# Candid teacher, learner and funder desk run-through · 30 September 2026

**New teacher.** I can set out two fixed three-event strips with separate pitch and level rows, read each timed script and use the exact first-response notes. The distinction between design choice, maker intention and actual listener words is explicit. I must use neutral fictional prompts, preserve private participation and follow school safeguarding policy if a child raises a real help concern. I cannot play candidate WAVs until I have listened to all files on the actual classroom device and approved volume/comfort. The score-only route stands without sound.

**Learner.** I can use large text, raised low/high line and one/two-dot level cards, AAC, pointing or an adult scribe. I need not say how I personally feel, disclose a family event, hear a cue, sing or show my work publicly. The PDF is not itself tactile; an adult builds the broad fixed cards from exact directions. In Design 2 I choose the two changed marks; a neutral adult cannot make that decision for me.

**Funder/assessor.** The pack adds 10 optional sessions, 30 routes, 20 worked swaps, 20 optional bridges, eight original searchable A4 aids and three reproducible candidate PCM cues. It is not a classroom pilot, impact study, universal-access certification, complete Music standard, official translation or claim about children's feelings. ACARA wording is pinned; the QCAA page links its Prep alignment but PDF retrieval returned HTTP 403 at review. Actual real-work inquiry and willing-audience evidence remain conditional.

**Critical review and fix.** “Music sounds worried” can become an unsupported universal label. Every prompt instead asks which marks changed, what the maker *said* they intended, and what a willing listener *actually said* if there was one. The integrated Week 24 help work uses local safeguarding routes; no Music score is used to identify a child in distress. If later piloted, collect teacher timing friction, child route choice, actual listening comfort, listener responses and cultural-source permission before making public outcome claims.