RHY.13:4.2 - Build a rhythmic contrast that can answer the question
Retain the relevant reference, grouping, duration, articulation and receiving task unless one of them is the selected change. RHY.2 and RHY.5–RHY.6 help recover what the source or representation actually supplies.
| Selected change | Construct the probe | Interpretive condition |
|---|---|---|
| Tempo | Specify the rhythm-relative relations to preserve and change the beat period; include required movement and recovery. | Correct interval ratios do not establish that the physical actions remain available at the new speed. |
| Entry or cycle position | Start from another meaningful point while retaining enough information to recover the reference. | A withheld answer cue can test recognition; an absent indispensable reference makes a different task. |
| Phrase or material | Keep the earlier contribution needed while changing the relevant grouping, duration or articulation. | Distinguish transfer of timing from newly required instrumental technique. |
| Representation or modality | Supply the necessary information in the new convention or channel and obtain any needed ability to read or realize it. | A bare onset string cannot test reconstruction of duration it does not specify. |
| Partner or responsive equipment | Use the new participant’s actual cues and response while the passage continues. | Following a fixed recording does not demonstrate reciprocal correction. |
| Support | Change the named count, gesture, score or cue while retaining other required contributions. | Record which contribution was withdrawn; a changed instrument or provider may change the tested whole. |
| Delay | Choose an interval relevant to the next use and keep the intended reference conditions available. | Note intervening practice or changes when they affect the conclusion. Delay alone does not isolate forgetting. |
Where a failure could come from a new prerequisite, check that prerequisite cheaply before interpreting the probe. For instance, a known actuator recovery time can rule out a proposed tempo without repeatedly commanding an impossible action. A person who has never learned the new notation needs access to its convention before performance can show transfer through it.