# Original two-line score kit

A two-line score places an **upper** and **lower** rhythm across the same four numbered beat places. Read each vertical column through both lines before moving right. X means one planned short event on its line; REST means none there. Two X in one column are **two planned events at the same place**. They are not one long sound or two groups of four in sequence. “Upper/lower” names position on the page, not high/low pitch, rank or who gets a turn. Use wide fixed cards or raised lanes and a broad column guide; no small loose pieces. Musical summary labels can be spoken, shown, signed or pointed.

### A · Two lines share four places

Upper = **X REST X REST**. Lower = **REST REST REST REST**. Only upper plans events at places 1 and 3. Both lines still have four places, and the lower line may remain quiet by choice. [A illustrated lanes](print/two-lanes.svg) use one ridge on upper and two on lower for tactile differentiation.

### B · One place with two planned events

Upper remains **X REST X REST**. Lower becomes **REST X X REST**. Column 1 is upper-only, 2 lower-only, 3 **together**, 4 quiet. There are four planned short events across the two lines, but only three columns contain any event. [B illustrated overlap](print/one-together.svg) draws two separate note dots inside one column at 3. If locally approved, [candidate A](audio/cue-a-four-textures.wav) sounds two synthetic tones together at the third place. Paper remains complete without it.

### C · Read each column in two ways

From Practice B, translate four stacked pairs to a broad reader key: **UPPER / LOWER / BOTH / QUIET**. The [C column reader](print/column-reader.svg) shows the two-lane score and a second icon row. Together is shown with two side-by-side dots and a connecting arc; quiet uses two visible pause bars. The second representation is a design choice, not new Mathematics evidence or a heard result. A child may invent a different high-contrast symbol with a spoken, AAC or tactile legend.

### D · A line enters while another leaves

Upper = **X X X REST**; lower = **REST REST X X**. Upper only at 1 and 2, **both** at 3, lower only at 4. The [D entry/exit picture](print/entry-exit.svg) uses a clear rising lower path and ending upper path over four numbered columns. The arrow shows planned change in who sounds, not measured tempo or a compulsory physical partner. If locally approved, [candidate B](audio/cue-b-entry-exit.wav) is one synthetic rendition.

### E · A musical choice is not a social duty

Start Practice B. If a child chooses, change lower X at count 3 to REST only. Now upper acts alone at 1 and 3, lower alone at 2, and both rest at 4. [E choice/revision board](print/layer-choice.svg) has room to mark child preference, first score and one-cell revision. A real group sounding requires willingness, safe sources and observation. The paper change cannot show a person “made room” or that unequal/equal turn counts are socially fair.

### F · Make a score and a reader key

Use [F original composer](print/make-share.svg) to author **two aligned four-cell lines**, then make a four-card summary key: UPPER, LOWER, BOTH or QUIET for each column. Any coherent child-authored placement is welcome; together is not compulsory. Adult model, distinct from fresh checks: upper REST X X REST; lower X REST X REST; summary LOWER / UPPER / BOTH / QUIET. Record the child's intended musical effect and any actual willing recipient/medium separately. Blank forms are not evidence of sound or audience sharing.

Fresh **Q/R** sources appear only in [public checks](STUDENT-CHECKS.md); worked solutions live in the educator [key](teacher/KEY-AND-NEXT.md). A correct graphic score can support composing and reading a musical plan. Actual aural discrimination, controlled sound-making, coordination and real audience receipt require their own observations.