# Educator-only key and next teaching

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.