# Two worked supplementary swaps per day

Use after the core move or to replace a practice example. Each worked result shows the same kind of evidence the day asks for. `→` means the teacher’s worked response, not a rule about the only feeling a person may have.

| Day | Worked swap A | Worked swap B |
| --- | --- | --- |
| 1 | Replace A’s pitches with four identical C4 q events → starts still on 1,2,3,4; timing remains regular even without rising pitch. | Change beat 4 to G4 h without removing time → five beats, invalid; change beats 3–4 to G4 h instead → four beats, one longer end. |
| 2 | Compare C with C4–E4–G4–G4, all q → this version rises then repeats; C begins with a G4 repeat and descends. | Keep C’s pitches but reverse order C4–E4–G4–G4 → pitch set stays, contour direction changes; citing order is stronger than “same notes.” |
| 3 | Move B’s beat-2 rest to beat 4 and put G4 q on beat 2 → two silent half-cells now close the bar, so an ending may feel more open. | Replace B’s beat-2 rest with C4 q and beat-4 G4 with a rest q → four beats remain, but the clear G4 ending is removed. |
| 4 | Split D’s final E4 h into E4 q at 3 and E4 q at 4 → duration total stays four beats; onset count rises from four to five. | Join the first C4 e and E4 e into C4 q → total stays four beats; the quick two-pitch opening disappears. |
| 5 | Post-check transfer with B: change its D4 e on beat 3 to C4 e → the eight half-cells stay filled; the quick pair now starts lower. | Post-check transfer with D: replace final E4 h with E4 q on 3 and rest q on 4 → still four beats; the held ending becomes a note then silence. |
| 6 | Make E all mf without altering notes → beat 3 is no longer the first stronger event, so its contrast is reduced. | Change E to mf–p–p–mf → beats 1 and 4 frame the phrase; pitch and q/q/q/q timing are unchanged. |
| 7 | Remove F’s lower C3 h but keep G3 h at beat 3 → beat 1 has upper E4 alone; beat 3 has upper E4 with lower G3. | Replace F’s lower line with C3 h on beats 1–2 and C3 h on 3–4 → two strands remain, but the lower pitch no longer changes. |
| 8 | A→A → bar 2 repeats C4–D4–E4–G4 exactly, which a listener might hear as insistence; two bars total eight beats. | A→C → bar 2 starts on G4 then repeats G4 before descending to C4; pitch contrast offers a possible answering shape. |
| 9 | Use B then B with its rest moved from beat 2 to beat 4 → one feature retained (half-beat pair on 3/3&), one changed (silence position), four beats each. | Use E then a second bar C4–E4–D4–C4 all p → pitch/timing retained, dynamic contrast removed; log that exact design choice. |
| 10 | Post-check transfer with A→C: replace C’s beat-4 C4 q with a rest q → both bars still have four beats; the second bar ends silently. | Post-check transfer with A→E: reverse E’s p–p–mf–mf to mf–mf–p–p → two complete bars remain; expression changes while A/E pitches and times stay. |