Read plainly, invite pointing/drawing/AAC or a neutral scribe, and offer a pass. Make one short actual phrase first on ordinary Days 21–24/27–29 when chosen and locally reviewed. The fresh briefs/data remain unchanged and held until first responses; do not supply the key. No speed score, compulsory rehearsal, source or sound.
| Day | Say or show |
|---|---|
| 21 | “Try one part? Where does our rhythm wait?” |
| 22 | “Quiet in the middle or at the end? Keep, change or stop?” |
| 23 | “Two sounds, with room between. What would you like it for?” |
| 24 | “One stretch or two separate sounds? You can plan it quietly.” |
| 25 | “Use the new brief. Show your own first idea; more time is okay.” |
| 26 | “Where is the one long sound? Where do we wait?” |
| 27 | “Which sound would you like to keep? A quiet plan is okay.” |
| 28 | “Make your opening, ending or music alone. Keep, change or stop?” |
| 29 | “This was made by SubjectNest with a computer. What do you notice? Share or keep yours private?” |
| 30 | “Use the new brief. Show the four answers your way; more time is okay.” |
Private evidence note: Date, observer, exact work/version, route/source, actual maker (child/adult/neither), actual phrase and help; child's own response. Note aural response, pulse steadiness, rhythm entry/rest/hold and actual willing audience/medium only if directly observed. “Placed a band” is a plan. Adult performance requires actual adult sound; silent direction is a plan. No inferred listener feelings, reliable timing, acoustic duration or community meaning. Unfinished at the time limit = not yet observed; offer another short sitting. No child recording required.