Chance can give you a musical starting point when choosing the first sound feels harder than making it. The interesting part comes afterwards, when you decide how much of the accidental sequence to preserve.
Choose three quiet sounds you can make comfortably: a finger tap, a gentle paper rustle and a short hum, for example. Assign two faces of a die to each sound. Roll six times and write down the resulting sequence before performing it.
Use equal spaces between events for the first attempt. That keeps the random choice focused on sound identity rather than changing every musical feature at once. If humming is uncomfortable, replace it with another easy sound.
Make the second version a deliberate edit
Listen to the sequence and change exactly one event. You might remove a repeated sound or place a contrasting sound near the end. Perform both versions for a willing listener without saying which one you edited.
Ask where their attention changed, not which version is objectively better. A surprising repetition you wanted to remove might be the feature they remember.
Keep a record of the roll sequence and your revision. You now have two distinct kinds of decision: the rule you designed before chance entered, and the editorial choice you made after hearing its result.
The die does not remove your role as a composer. You chose the available sounds, the number of events and the way they were presented. The exercise makes that framework audible while letting an unexpected result interrupt your usual habits.
Image: a thematic illustration, not a photograph of this example.