicians.
My love for "classical" (more accurately, baroque to early romantic era) music continues unabated, and a desire to perform has now been channeled instead into haunting the Musikverein and Konzerthaus - and very occasionally, the Staatsoper too - here in my adopted hometown.
Perhaps this is why, as I began to examine the "playbooks" of cyber security incidents, that I naturally formed this notion that as far as analogies go, my role as Incident Responder is that of a musical conductor. Having taken a bit of time to think this through a bit more, I remain pleased by how apt it is. At least, it's not quite as surreal as my prior analogy for SEO.

• First, the conductor determines which composition the incident entails (triage). Depending on the composition, the number of musicians can vary widely, as well as the instrumentation that's represented. Sometimes, "ringers" and freelancers are needed; other times a quartet is sufficient to render the piece.
• The conductor in this case also assembles the musicians, often needing organizational support to complete the group. Some are seasoned regulars and know exactly how the piece ought to sound. Others are completely unfamiliar with the score and may also be less experienced in their instrument (role). They must all coordinate their efforts and contribute to the successful performance of the composition.
• The conductor must cue the appropriate participants at the right moments and help them anticipate and deliver their contribution to the performance. Some will insist on embellishments and other improvisational playing so the score can't be slavishly adhered to; most are willing to fulfill their part and do the best they can.
• Needless to say, much of the playing is concurrent, and has a distinct shape formed in part by the score (incident type), how the conductor herds the ensemble, and the reception from the audience (client). A hostile audience can cripple what might otherwise have been a smooth and pleasing performance.

Ever since taking cognitive science courses in university I have strongly averred that music performance - whether solo or in groups- builds one's Executive Functions effectively. In all project management roles inclusive of this one, I have benefited greatly from the investment I'd made in my youth to learn that simply doing things is insufficient to achieve my goals: rather, doing the right thing at the right time, in an optimal sequence, and also choosing not to do certain things that could be superfluous or worse, detrimental, all are necessary to succeed in most ventures.