# Three switchable routes per day · one musical target

Each row keeps the target in [the matching lesson](LESSONS.md). These are options for anyone, not labels assigned by diagnosis or a fixed learning style. A neutral scribe or partner may follow directions, read labels or place blocks, but must not choose the note, rest, dynamic or explanation. Record access help separately from musical evidence. Sound and silent notation provide different sensory experiences; the common evidence here is an accurate design decision plus a reason, while a later school performance assessment requires its own access plan.

| Day | Sound or movement route | Low-noise tactile route | Exact text/visual route |
| --- | --- | --- | --- |
| 1 | Tap A’s four starts, speak C4–D4–E4–G4 and hold one count per note; explain regularity. | Lay four equal two-cell blocks on the pulse row; point to each onset and explain equal duration. | Read A’s four beat labels, draw four equal spans and write the timing evidence sentence. |
| 2 | Speak A then C pitch names over four taps each; trace rising versus repeated-descending motion. | Place labelled pitch cards at the four aligned beats for both; feel or read their order and justify the contrast. | Compare A/C event lines, mark G4 repeat in C and two pitch transitions in a written contour explanation. |
| 3 | Tap B with a silent beat 2, then a changed version with rest on 4; name the attention shift. | Leave two half-beat cells empty for beat 2, move the empty pair to beat 4 and explain the new position. | Annotate B’s 1,2,3,3&,4 starts; write a four-beat alternative and one rest-location claim. |
| 4 | Speak D’s C4/E4 quickly, G4 for one count, E4 sustained for two; compare two E4 starts. | Build lengths 1+1+2+4 slim cells, then split the final four into 2+2 and explain. | Label D in half-beat units and write why held versus repeated E4 changes onset count. |
| 5 | For fresh G, tap/speak exact new events, then perform a four-beat variation and justify it. | Build G’s event blocks from exact labels; move one block under your direction and explain the effect. | Read new G, annotate its times and write a valid changed four-beat bar with evidence. |
| 6 | Perform E at comfortable p/mf differences, then a reversed level plan on the same four notes; explain emphasis. | Put quiet/strong texture cards above unchanged E pitch blocks, change cards only, then justify. | Copy E’s pitch/timing once, add two p/mf rows and explain which beat becomes prominent. |
| 7 | Two partners make F’s upper/lower lines at desk level, then upper alone; compare simultaneous texture. | Align two rows of F blocks; remove lower row and identify an exact lost overlap. | Annotate both F voices on one timeline, then analyse what beat 1 loses without C3. |
| 8 | Speak A→A and A→C as two four-count bars, then defend chosen second bar. | Arrange two bar cards in each order, feel/read unchanged and descending event labels, justify a choice. | Write both eight-beat sequences and cite two pitches at the bar boundary for repetition/contrast. |
| 9 | Rehearse your original two-bar transformation and name retained/changed feature before sound. | Build two bars in raised half-beat cells, choosing one feature to keep and one to change. | Draft two eight-cell rows in exact pitch/rest/duration text and explain your design trail. |
| 10 | For fresh H, perform/direct its two bars, make a valid variation and evaluate evidence. | Build two separate eight-cell bars of H, change one feature and explain what remains recognisable. | Read H’s exact new event order; write a two-bar transformation, four-beat check per bar and bounded evaluation. |

For a learner who cannot use pitch sound, pitch labels and relative direction remain analyzable; do not mark that as evidence of heard pitch. For a learner who needs more time for motor or text access, lengthen the response window without giving a compositional choice. Reading speed, handwriting and sound tolerance are considered separately from musical reasoning.