# Original sound-and-silence kit

The paper **score** uses equal numbered slots. `X` = one short sound made or imagined at that slot; `–` = a rest with no sound. A `LONG` card lasts for **two equal slots**, while `SHORT` lasts for one. `LOW` and `HIGH` label relative pitch options in our original tones, not vocal demands or judgments of hearing. These are **invented graphic symbols**, not formal Western notation or any cultural rhythm. Every child may direct a neutral adult, use tactile/visual cards or make optional locally suitable sound. Do not place speakers near ears; keep any cue comfortably low and stop if unwanted. Small loose parts are not necessary: use broad paper cards.

**Reusable kit:** [A three-slot sound/rest board](print/sound-rest.svg), [B shifted-rest board](print/shift-rest.svg), [C long/short board](print/long-short.svg), [D low/high board](print/low-high.svg), [E six-slot pattern board](print/repeat-contrast.svg), [F choice/share log](print/choice-share.svg). Exact text and tactile directions are in [print alternatives](print/TEXT-ALTERNATIVES.md). Four optional original WAVs and equal-interval no-audio routes are in the [audio index](audio/ASSET-INDEX.md).

## Practice A–F · hold fresh G/H until check days

### A · Three equal sound slots

**1 X, 2 X, 3 X.** Three short marks at equal intervals. Fictional purpose: give a paper visitor three gentle signals that a display is open. Use [original cue A](audio/cue-a-three.wav), an adult's suitable taps, or numbered cards. Nothing here is a song or a real public signal.

### B · A rest in the middle

**1 X, 2 – , 3 X.** A rests-without-sound middle slot creates a gap. Compare A's `X X X`; count 2 changes only. Use [original cue B](audio/cue-b-gap.wav) or large/rest tactile cards. The child can choose a gap for a fictional “wait, then continue” paper story.

### C · Move the rest

**1 – , 2 X, 3 X** versus B's **X, –, X**. Both have two sound events and one rest. Only the place of the rest changes. For a fictional door model, a beginning rest may make the signal start after a pause. This is a purpose claim, not an observed listener reaction.

### D · Long then short

On three equal slots: **LONG across 1–2; SHORT at 3**. The long sound lasts two slots; the short sound lasts one. Compare three shorts A. Use [original cue C](audio/cue-c-long-short.wav) or one two-slot tactile band plus one short card. Do not ask a child to hold their breath or sustain a voice.

### E · Low then high labels

**1 LOW, 2 REST, 3 HIGH** with original [cue D](audio/cue-d-low-high.wav) if wanted. The generated low tone is 220 Hz, high tone 440 Hz; both are short and the second has double the first's frequency. A silent card route can design that contour but **cannot show that a learner heard the pitch contrast**. Avoid asking children to strain voices to copy tones.

### F · Repeat or contrast a three-slot idea

P = B's **X – X**; Q = C's **– X X**. Six slots **P then P = X – X / X – X** repeat the gap place. **P then Q = X – X / – X X** move the second gap. The two versions each have six equal slots and four sound events. A child can choose one for a fictional two-page story and explain where the silence goes.

Fresh G/H are new public check scores in [student checks](STUDENT-CHECKS.md). Their answers are in `teacher/`; do not rehearse their exact pattern before first response. The local educator selects any suitable sound source or stays silent; no student voice, family song or third-party recording is required.