# Desk run-through · 29 September 2026

**Educator, ten mornings.** Every day has a 25-minute sequence, target and ready print/audio/quiet route. The hardest management point is optional sound: establish a comfortable, low volume and offer the silent score first. A single child-directed adult can scribe; group implementation still needs local staffing/access planning. A new teacher can follow the scripts, but must source an approved real work and plan appropriate listening/music-making beyond these starts. The fresh checks are **public**, not secure formal assessment.

**Learner/parent.** No compulsory singing, clapping, hearing a recording, personal disclosure, body/voice recording or public solo. Large paper cards can be understood without a device. A child can stop or pass. Paper and AAC routes preserve compositional choice; they cannot demonstrate hearing or instrumental control. The pitch cue may be unavailable or uncomfortable; the labelled contour is still useful as a score idea, with later aural evidence held.

**Assessor/funder.** The exact v9 Prep Music E/D/C/P rows are linked and the sample-plan typo is documented. There are 10 scripts, 30 routes, 20 worked swaps, 20 domain bridges, 2 fresh public checks with separate key, 8 A4 SVG/PDF pairs, four optional original WAVs and exact alternatives. This is an opening fortnight, not a full year, complete Foundation Music course, official QCAA instrument, impact evaluation or accessible-classroom certification. No child or teacher piloted these pages. The tool checks file structure, maths, links, hashes and audio events; a human lesson trial and authentic repertoire review remain.

**Critique and fix made during design.** Initial “every route performs music” wording would have overstated a paper score. The crosswalk and every check instead distinguish compositional reasoning, actual willing-audience sharing and separate aural/physical music evidence. A graphic pitch label is not treated as a hearing test. The six-slot work checks event counts explicitly. A non-actual paper audience is labelled rehearsal. The source slot bars unattributed recordings and cultural imitation.