# Original four-place music kit

Use four broad numbered places of equal visual size. `X` means one short planned sound event; `–` means planned silence. A steady **pulse** is four equally spaced beats when realised through time. The **accent star** `★` is a plan to emphasise one beat gently, not an instruction to be loud. In a two-role score, the **PULSE** row holds `X X X X`; an **ANSWER** row has one X at a chosen count and three rests. If sound is locally approved, adults can demonstrate softly with a familiar safe source; cards alone remain a full route to the **planning** target. These symbols are original graphic notation, not a culturally representative rhythm or formal staff notation.

**Reusable originals:** [A four-place board](print/four-pulse.svg), [B gentle-accent board](print/accent-place.svg), [C two-tempo board](print/tempo-contrast.svg), [D two-role board](print/two-role.svg), [E choose-an-answer board](print/answer-choice.svg), and [F maker/share log](print/maker-share.svg). Each has a searchable A4 PDF, [exact text and tactile alternative](print/TEXT-ALTERNATIVES.md), and broad-card version. The [audio index](audio/ASSET-INDEX.md) gives precise optional candidate examples and a complete no-sound method. Avoid small loose parts, forced hand-over-hand positioning and speakers near ears.

## Practice A–F · reserve fresh I/J for check days

### A · Four equal pulse places

**1 X, 2 X, 3 X, 4 X.** Trace left to right at equal spacing. To demonstrate a timed pulse, an adult may make four quiet equal-interval marks; the paper gives the plan only. Fictional idea: four evenly spaced opening pictures on a paper help desk. This is not a real request-for-help signal.

### B · One gentle accent

Under A, put one **star at count 1**: `★ X X X X` means the *first* of four pulse events is intended to stand out. Keep all four X marks. Draw the star instead of striking harder. If sound is tried, keep within comfortable volume and record whether an audible distinction was actually observed.

### C · Same four events, two tempi

Slow plan: **four X places with an imagined 0.50-second beat spacing**; quick plan: **four X places with a 0.30-second spacing**. Each has four beats; the quick version takes less time between starts. These numbers define our generated teaching examples, not a speed requirement for children. [Candidate slow](audio/cue-e-slow-four.wav) and [candidate quick](audio/cue-f-quick-four.wav) are optional; equal-interval adult pointing at two visibly different paces is a no-sound route. Do not infer that a learner heard the contrast from their paper choice.

### D · Move the emphasis

Score one has four X with **star at count 1**; score two has the same four X with **star at count 4**. Relocate the *single star*, not the X events. A fictional rolling paper ball can have an imagined “start” emphasis; a drawn sliding rectangle might have an imagined “finish” emphasis. Neither teaches how objects actually move.

### E · Pulse and one answer

Two aligned rows: **PULSE `X X X X`** and **ANSWER `– – X –`**. The answer is planned at count 3 while the pulse continues on every count. One child can show both roles on paper; optional sound needs no partner and is not evidence of a social exchange unless one occurs.

### F · Choose when the answer enters

Keep the pulse row `X X X X`. Compare ANSWER **`– – X –`** (count 3) with **`– – – X`** (count 4). Either can suit an original fictional paper scene when the child's intention is clear. [E board](print/answer-choice.svg) lets the child choose, rehearse silently, or direct an adult. For an audible realisation, teacher observes actual timing separately; there is no compulsory duet.

Fresh **I/J** appear only in [student checks](STUDENT-CHECKS.md), with answers separated under `teacher/`. A child can make a different coherent original score during play; the held checks have specific constraints to guide subsequent teaching.