Keep this separate from the public check sheet. Save the child's first full answer and access route before coaching, modelling, correction or after-check swaps. These are formative plans, not formal graded tasks. A pass remains a valid response and leads to a later invitation.
Check S · three joins of an unfamiliar contour
The public source is HIGH LOW LOW HIGH. Compare 1→2: HIGH to LOW is DOWN. Compare 2→3: LOW to LOW is SAME. Compare 3→4: LOW to HIGH is UP. The ordered key is DOWN / SAME / UP. There are four planned short events and three joins, with no rest, extra sound line or volume instruction.
Look for all three ordered labels and that each uses adjacent pitch cards. If the child compares 1 directly with 4, use a different four-place practice board and cover all but one adjacent pair. If they say HIGH means loud, separate pitch and volume cards. If a child invents an unambiguous alternative icon key, record it as valid planning. Do not infer actual pitch hearing.
Check T · one last pitch revision
Public first version is HIGH LOW HIGH HIGH. The full second version is HIGH LOW HIGH LOW. Places 1–3 stay HIGH, LOW, HIGH; only place 4 changes HIGH→LOW. The final join 3→4 was HIGH→HIGH (SAME) in the first version and becomes HIGH→LOW (DOWN) in the revised version. The earlier joins remain DOWN and UP.
Look for the complete four-mark revised score, changed place 4 only, and DOWN as the new last join. If the child changes place 3, return to fixed numbered rails later with a different source. If they change volume instead of pitch, keep the separate comfort card off the pitch graph. A coherent independent alternative can be valued as composition but does not satisfy this constrained prompt. The correct card plan is not actual-audience evidence. For aural or production claims provide separate directly observed listening or sound-making evidence.
Daily next-step ledger
| Day | First response worth keeping | Next teaching if needed |
|---|---|---|
| 61 | LOW LOW HIGH HIGH with SAME, UP, SAME reader key. | Fix two tactile pitch rails and reveal one neighbouring pair at a time. |
| 62 | Four alternating pitch choices and UP, DOWN, UP. | Use broad arrows between just two consecutive notes before all four. |
| 63 | One falling join in HIGH HIGH LOW LOW and a stated contrast. | Compare two scores with places 1–4 aligned; avoid emotion labels. |
| 64 | Child-made arch or alternative with a musical intention. | Offer four blank numbered places and only LOW/HIGH choices. |
| 65 | Fresh S first complete three-join answer, before after-check swaps. | Use a new source to practise adjacent-pair reading. |
| 66 | Pitch label distinguished from separate optional comfort/volume choice. | Move the volume/quiet-choice card beside, not on, the pitch rail. |
| 67 | Original and revised score with one exact changed pitch and reason. | Overlay clear first version; move only one broad note card on second. |
| 68 | Child-authored four-mark contour, three-join key and intention. | Start with one child-chosen first tone, then build the next relation. |
| 69 | Real-work/source response and/or actual willing recipient/medium, only if each occurred. | Keep unobserved evidence lines blank; plan permitted later opportunity. |
| 70 | Fresh T full revised score and changed last join, before any hint. | Practise a different one-mark revision another day. |
Evidence boundary: Score position alone shows a planned pitch relation. It cannot establish pitch hearing, singing or instrument accuracy, comfortable loudness, pace or audience reaction. AC9AMUFE01 needs an authorised real work and child response; AC9AMUFP01 needs actual reception by a willing audience. Neither fictional family/plant contexts nor a four-place count establishes another subject's achievement.