# Ten optional educator-ready Music sessions · Days 21–30

Each full start is **3 + 4 + 5 + 7 + 4 + 2 = 25 minutes**; a child can stop after one phrase or use another short sitting. Use the [ready quiet live route](MATERIALS.md#immediately-usable-quiet-live-route), [three choice routes](LEARNER-CARDS.md) and a pass. Familiar live sources need local review and child agreement; all recorded cues remain **NOT CLEARED**, so exclude playback until human listening/device/volume checks. A visible beat cue is an accessible option, not an audible backing or fixed speed demand.

Ordinary Days 21–24 and 27–29 start with a short actual phrase if chosen, before score discussion. Child may make sound, direct an adult to make it, or plan silently. No forced source, voice, movement, instrument, simultaneous role, audience or repeat. A direct-adult or silent plan is complete for its stated composition evidence. Adult performance requires actual adult sound; child performance requires actual child sound. After the trial, privately note **date, observer, actual maker/source/phrase, help, own response, aural/pulse/rhythm details and willing audience/medium** only when observed. Stop/pass/unfinished is not a failure. No recording needed.

## Week 5 · Day 21 · A rhythm has room for quiet

**Target/codes:** distinguish four continuing PULSE places from three RHYTHM events and a rest; AC9AMUFD01, AC9AMUFC01. **Prepare:** [A saved model](print/pulse-rhythm.svg), [Little Window Rhythm source](SUPPLIED-WORK.md), four broad cells.

1. **Welcome · 3 min.** Offer “A tiny opening, music alone, or your idea?” Agree the locally reviewed familiar quiet source and accessible stop, or choose adult sounding/silent plan. Cue four comfortable beat places without a speed target.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase: child tries a pulse at all four beats **or** rhythm at 1, 3, 4, waiting at 2. Adult points/cues all four; no required simultaneous sounds. An adult may instead sound the child-directed part; if neither sounds, record a silent plan. Then show A: PULSE `X X X X`, RHYTHM `X – X X`.
3. **Try together · 5 min.** Ask “Where did our rhythm wait?” Point through all four columns. If heard, child can express what they noticed, or pass; do not infer hearing from pointing. If useful count four pulse places and three rhythm events. Rest in this part does not require bodily stillness.
4. **Child choice · 7 min.** Child chooses which part to keep for their own small opening or music alone. Offer one more phrase and “Keep it, change it, or stop?” A quiet card/drawing can hold the same idea. A full together version is highly optional with two willing makers and reviewed distinguishable sources.
5. **Notice · 4 min.** Privately note actual maker, help and what occurred using the header fields. Separate three planned X marks from actual rhythm entries/rest; a plan does not show pulse accuracy. Child may title the piece or leave it unnamed.
6. **Close · 2 min.** Save the chosen idea, or stop without saving. Tomorrow offers a different quiet place.

## Week 5 · Day 22 · Move one rest, keep three events

**Target/codes:** compare rests at 2 and 4 inside four continuing pulse places; AC9AMUFD01, AC9AMUFC01. **Prepare:** [B comparison](print/rest-shift.svg), [ready route](MATERIALS.md), familiar reviewed source.

1. **Welcome · 3 min.** Offer a tiny ending, music alone or the child's idea. Agree source/stop or a silent plan; ask “Which ending would you like to try?”
2. **Model · 4 min.** Before score discussion, offer one short actual phrase at 1, 3, 4, with a quiet second beat, using child sound or child-directed adult sound. Next offer 1, 2, 3, with a quiet fourth beat; the child may choose only one trial. Then show `X – X X` beside `X X X –` under the same four PULSE X.
3. **Try together · 5 min.** Ask “Quiet in the middle or quiet at the end?” Invite an own preference or question from the actual trial, not an expected feeling. Only afterward move the REST card and notice three events stay; no sound is needed for this plan comparison.
4. **Child choice · 7 min.** Child chooses a preferred small ending or their own purpose. Try the preferred phrase once more if wanted at a comfortable steady pulse. Keep, change or stop; no repeated accuracy drill. A child can direct cards/adult sounding instead.
5. **Notice · 4 min.** Privately record actual maker/source, date, observer, help, own preference and any heard rest/pulse/rhythm detail. Do not mark reliable playing from moving cards, or claim a listener enjoyed the ending.
6. **Close · 2 min.** Keep the preference or pass. Tomorrow offers more space between two sounds.

## Week 5 · Day 23 · Two sounds with room between

**Target/codes:** distinguish four beat places from two rhythm events; AC9AMUFD01, AC9AMUFC01. **Prepare:** [C board](print/count-events.svg), four broad cells, reviewed familiar source if chosen.

1. **Welcome · 3 min.** Offer “An opening and ending, music alone, or your idea?” Choose stop and a familiar quiet source/adult/silent route.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase: sound at beat 1, wait through 2 and 3, sound at 4, using a comfortable four-beat cue. Child or directed adult may sound; silent direction remains a plan. Then show PULSE `X X X X`, RHYTHM `X – – X`.
3. **Try together · 5 min.** Ask “What could go in that space?” A child may keep it quiet, name a possible purpose or pass. Count two lower X only if helpful; the four beats continue and fewer sounds do not make a slower pulse.
4. **Child choice · 7 min.** Child chooses an opening-and-ending pair for a picture reveal, music alone or their own purpose. Rehearse the two-sound phrase once more if wanted; keep/change/stop. A changed open-play idea may differ from today's two-event example; label that difference without treating it as bad music.
5. **Notice · 4 min.** Privately record actual phrase, maker, support, date/observer and what was heard or only planned. A gesture toward two X marks is not heard duration or timed playing.
6. **Close · 2 min.** Save the child's idea if wanted; next time one held sound can stretch across two places.

## Week 5 · Day 24 · One held sound can span two beats

**Target/codes:** distinguish one two-place held event from two separate short events; AC9AMUFD01, AC9AMUFC01. **Prepare:** [D board](print/long-opening.svg), broad two-cell band; suitable reviewed held source only if available/wanted.

1. **Welcome · 3 min.** Offer a stretched opening, music alone or another child purpose. Check source/stop. A tap cannot sustain a hold; no voice/breath/body action is required.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase with a suitable wanted reviewed source: one uninterrupted sound through beats 1–2, a short sound at 3, no rhythm sound at 4. Cue all four beats at a comfortable pace. Child or directed adult may sound. If no suitable hold is available, make a child-chosen short/rest phrase and plan LONG silently; explicitly distinguish that trial from this held target. Then show one LONG band at 1–2, X3 and REST4.
3. **Try together · 5 min.** Ask “One stretch, or two separate sounds?” Compare the single band with two X marks without making the child sustain anything. Four beats, three occupied places, two events describe the held **plan**; actual hold evidence needs hearing/observation.
4. **Child choice · 7 min.** Child chooses whether this stretched opening suits their purpose. Try one more brief held phrase only if suitable and wanted, or edit/trace the plan. Ask “Keep it, change it, or stop?” A different short/rest idea is allowed but does not demonstrate the two-place hold.
5. **Notice · 4 min.** Privately record actual maker/source/phrase, date/observer and help; note whether the hold was actually sustained across both places. Do not record held-sound production from a broad band.
6. **Close · 2 min.** Keep the chosen work if wanted. Reserve new K for tomorrow; it is a planning check, not a speed test.

## Week 5 · Day 25 · Fresh Check K: four postcard windows

**Target/codes:** independently keep four pulse places and revise a novel rhythm from two to three short sound events while preserving a specified rest; AC9AMUFD01, AC9AMUFC01. **Prepare:** [K public check](STUDENT-CHECKS.md#check-k--four-postcard-windows), [K A4](check/fresh-k.svg), broad fixed cards; close the separate key.

1. **Welcome · 3 min.** Explain that this new paper music puzzle guides later teaching. It is not a test of hearing, motor timing or real postcards.
2. **Access · 4 min.** Present PULSE `X X X X` and starting RHYTHM `– X – X` neutrally by print, tactile cells or read-aloud. Do not hint where to add the sound.
3. **Independent plan · 5 min.** Child keeps rhythm X at 2 and 4, keeps beat 3 quiet, and decides where one new short X goes so the rhythm has three sound events.
4. **Child response · 7 min.** Save first full two-row score, changed count and reason through cards, drawing, AAC, pointing or neutral adult scribe. Optional sound can follow the plan.
5. **Self-check · 4 min.** Ask the child to count four beat places and three rhythm sounds without giving feedback before first response is captured.
6. **Close · 2 min.** Use the [key](teacher/KEY-AND-NEXT.md) afterward; check-day swaps use unrelated source rows. If unfinished at the time limit, record **not yet observed** and offer another short sitting; no completion-speed score.

## Week 6 · Day 26 · Move the held event into the middle

**Target/codes:** read a four-place rhythm with an opening rest, one event held across beats 2–3, and a short event at beat 4; AC9AMUFD01, AC9AMUFC01. **Prepare:** [E middle-band board](print/long-middle.svg), [Practice E](MATERIALS.md#e--shift-the-long-event-into-the-middle).

1. **Welcome · 3 min.** Compare D's opening long band with a blank middle. Ask what can move while the four pulse places remain.
2. **Model · 4 min.** Put REST at 1, one LONG band over 2–3 and X at 4. The [J middle-hold cue](audio/cue-j-middle-hold.wav) is optional after local human review; cards alone show the plan.
3. **Try together · 5 min.** Child counts four beat places, three occupied places and two planned sound events. Distinguish the two-place band from two X events.
4. **Child choice · 7 min.** Use an invented paper helper waiting, then holding a sign, then showing a final card; or a drawn slide story. Child explains a musical intention, without claiming a real person's action or physical motion.
5. **Notice · 4 min.** Check which place rests and where the one LONG band ends. Record actual sound duration only if heard/observed.
6. **Close · 2 min.** Keep the rhythm fixed for tomorrow's safe source-choice comparison.

## Week 6 · Day 27 · Choose a sound that can make the hold

**Target/codes:** keep REST1, LONG2–3, X4 while exploring suitable source choices; AC9AMUFD01, AC9AMUFC01. **Prepare:** [E middle hold](print/long-middle.svg), reviewed suitable available source options or silent labels.

1. **Welcome · 3 min.** Offer the child's earlier idea, a puppet ending, music alone or another purpose. Ask “What would you like to try?” Select a familiar suitable reviewed source/stop, adult sound or silent plan; no new equipment is required.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase: quiet beat 1, one continuous sound through 2–3, short sound 4. Child or directed adult may sound with suitable reviewed source. If none can hold comfortably, make a chosen short/rest phrase and keep the held idea as a plan. Then show the fixed E rhythm.
3. **Try together · 5 min.** If wanted and available, try a second reviewed source capable of the same hold and short sound; do not require either source. Ask “Which do you want to keep?” A tap-only source cannot demonstrate LONG. Printed labels alone are intended versions, not heard timbre evidence.
4. **Child choice · 7 min.** Child keeps one source, chooses another, changes the musical idea or stops. Offer one more short rehearsal of their chosen phrase; one part is enough. A symbol/drawing or directed adult can preserve the same REST/LONG/X plan for the stated target.
5. **Notice · 4 min.** Privately note actual maker/source, date/observer, help, unchanged planned places and what was actually heard. Do not infer source recognition, acoustic quality or held performance from labels.
6. **Close · 2 min.** Save the child's choice if wanted, ready for their own four-beat piece.

## Week 6 · Day 28 · Make my four-beat piece

**Target/codes:** compose one two-place LONG, one short X and one REST covering four rhythm places once; AC9AMUFD01, AC9AMUFC01. **Prepare:** [F own-work page](print/compose-share.svg), band/X/REST; suitable reviewed source if wanted.

1. **Welcome · 3 min.** Offer “An opening, an ending, music alone, or your idea?” Choose source/stop, adult sound or silent plan. No title or public share is required.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase of quiet 1, short 2, one hold 3–4 with a suitable wanted reviewed source. Child or directed adult may sound. If no suitable hold, make a chosen short/rest phrase and keep the hold as a separate plan. Then show `REST(1), X(2), LONG(3–4)` under four PULSE X.
3. **Try together · 5 min.** Offer one two-place band, X and REST on F. Child places them in another order so each place has one role, or directs a neutral adult. Point to one band as one event; this is a particular planning palette, not a rule for all music.
4. **Child choice · 7 min.** Child makes an own four-beat plan for their chosen purpose. If suited and wanted, try one actual short phrase, hear/notice what happens, then keep/change/stop or rehearse once. One private phrase or silent plan is enough. Accept open-play alternatives while noting if the LONG/SHORT/REST target was not yet observed.
5. **Notice · 4 min.** Privately save available plan and actual maker/source/phrase, help/date/observer and own choice. Four beats, three occupied places, two events and one rest describe this constrained plan; do not infer an actual hold, rhythm accuracy or listener understanding.
6. **Close · 2 min.** Keep a plan or memory by choice; no mandatory recording. Tomorrow offers a source encounter and an optional willing listener.

## Week 6 · Day 29 · Our work, its maker and a willing listener

**Target/codes:** respond to an actually encountered work/source with narrow AC9AMUFE01 opportunity; AC9AMUFP01 only for actual sharing. **Prepare:** child's work, [Little Window Rhythm source card](SUPPLIED-WORK.md), [F page](print/compose-share.svg); additional authorised work if available.

1. **Welcome · 3 min.** Offer private making first, one willing listener, paper share, rehearsal only or pass. No compulsory public performance. Choose source/stop or silent route.
2. **Model · 4 min.** Before score discussion, offer one short actual phrase of the child's available work if wanted and suitable; child or directed adult sounds. A held phrase needs a suitable reviewed source; otherwise make a separate short/rest phrase or plan silently. Then encounter the actual saved Little Window Rhythm score or exact raised/read version: “SubjectNest made this with a computer to help us try a rhythm inside four beats.” Recorded playback remains excluded until human clearance.
3. **Try together · 5 min.** Ask “What do you notice or want to try?” Record the child's own response only if observed. A sourced author purpose is not proof of achieved effect, human performance or community importance. If an additional authorised work is available, identify its real maker/context and permission; otherwise hold wider coverage.
4. **Child choice · 7 min.** Child chooses keep/change/stop and one brief rehearsal, or shares their own score, quiet sound or both with an actually willing present recipient. They may keep the piece private or use a paper puppet rehearsal instead; a puppet is not an actual audience.
5. **Notice · 4 min.** Privately record exact work/version, actual encounter route/date/observer/help and child's own response. For their work record maker and actual recipient/medium only if sharing occurred. Adult performance only if the adult actually sounded; silent direction is a plan. Unknown audience feelings remain unknown.
6. **Close · 2 min.** Save only available work and actual notes, with not-yet-observed gaps. Fresh L next time is a planning check; no completion-speed score.

## Week 6 · Day 30 · Fresh Check L: the paper ribbon display

**Target/codes:** independently identify pulse places, sound events, occupied beat places and rest in a new held-sound score; AC9AMUFD01, AC9AMUFC01. **Prepare:** [L public check](STUDENT-CHECKS.md#check-l--the-paper-ribbon-display), [L A4](check/fresh-l.svg), broad band and cards; close the key.

1. **Welcome · 3 min.** Introduce a new paper rhythm puzzle for next teaching, not a test of vocal endurance or timed playing.
2. **Access · 4 min.** Neutrally show PULSE `X X X X` and RHYTHM `X(1), LONG(2–3), REST(4)` by print, tactile cards or read-aloud. Do not pre-count events for the child.
3. **Independent plan · 5 min.** Child decides how many beat places, occupied rhythm places and sound events are shown, and which beat place is quiet.
4. **Child response · 7 min.** Save the child's first four answers, explanation that the band is one held event, and route used. Optional sounded rendering is separate.
5. **Self-check · 4 min.** Invite tracing the single band and each numbered cell; avoid telling the answer before first response is recorded.
6. **Close · 2 min.** Consult the [teacher key](teacher/KEY-AND-NEXT.md) afterward and arrange accessible real listening/sound-making or authorised repertoire where absent. If unfinished at the time limit, record **not yet observed** and offer another short sitting; no completion-speed score.