Open after preserving first I/J responses. Accept equivalent broad-card, tactile, pointing, drawing, AAC or neutral-scribe answers. A child may make other coherent original musical ideas during play; these two constrained checks have the specific solutions below. These checks do not establish a formal achievement-standard result. No paper response proves hearing, pulse steadiness in time, controlled audible accent, two-part performance or real-audience sharing.
Check I · picture-map visitor
Start: four X at counts 1–4, one star at 2. The last beat place is 4, so move that one star from 2 to 4 while leaving X X X X unchanged. Answer: star at count 4 over four X marks. There remain four pulse X and one star. Independent audit: starting accent vector [0,1,0,0]; answer [0,0,0,1]; the star has one location before and after, with two cell states differing because the marker moved. Do not call this “one changed cell.” A star at count 3 suggests the child interpreted “last” differently; revisit numbered four-place rows later with a different context, not by rewriting the first result.
Check J · paper reply board
Keep upper PULSE X X X X. After pulse count 3 comes aligned count 4, so put the single ANSWER X at 4, yielding lower row – – – X. The full plan is PULSE X X X X / ANSWER – – – X; four pulse X, one answer X, three answer rests. Independent audit: lower start [0,0,0,0]; required answer [0,0,0,1]; one cell changes. If a child puts answer with count 3, offer later unrelated practice distinguishing “with” from “after.” If a child adds several answers, rebuild an unrelated one-answer score after the first response is stored.
Day-by-day observation and next teaching
| Day | Evidence to record | Next teaching if uncertain |
|---|---|---|
| 11 | Four X places and child's intended use; actual steady timed pulse only if observed. | Use a broad four-box strip, then an accessible adult model of steady timing. |
| 12 | Four X, one first-place star; whether any sound was actually tried. | Keep X fixed and move a separate large outlined star. |
| 13 | Same four events at two intended tempi, with shorter versus longer time gaps; actual listening separately. | Point to count and gap strips before an optional reviewed slow/quick cue. |
| 14 | One star moved 1→4 with four X held and child reason. | Use two four-box rows and count X before moving emphasis. |
| 15 | First I response, star place and four X before revealing key. | Revisit “last” using an unrelated four-object row; use I later only as practice. |
| 16 | Which row is pulse, one answer at 3, and any actually observed two-role sound. | Trace vertically under one column with a wide straightedge. |
| 17 | Pulse unchanged and one answer shifted 3→4. | Overlay third/fourth answer rows and count one X each. |
| 18 | Child's authored pulse/answer score, selected count and intention. | Offer two possible answer places in another fictional setting; keep four pulse marks. |
| 19 | Actual score/sound share with a willing person, or rehearsal/pass; authentic source details if used. | Arrange an approved real-work encounter and willing recipient later if appropriate. |
| 20 | First J response, one answer after third and child reason. | In a new context, contrast “with third” and “after third”; arrange observed listening/sound-making separately. |
Evidence boundary: The paper route can show musical planning, and a child-directed adult's sound can show the child's compositional instruction. For aural or production claims provide separate accessible, comfortable educator-observed opportunities. For AC9AMUFE01 use a verified real maker/work and permission. For AC9AMUFP01 actual willing-audience sharing must occur; puppet rehearsal is not actual-audience evidence. Do not infer any of these from diagnosis, route choice, silence or an unobserved score.