# Materials and seven making invitations

Use existing paper, a pencil or a neutral adult reader. Optional broad reusable circle/square/dash cards, two raised rows of eight aligned places and a broad round separator can be made by an adult from safe available materials. No print, purchase, screen, instrument, headphones, small loose pieces, object striking or child touch is required. Do not imply that musical arrows instruct physical/safety actions. Circles and squares name **different parts**, never learner groups or ability levels; colour is redundant. See [exact alternatives](print/TEXT-ALTERNATIVES.md).

## Immediately usable optional quiet live route

The teacher first reviews exact available familiar short sounds, technique/material condition, space, willing participants and stop/pass signals locally. A can use a brief comfortable spoken “mm”; B a short comfortable “sh”, **only** when those exact sounds are already familiar, suitable, previewed and freely chosen. A child may use a different approved familiar source, make one part, direct two willing adults, use silent cards or pass. There is no instruction to blow, strain the voice, clap, strike objects or match a recorded pitch. An approved classroom instrument is an optional alternative after its exact technique is reviewed. Keep each part's source fixed within a take; no sound choice is universally safe or accessible.

1. Show/read a child-owned two-round score; decide A and B makers or a silent route. Agree a comfortable steady visible pointer and stop signal. Say local beats 1–4, then restart 1–4; count is a cue, not an extra required music part.
2. Rehearse A's first four choices once, then its exact repeat. B waits. Child can direct a willing adult while observing silently.
3. Rehearse B's first four and different second four. A waits. A rest card means musical waiting, not enforced stillness or silence from people.
4. By choice try both together for only two rounds. A sound and B sound in one column happen together as an intention; describe what actually occurred separately. Stop/pass at once when requested. An adult can manage the pointer so no child must make sound and coordinate a visual cue simultaneously.
5. Ask “Keep it, or try once more?” Respect private keeping. Save intended score, actual makers/support/source/tempo/timing if observed, and an actual willing audience only if there was one. Directed adult making is adult performance. No-sound reading fully meets composition planning; it does not prove hearing or independent live coordination.

Recorded [Page Turn candidate files](audio/ASSET-INDEX.md) require a separate human whole-file listening/device/local-volume gate. Review of a live source does not clear a WAV, and clearing a WAV does not approve a live source or establish child performance.

## Invitations

### A · Meet an actual teaching work

Present [Page Turn score](print/page-turn.pdf) and [honest source card](print/work-source.pdf), or exact raised/linear access. A local 1,3 repeats; B local 2,4 changes to 1,4. Ask “What comes back? Why was this model made?” The documented teaching purpose is actual author-model context; no named human performer or community tradition is supplied. Keep child's actual response, source route and support. Merely displaying it is not observed responding.

### B · Make a backing

Offer four broad A sound/wait decisions and an empty second round. Adult practice A 1,4 becomes A 1,4 again; compare every sound **and** wait. Child chooses one to three first-round A sounds and copies all choices. Name/title/private choices are open. Read it or rehearse with a reviewed familiar short source at a comfortable shared pace.

### C · Give the other part a new idea

Use [keep backing](print/keep-backing.pdf): A 1,4 in both; B first 2,3. Child chooses a different second B. A worked example B second 2,4 removes local 3/adds local 4 and keeps A; different event counts are also allowed in open making. Question marks mean undecided, not waits. Place both row choices before moving to the next beat.

### D · A paper-book opening

Offer an original blank two-page paper book or no story. Practice A 1,3 repeated; B first 2 then second 4. The child chooses an opening/accompaniment or music by itself; no claim that a real reader liked it. Make/read two rounds, then stop. Their actual paper-book handling is not a requirement or musical evidence.

### E · A picture show or own idea

Offer two broad original dot pictures or child-chosen imaginary toy stage. Practice A 2,4 repeated; B first 1,3 then second 1,4. Local B 3→wait and 4→sound changes while A repeats. A child can choose another purpose or none. Read [supplied author purpose](SUPPLIED-WORK.md) accurately before asking for an own proposal; don't attribute the proposal to an actual community.

### F · One part, then both

Cover one row of a child-owned score. Practice A 1,4 repeated; B first 2 then second 3. Rehearse A alone, B alone, both by choice using reviewed quiet sources or silent pointer. Swap willing makers if wanted. The order supports a short practical trial; nothing requires a flawless independent performance.

### G · Another B ending

Save an own first version. Practice A 1,3 repeated and first B 4 held; second B 2,4 can become 1,4. Remove/add local 2/1 only in second B, compare versions, optionally rehearse and keep the favourite. For fresh checks use unseen pages after practice; do not substitute this example for first independent evidence.