# Worked feedback · public teacher key

The [student checks](../STUDENT-CHECKS.md) and this key are public. These are **not QCAA school assessment instruments** and cannot determine a Unit 1 result. The examples show valid reasoning, not the only creative answer. Accept another accurate, four-beat design with a specific evidence-based evaluation. Record neutral access help apart from musical choices. Reading speed, handwriting, vocal technique, hearing access and motor output are not inferred from the scored design explanation; any later performance assessment needs a school plan.

## Day 5 · G worked response

**Exact timing:** eight half-beat cells: D4 occupies cells 1–2 (beat 1), a rest occupies cell 3 (beat 2), F4 occupies cell 4 (beat 2&), A4 occupies cells 5–6 (beat 3), G4 occupies cells 7–8 (beat 4). Total 2+1+1+2+2 = 8 half-cells = four beats. The pitch rises D4→F4→A4, then falls to G4. Rest and F4 are each an eighth-note length.

**Valid variation 1:** Move F4 e to beat 2 and the rest e to beat 2&; keep D4 q on 1, A4 q on 3, G4 q on 4. This is still 2+1+1+2+2 half-cells. “F4 now begins beat 2 and the gap comes immediately after it. A listener might hear a small interruption before the A4 on 3; the printed score alone cannot tell how a particular performer phrases it.”

**Valid variation 2:** Keep all timing and change A4 q at beat 3 to D4 q. The high point A4 is removed while the total duration stays four beats. A student may reasonably prefer either design when the cited event supports the intended attention point. Do not require a specific emotion or an audible demonstration.

**Next instruction:** If the rest has disappeared, ask which half-cell is silent. If the new bar has nine cells, recount durations before discussing effect. If the explanation says only “sounds better,” ask for beat and element evidence. If a learner cannot produce a pitch, take named/raised pitch positions as analytical evidence without calling it heard pitch.

## Day 10 · H worked response

**Accurate comparison:** Bar 1 has four quarter notes, E4–G4–A4–G4, rising to A4 then stepping down. Bar 2 starts E4 again on beat 1, uses a full-beat rest on 2, a quicker D4/e then E4/e pair on beat 3/3&, and C4 q on beat 4. Both fill eight half-cells. Connection: the bars share E4 at their first beat, while the later timing and final pitch differ.

**Valid two-bar transformation:** Keep bar 1 exactly. Keep bar 2’s E4 q on beat 1 and D4 e/E4 e on beat 3/3&; place C4 q on beat 2 and rest q on beat 4. Bar 2 still totals 2+2+1+1+2 = 8 half-cells. This retains the quick pair but moves the silence to the close. “The late gap might make the ending feel less settled because beat 4 is empty instead of holding C4.” That is a possible interpretation, not a guaranteed listener response. The notation cannot specify room acoustics, a real performer’s timbre or how every person hears it.

**Rights/source response:** An online recording and its composition may have separate rights. A URL or credit does not grant permission to republish the sound in a freely licensed sheet. Use the newly authored H events and original sine-tone demonstration, or link to properly licensed external repertoire while respecting its licence. Do not relabel someone else’s recording as original.

**Next instruction:** If the changed bar has the wrong number of half-cells, draw eight and place events before discussing meaning. If “same” and “different” have no bar/beat evidence, ask for one exact event in each. If the third response confuses citation with reuse permission, separate factual attribution from copying rights.

## Daily feedback at a glance

| Day | Evidence to accept | Next move if absent |
| --- | --- | --- |
| 1 | Four A starts, each one beat, plus a regularity reason | Point to two-cell spans. |
| 2 | A/C pitch orders and a contour contrast with equal q timing | Trace pitch names rather than loudness. |
| 3 | B’s beat-2 rest and 3/3& pair plus a valid moved-gap bar | Recount eight half-cells. |
| 4 | D’s ½+½+1+2 and held-versus-restarted end | Show beat 4 lies within E4 h. |
| 5 | G’s exact timing, valid variation and bounded effect | Find its one silent half-cell. |
| 6 | E’s unchanged notes/timing with a new p/mf map | Separate level from pitch. |
| 7 | F’s simultaneous rows and specific lost lower event | Align starts vertically. |
| 8 | Two-bar A→A/A→C contrast with boundary pitch evidence | Mark first note of bar 2. |
| 9 | Two complete bars, retained/change log and plausible intent | Cite source File letter and one exact event. |
| 10 | H comparison, valid transformed bar and rights boundary | Count both bars and identify one retained feature. |

Use the [official Music 2025 v1.3 syllabus](https://www.qcaa.qld.edu.au/downloads/senior-qce/syllabuses/snr_music_25_syll.pdf) for local course and assessment design. These starter checks are short public probes, not secure instruments, moderation, grade predictions or measured classroom impact.