# Separate educator key and next-teaching notes

Open only after recording each child's first K/L response. Accept the same answer through large cards, fixed tactile cells, pointing, drawing, AAC or neutral scribing. Open play can contain many valid original rhythms; these two particular checks have constrained answers. Neither check establishes a full Foundation Music achievement-standard level or proves auditory/physical performance.

## Check K · four postcard windows

Start RHYTHM `– X – X`, with X at 2 and 4, rest at 1 and 3. The brief keeps X at 2/4 and rest at 3, so the only place to add one X is **count 1**. Answer: PULSE **`X X X X`**; RHYTHM **`X X – X`**. Four pulse places, three short rhythm sound events, one rest at count 3. Independent row audit: start `(0,1,0,1)`, answer `(1,1,0,1)`; exactly index 1 changes from rest to X. If a child marks count 3, preserve the response, then revisit “keep quiet” later using another score. If they add a fifth beat place, revisit the fixed upper-row count separately.

## Check L · paper ribbon display

PULSE has **four** numbered beat places. RHYTHM X at 1 occupies one place; one LONG band across 2–3 occupies two more; REST at 4 occupies none. Answer: **(1) four beat places; (2) three occupied rhythm places; (3) two separate sound events; (4) count 4 quiet.** The held band is one event despite spanning two places, and the short X is the other event. Independent audit: four cells partition as `SHORT(1) + LONG(2–3) + REST(4)`, lengths 1+2+1=4, occupied 1+2=3, sound-event cards 1+1=2. If a child counts three sounds, compare one long card with two separate X cards in a later unrelated practice item.

## Ten day-by-day observation and next-teaching rows

| Day | Evidence to preserve | Next teaching if uncertain |
| --- | --- | --- |
| 21 | Four pulse marks, lower rest 2 and three sound events; actual playing separately. | Use fixed aligned rows and point vertically at count 2. |
| 22 | Rest moves 2→4; both rhythms retain three X. | Overlay two rhythm rows and count before discussing effect. |
| 23 | Four beat places versus two sound events and two rests. | Keep beat numbers fixed while covering lower-row quiet cards. |
| 24 | One band spans 1–2 and counts as one event; X3 is a second; rest4. | Compare a single wide card to two distinct short cards. |
| 25 | First K score, changed count and reason before showing key. | Revisit a different fixed-pulse/add-one puzzle; use K later only as practice. |
| 26 | Rest1, band2–3, X4; four places, three occupied, two events. | Trace one card across two cells with a neutral pointer. |
| 27 | Source label changes while rest, hold and short remain fixed. | Lay both labelled rows over one grid; hear sources later only by consent. |
| 28 | Original non-overlapping long/short/rest score and child intention. | Provide one band and two remaining single cells, then ask where each fits. |
| 29 | Real permitted work details if encountered; actual score/sound share, rehearsal or pass. | Arrange an authorised source and willing recipient later if desired. |
| 30 | First L four answers and explanation of one held event. | Use a different long-band position to revisit event versus occupied-place counts. |

**Decision boundary:** A paper or adult-directed score may show compositional reasoning. For aural or production claims provide separate, comfortable, accessible educator-observed opportunities. AC9AMUFE01 needs a verified real maker/work and proper permission/context. AC9AMUFP01 needs actual sharing with a willing person; puppet rehearsal is **not actual-audience** evidence. Record what happened rather than inferring sound, understanding, motor skill, social conduct or feeling from a chosen mode.