# Ten educator-ready 25-minute Foundation Music starts

Offer the three [same-target routes](LEARNER-CARDS.md) before each start. Numbered cards, a neutral adult scribe and exact [print alternatives](print/TEXT-ALTERNATIVES.md) are always available. Locally approved sound is optional, low and comfortable. A child may stop, pass or change route. Silent scoring can show a musical **idea**, but it cannot show hearing, singing or instrumental control. Keep authentic music encounters, sharing consent and source permission under the [source slot](AUTHENTIC-SOURCE-SLOT.md). Each script totals **3 + 4 + 5 + 7 + 4 + 2 = 25 minutes**.

## Week 1 · Day 1 · Three places for sound

**Target/codes:** make a three-slot sound idea and explain one possible fictional purpose; AC9AMUFD01, AC9AMUFC01. **Prepare:** [A board](print/sound-rest.svg), broad X cards, [A](MATERIALS.md#a--three-equal-sound-slots).

1. **Welcome · 3 min.** Show three large numbered spaces. Say that the spaces help us decide when a sound could happen; no child must make it.
2. **Model · 4 min.** Place X in 1, 2 and 3 at equal visual intervals. Point slowly to each, optionally using the quiet [A cue](audio/cue-a-three.wav). Explain that three gentle signals could open a fictional paper display.
3. **Try together · 5 min.** Invite a learner to direct X cards into the slots. Count all three, even without a sound source. An adult moves cards only as directed.
4. **Child choice · 7 min.** Child chooses a paper visitor, plant or toy as a fictional receiver and shows an original three-slot idea by sound, card or drawing. Record the child's stated purpose, not a guessed audience reaction.
5. **Notice · 4 min.** Ask “Where are the three sound places?” Check the same three numbered slots are visible, regardless of route.
6. **Close · 2 min.** Save the score and a child reason. Tomorrow one slot can be silent.

## Week 1 · Day 2 · A gap has a place

**Target/codes:** compare X X X with X – X and identify the single changed slot; AC9AMUFD01, AC9AMUFC01. **Prepare:** [A board](print/sound-rest.svg), [B](MATERIALS.md#b--a-rest-in-the-middle), rest card.

1. **Welcome · 3 min.** Revisit three slots. Show `X X X` and `X – X` without describing one as better.
2. **Model · 4 min.** Put a REST card over count 2. A quiet [B cue](audio/cue-b-gap.wav), tabletop taps or card points can mark counts 1 and 3.
3. **Try together · 5 min.** Ask which count changed and which held. A child may point, use AAC, direct an adult or give no vocal response.
4. **Child choice · 7 min.** Child designs a “wait, then continue” idea for a fictional paper notice using the middle rest or chooses three sounds and gives a purpose.
5. **Notice · 4 min.** Count the sound and rest cards. Do not claim that a listener actually understood the intended message.
6. **Close · 2 min.** Store both versions; tomorrow the quiet space can move.

## Week 1 · Day 3 · Move the quiet space

**Target/codes:** move the one rest from the middle to the start while retaining two X events; AC9AMUFD01, AC9AMUFC01. **Prepare:** [B shifted-rest board](print/shift-rest.svg), [B/C](MATERIALS.md#c--move-the-rest).

1. **Welcome · 3 min.** Point to B's middle gap. Invite “What if the quiet comes first?” as a paper choice.
2. **Model · 4 min.** Replace `X – X` with `– X X`. Count two X cards and one rest in each version.
3. **Try together · 5 min.** Ask a child to direct only the cards that move. Name count 1 and 2 as changed; the **rest position** changes, while count 3 stays X.
4. **Child choice · 7 min.** Child selects a beginning or middle rest for a fictional model door and explains a possible difference. Sound-making remains optional.
5. **Notice · 4 min.** Ask “How many sounds in each?” Check two; a different placement can serve a different purpose.
6. **Close · 2 min.** Keep the child's two-row comparison for future pattern work.

## Week 1 · Day 4 · A sound can cover two slots

**Target/codes:** distinguish one LONG two-slot event followed by one SHORT one-slot event from three short events; AC9AMUFD01, AC9AMUFC01. **Prepare:** [C duration board](print/long-short.svg), [D](MATERIALS.md#d--long-then-short).

1. **Welcome · 3 min.** Put a broad paper band over spaces 1 and 2. No breath-holding or sustained voice is needed.
2. **Model · 4 min.** Label the band LONG, a one-space card SHORT. Optionally play [cue C](audio/cue-c-long-short.wav) at comfortable volume.
3. **Try together · 5 min.** Compare with A's three X marks. Ask whether the two-slot band is one event or two: one event lasting two slots.
4. **Child choice · 7 min.** Child chooses long-then-short or three shorts for a fictional lift model and states how the first event changed.
5. **Notice · 4 min.** Point across all three slots. Do not equate paper duration knowledge with reliable sound production.
6. **Close · 2 min.** Save the score and duration words for a later listening opportunity.

## Week 1 · Day 5 · Fresh Check A: the paper greenhouse

**Target/codes:** independently read a new three-slot score and change one quiet slot for a stated fictional idea; AC9AMUFD01, AC9AMUFC01. **Prepare:** [G public check](STUDENT-CHECKS.md#check-a--new-g-paper-greenhouse), [G A4 sheet](check/fresh-g.svg), large cards. Keep the separate teacher key closed until first responses.

1. **Welcome · 3 min.** Describe a new paper puzzle that guides tomorrow's teaching. It is not a hearing or performance test.
2. **Access · 4 min.** Present the exact starting `– – X` neutrally by read-aloud, broad cards or tactile sequence. Do not point to the desired change.
3. **Independent plan · 5 min.** Child chooses a count to change so a fictional paper greenhouse has sounds at counts 2 and 3.
4. **Child response · 7 min.** Child shows the revised score by a chosen route and gives a reason. A neutral adult records the first choice verbatim.
5. **Self-check · 4 min.** Invite the child to count three spaces and mark the changed space. Do not supply the answer in the prompt.
6. **Close · 2 min.** Save the first response; consult [teacher key](teacher/KEY-AND-NEXT.md) afterward. Day 5 swaps use other source rows.

## Week 2 · Day 6 · Low, quiet, high

**Target/codes:** compose a labelled low–rest–high contour and distinguish a pitch label from a volume instruction; AC9AMUFD01, AC9AMUFC01. **Prepare:** [D contour board](print/low-high.svg), [E](MATERIALS.md#e--low-then-high-labels).

1. **Welcome · 3 min.** Show LOW and HIGH on a picture slope. These are relative pitch labels, not “soft/loud” or a demand to sing.
2. **Model · 4 min.** Place LOW at 1, REST at 2, HIGH at 3. Offer the quiet [original cue D](audio/cue-d-low-high.wav) only by consent; the board works without it.
3. **Try together · 5 min.** Ask which slot is silent and which label is higher on the picture. Do not infer hearing from a card answer.
4. **Child choice · 7 min.** Child makes a low-to-high or high-to-low labelled idea for a fictional elevator drawing and shows the change with cards, marks or suitable sound.
5. **Notice · 4 min.** Check the contour labels and child's reason. A later educator-observed listening/playing route is needed for aural evidence.
6. **Close · 2 min.** Save both labelled possibilities without judging voice range.

## Week 2 · Day 7 · Choose a safe sound source

**Target/codes:** keep `X – X` while choosing and describing a locally suitable source for X; AC9AMUFD01, AC9AMUFC01. **Prepare:** [A board](print/sound-rest.svg), broad paper TAP/TONE/SILENT SYMBOL cards, [B](MATERIALS.md#b--a-rest-in-the-middle).

1. **Welcome · 3 min.** Say the two X places can be represented by a paper tap mark, a tone label or optional gentle approved sound. Silence at 2 stays.
2. **Model · 4 min.** Adult shows two versions on paper: `TAP – TAP` and `TONE – TONE`. If suitable, demonstrate quiet table tap and original tone cue, separately; ask consent first.
3. **Try together · 5 min.** Ask what stayed (sound/rest timing) and what could change (source or sound quality). Silent labels name an intended quality, not a heard result.
4. **Child choice · 7 min.** Child selects a source or symbol for a fictional paper gallery and directs two events and a middle rest. No object striking is required.
5. **Notice · 4 min.** Record chosen source and purpose. Avoid claims that one timbre is preferred by a cultural group or a real audience.
6. **Close · 2 min.** Keep the choice; tomorrow a three-slot idea can happen twice.

## Week 2 · Day 8 · Again, or a second idea?

**Target/codes:** choose P then P or P then Q across six slots, identifying repeat or changed rest place; AC9AMUFD01, AC9AMUFC01. **Prepare:** [E pattern board](print/repeat-contrast.svg), [F](MATERIALS.md#f--repeat-or-contrast-a-three-slot-idea).

1. **Welcome · 3 min.** Show two rows of three numbered boxes; no child has to play six sounds.
2. **Model · 4 min.** Build P `X – X`, repeat P, then make Q `– X X` in row two. Point to the second row's rest.
3. **Try together · 5 min.** Count four X marks in both six-slot versions. Ask whether the second row is the same or different.
4. **Child choice · 7 min.** Child scores a fictional two-page garden story with repeat or contrast and explains how that choice fits their intended story.
5. **Notice · 4 min.** Check six slots and four X marks; support any coherent child alternative if the reason and score agree.
6. **Close · 2 min.** Save the chosen pair to consider as an original shareable idea.

## Week 2 · Day 9 · My idea, a willing audience

**Target/codes:** identify maker/permission questions for real music and choose whether to share an original score or sound with a willing person; AC9AMUFE01 as an opening question, AC9AMUFP01 only if actual sharing occurs. **Prepare:** [F choice/share log](print/choice-share.svg), [source slot](AUTHENTIC-SOURCE-SLOT.md), child's own score.

1. **Welcome · 3 min.** A child may show their score to one willing educator, choose a small group later, rehearse with a paper puppet, or pass. Record which occurred.
2. **Model · 4 min.** Share the adult's original three-slot score with a willing adult. Name maker and medium. Then show only the title/official first-party page of a suitable real work; do not play/copy it without school approval.
3. **Try together · 5 min.** Ask “Who made this?” and “Who is allowed to share or record it?” For real music, record unanswered questions rather than making up a community's view.
4. **Child choice · 7 min.** Child selects an original A–F score and audience. If they share with an actual willing person, note whether score, optional sound, or both were shared; puppet rehearsal and pass are valid participation but not actual-audience evidence.
5. **Notice · 4 min.** Ask the child to point to one intentional choice. Keep their intention separate from what the audience actually felt or learned.
6. **Close · 2 min.** Save the audience decision and one authentic-source question for a later authorised encounter.

## Week 2 · Day 10 · Fresh Check B: two paper messages

**Target/codes:** read a new six-slot repeat, change one position in the second row to make contrast, and communicate the idea by choice; AC9AMUFD01, AC9AMUFC01, AC9AMUFP01 only for real willing-audience sharing. **Prepare:** [H public check](STUDENT-CHECKS.md#check-b--new-h-two-paper-messages), [H A4 sheet](check/fresh-h.svg), six broad cards. Keep the key closed until first responses.

1. **Welcome · 3 min.** Explain that this new paper pattern helps decide the next lesson. No compulsory playing or public performance.
2. **Access · 4 min.** Present starting `– X – / – X –` neutrally in print, tactile cards or read-aloud. State the fictional second message needs a sound after its middle X, without suggesting a count.
3. **Independent plan · 5 min.** Child determines whether rows repeat and chooses one slot to change in row two.
4. **Child response · 7 min.** Child shows six slots, marks the change, gives a possible two-message purpose and chooses a willing audience, puppet-only rehearsal or pass. A scribe preserves the child's first response.
5. **Self-check · 4 min.** Invite counting and comparison; do not imply aural or performance competence from silent marks.
6. **Close · 2 min.** Save first response, then use the separate key and plan later authorised listening and accessible sound-making.