# Original two-phrase graphic score kit

A **phrase** here is an original group of four numbered beat places. The upper concept is four steady PULSE places; the score below marks a RHYTHM at each place. `X` = one short planned event, `–` = a rest. A broad `LONG(3–4)` card is **one** held event spanning two beat places. A two-phrase plan has **eight beat places** grouped as four and four. “A” and “B” are only labels for our own invented cards; they are not notation or claims about a cultural song. Colour is decorative, never a code. Cards and diagrams demonstrate musical planning, not heard performance.

**Original reusable aids:** [A motif card](print/motif-a.svg), [B exact repeat board](print/phrase-repeat.svg), [C phrase-order board](print/phrase-order.svg), [D one-rest variation](print/rest-variation.svg), [E held-ending variation](print/held-ending.svg), and [F compose/share board](print/compose-share.svg), each with A4 searchable PDF and [exact text/tactile alternative](print/TEXT-ALTERNATIVES.md). Three original [candidate sound cues](audio/ASSET-INDEX.md) add optional sound after local human review; every score works fully without them. Use broad fixed cards, not loose small parts or forced hand movements.

## Practice A–F · hold fresh M/N until check days

### A · Name one four-beat phrase

Phrase **A = `X – X X`** at counts 1–4. Four pulse places stay; RHYTHM has three short events and a rest at 2. A child can point to an intended opening, quiet place and two ending events. This revisits a known four-beat rhythm as a *phrase* to organise later music, rather than requiring it to be played. Fictional use: four paper shop windows, with the second quiet.

### B · Repeat the whole phrase

**A | A = `X – X X / X – X X`**. Each of the two groups has four beat places, the same rest at its second local count and three short events. Across the full score there are **eight beat places, six sound events**. The optional original [K repeat cue](audio/cue-k-repeat-eight.wav) renders the rhythm; silent cards and neutral pointing support the complete plan. `|` separates phrases, not a compulsory breath or stage movement.

### C · Change phrase order without changing a phrase

Let **B = `– X X –`**, two events. Compare **A | B = `X – X X / – X X –`** with **B | A = `– X X – / X – X X`**. Each full score has eight beat places and **five** sound events; the order differs while A and B each keep their internal cells. Optional original [L order cue](audio/cue-l-a-then-b.wav) sounds only A|B; the B|A plan can be explored silently. No one must recognise it by ear.

### D · Change one rest in the second phrase

Start A|A. In the **second** A only, replace its final X at local count 4 with REST: **A | A′ = `X – X X / X – X –`**. This one-cell variation leaves eight beat places, with **three events then two**: five total. Phrase 1 is unchanged. A′ (say “A changed”) is a label for this invented musical comparison, not a new curriculum code.

### E · Hold the ending instead of two shorts

Start A|A again. In **phrase 2 only**, replace separate X at its local counts 3 and 4 with one broad **LONG(3–4)** event: **A | A′ = `X – X X / X – LONG(3–4)`**. All eight beat places remain; occupied rhythm places stay the same; phrase 2 now has **two** events rather than three. The full score has **five** events. Optional original [M held-ending cue](audio/cue-m-held-ending.wav) is only a candidate until listened to and volume-approved. A paper band across the last two cells is the no-sound route; no child needs to hold voice or breath.

### F · Design a two-phrase music idea

Fix two groups of four beat places. Start with A or an original child-made four-place rhythm. Choose **exact repeat**, **phrase order with a second child-made phrase**, **one X/rest change in phrase 2**, or **one valid pair of adjacent short X changed into a two-place LONG band**. Show a complete eight-place score and explain which phrase relation is intended. An example distinct from the checks: `X X – X / X – – X` has the same four places per phrase but a second-phrase sound/rest change at local count 2. During open play a child may choose another coherent relation; teacher records their actual instruction rather than forcing a single output.

Fresh **M/N** sources and constraints appear only in [student checks](STUDENT-CHECKS.md); their worked solutions live in `teacher/`. Neither a card repeat nor a correct count alone establishes heard pattern recognition, performed pulse or Mathematics attainment.