# Original four-place pitch-contour kit

This pack uses **one planned short tone at each numbered place**, read left to right. LOW and HIGH are two relative pitch choices in our invented pair; HIGH is not “louder,” a demand to sing high, or the upper *simultaneous line* from Weeks 11–12. A connecting line shows the intended pitch shape between dots, not continuous sliding sound. Three joins between four places are named **SAME**, **UP** or **DOWN**. Fixed broad LOW/HIGH cards or two raised rails keep the target available without hearing or fine motor demands. Optional pure-tone candidates are held for educator listening/volume review. These are graphic inventions, not cultural melodies or formal staff notation.

### A · Hold then rise

**LOW LOW HIGH HIGH**: join 1→2 SAME; 2→3 UP; 3→4 SAME. Four separate planned short tones. [A illustrated contour](print/hold-rise.svg) places filled dots on visibly separate LOW/HIGH rails with four numbers. If locally reviewed, [candidate A](audio/cue-a-hold-rise.wav) presents the pair. A silent card reader can state the planned direction but cannot prove heard pitch.

### B · Up, down, up

**LOW HIGH LOW HIGH**: three joins **UP / DOWN / UP**. The [B zigzag](print/zigzag.svg) is a shape of pitch choices, not a physical travel or a volume pattern. Optional [candidate B](audio/cue-b-zigzag.wav) sounds the original short-tone plan only after review.

### C · Hold then fall

**HIGH HIGH LOW LOW**: three joins **SAME / DOWN / SAME**. The [C fall sheet](print/hold-fall.svg) contrasts with B because pitch changes once. Do not prescribe a universal “sad” listener feeling from this shape.

### D · Up, same, down

**LOW HIGH HIGH LOW**: three joins **UP / SAME / DOWN**. The [D arch board](print/arch.svg) offers a child a four-place pitch shape for a self-chosen non-personal purpose. A paper arch alone does not prove played pitch, timing or audience meaning. Optional [candidate D](audio/cue-d-arch.wav) is an independent, candidate rendering.

### E · One pitch revision

Keep a first version **LOW HIGH LOW HIGH**. On a separate second row, change **only place 3** LOW to HIGH: **LOW HIGH HIGH HIGH**. Direction key changes from **UP / DOWN / UP** to **UP / SAME / SAME**. The [E two-version board](print/revise-one.svg) shows both versions and the one changed mark. A child can instead direct a different coherent one-cell change during free play; the adult records the actual choice. Keep first and revised work, as Week 14's “look again” method does for a record; do not call this a plant observation.

### F · Compose and keep a reader key

On the [F blank maker](print/compose-share.svg), choose one LOW/HIGH pitch in each of four places, add the three-join SAME/UP/DOWN key, and state an intended musical effect. A child may choose all same pitches if that is their idea. Adult model distinct from checks: **HIGH HIGH HIGH LOW** gives **SAME / SAME / DOWN**. Record an actually willing recipient and score/sound medium only if sharing occurs. A blank recipient line is honest.

Fresh **S/T** prompts and unfamiliar sources are only in [student checks](STUDENT-CHECKS.md); solutions remain in the [educator key](teacher/KEY-AND-NEXT.md). Correct cards can show a composing/reading *plan*. Hearing a pitch interval, playing it, maintaining pace and reaching an audience need separate real observations.