Ten optional 25-minute Term 3 sessions for Days 131–140. Children organise two musical lines in six shared, even pulse places, discovering when parts sound together and when they take turns. A circle names line A; a square names line B; a dash means that line waits. Children first read both lines within a column, then create a meeting/separating texture and revise B while preserving A. The goal is musical texture and coordination between parts. The practical outcome is a child-designed short duo piece, optionally realised with two locally reviewed quiet sound sources by willing makers or child-directed adults. No compulsory technical term such as polyphony is needed.
This advances Weeks 25–26 between-start gaps: the six place starts here remain even while the relation between two parts changes. It also differs from Weeks 23–24 pitch/level choices and Weeks 21–22 opening/contrast/return. Each line uses a fixed quiet source; optional electronic cues distinguish two timbres with the same pitch anchor. Children do not change pitch, loudness, tempo or between-start gap cards in this fortnight.
Integrated Week 27 may offer an invented maker display as a context; a score cannot prove a material's physical property. Integrated Week 28 offers permission and source-report ideas; ask a real willing listener what they noticed only after they receive a work. A hypothetical answer is not a class preference, emotion or accessibility fact. Term placement follows the project's year sequence, not an official weekly timetable.
Start with ten runnable scripts, seven practical invitations, 30 switchable participation routes, 20 worked swaps, 20 optional interest/home bridges, and short prompts. Two fresh public learner checks have a separate teacher key and next steps. Eight original A4 SVG/searchable-PDF pages include exact linear, tactile and no-sound equivalents. Three short original electronic WAV candidates have complete onset and silence transcripts.
Audio is candidate only, not cleared for children. A human educator must listen to each whole file on intended equipment, check clicks and comfortable local volume, record device/room/stop conditions, and offer the no-sound route before any classroom playback. Digital amplitude cannot certify ear-level sound pressure or comfort. No mandatory singing, tapping, headphones, instrument striking, body movement, recording, public solo, family story or disclosure. A child may point, use AAC/sign/words, direct a neutral adult, keep work private or pass; offer choices without diagnosing or assigning fixed learner types.
Paper/tactile scores can evidence a composition plan. Actual hearing, timing, comfortable sound-making, listener response, real cultural context and audience receipt require separate events and observations. See the exact ACARA/QCAA crosswalk and fetch limits, authentic source/local authority gate, sources and rights, and candid role run-through. Authored and computer-checked is not independently educator-reviewed, child-tested or classroom piloted; no full achievement-standard or universal-access certification is made.
Original text, scores, diagrams, SVG/PDF, code and tones © NeuroForgeIO Pty Ltd 2026, CC BY 4.0. Credit SubjectNest by NeuroForgeIO Pty Ltd, link the source/licence and indicate changes. ACARA/QCAA curriculum and First Nations knowledge retain their own terms and authority. Deliberately regenerate with python3 generate_assets.py --write; verify read-only with python3 verify_pack.py; write hashes after review with python3 verify_pack.py --write-manifest. The QA record states exactly which checks passed and which human gates remain held.