1L Student Distance Learning - Parnassus Preparatory School

1L Student Distance Learning Work for the Week of May 11-15, 2020

1L Webpage: http://www.parnassusteachers.com/first-level-logic-1l.html Password: Pegasus Click on each tab to view videos and class resources

Check off each assignment as you complete it:

Day Daily Work Weekly Work

One

□ MathLesson 99 Fraction-Decimal-Percent Equivalents Watch the

video going over the new concept (Follow along in your math book, page. 530) Answer Practice Set a-l (page 531 in your math book), and then Mixed Practice 1-30 (beginning on page 531) (Page 2 in packet for Practice Set, & pages 13-14 for theMixed Practice)

□ English Watch video for Monday Read Act III, Sc I (p. 35-44 in Julius Caesar) Read “Under the Starts” on pp. 26-27. You will need

your colored PENs for this assignment. Startgathering CDs (red for CD, green for CM) on p. 28.Watch video on gathering CDs.

□ Latin-Part 1: Copy Grammar Notes (p. 37-41) &-Part 1: Vocab Check (p.42)*Do not turn in the KEY, these are your notes for the chapter

□ Spanish: NO VIDEOS THIS WEEK.1 – Complete p. 54, use previous notes and reference pages

□ Science

Read Sponges andCnidarians on pp. 59-61.Then watch the LessonVideo. AnswerAssessment Questions onblank p. 62

Read Worms on pp. 63-66. Then watch theLesson video. AnswerAssessment Questions onblank p. 67.

Read Mollusks on pp. 68-70. Then watch theLesson Video. AnswerAssessment Questions onblank p. 71

□ History

Watch the Power Pointpresentation video ofRoman Architecture

Read through pp. 73-74and answer the questionsbased on the video

Write a 6-sentenceparagraph following theinstructions on pp. 75-78

Two

□ Math

Lesson 100 Algebraic Addition of Integers Watch the videogoing over the new concept (Follow along in your math book, page. 534) Answer Practice Set a-o (beginning on page 537 in your math book), and then Mixed Practice 1-30 (beginning on page 537) (Page 4-5 in packet for Practice Set, & pages 15-16 for the Mixed Practice)

□ English

Watch video for Tuesday Read Act III, Sc II (p. 44-51 in Julius Caesar) Work on CMs (Green CM, Blue TS) on pp. 29-30.

Watch Video on gathering CMs.□ Latin

-Part 2: Present (p. 43) &-Part 2: Vocab Check (p. 43)

http://www.parnassusteachers.com/first-level-logic-1l.html

Two (continued)

□ Spanish:

2: Complete p. 55, put the verb COMRAR in the past/preterite tense. Translate 1-3, if you are able, do the bonus – it is not required.

□ Music

Music as Conversation (p. 79-83)

(required for all 1L scholars)

□ Art

Human Proportions on pp. 85-91 (required for all 1L scholars)

□ PE

Exercise guide p. 93

Three

□ Math

Complete Math Facts Packet (pages 6-10 in your packet)

□ English

Watch video for Wednesday Read Act III, Sc III (p. 52 in Julius Caesar) Work on pp. 31-32, CS and graphic organizer – all in

color. □ Latin -Part 3: Imperfect (p. 44) & -Part 3: Vocab Check (p. 44) □ Spanish 3: Complete p. 56, match the vocabulary words, these are review from chapter 7, you have a packet with them in it

Four

□ Math

Lesson 101 Ratio Problems Involving Totals Watch the video going over the new concept (Follow along in your math book, page 546). Answer Practice Set questions a-b (page 548) and Mixed Practice 1-30 (beginning on page 548). (Page 11 in your packet for Practice Set, and pages 17-18 for Mixed Practice) □ English

Watch video for Thursday Catch up on reading (Act III Julius Caesar) and answer

Act III Study Questions (pages 24-25 in your packet) Write final draft on lined paper, p. 33. Must be in

color.

□ Latin

-Part 4: Future (p. 45) & -Part 4: Vocab Check (p. 45) □ Spanish:

4: Complete p. 57, preterite tense

Five

□ Math

Lesson 102 Mass and Weight Watch video going over new concept (Follow along in your math book, page 551). Answer the Practice Set a-e (beginning on page 552), and the Mixed Practice 1-30 (page 553) (Page 12 in packet for Practice Set, & pages 19-20 in packet for Mixed Practice)

Five (continued)

□ English

Watch video for Friday Finish Act III Study Questions (pages 24-25 in your

packet) Read “A Ballad with a Serious Conclusion”, p. 34. Do

multiple choice on p. 35. “Poetry Connection” instructions on p. 35. Think of a story you would like to tell and write it as a poem (prose or rhyme, any measure!). Use blank lined paper on p. 36. Writing must be in cursive.

□ Latin

-Part 5: Catch Up on Parts 1-4 if not finished; review endings of Charts S, T, & U; Study Quizlet/Vocab for Chapters 10 & 9 (p. 48-49) For online Latin resources visit:

http://www.parnassusteachers.com/sol-latin.html

□ Spanish:

5. Review vocabulary flashcards, notes or via Quizlet

PLEASE SIGN AND DATE BELOW BEFORE RETURNING:

Student Full Name (First & Last): __________________________________________

Parent Signature:______________________________________________________

Date:______________________________________

http://www.parnassusteachers.com/sol-latin.html

Math

1

Lesson 99: Fraction-Decimal-Percent Equivalents (Saxon math book page 530) Complete below: Practice Set (page 531 in your math book) a-l a. b. c. d. e. f. g. h. i. j. k. l. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER

2

3

Work Page (if needed)

Lesson 100: Algebraic Addition of Integers (Saxon math book page 534-537) Complete below: Practice Set (page 537 in your math book) a-o a. b. c. d. e. f. g. h. i. j. k. l. m. n.

4

o. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER

5

Lesson 101: Ratio Problems Involving Totals (Saxon math book page 546) Complete below: Practice Set (page 548 in your math book) a-b a. b. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER

11

Lesson 102: Mass and Weight (Saxon math book page 551) Complete below: Practice Set (page 552 in your math book) a-e a. b. c. d. e. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER

12

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English/Writing

Scholar's Name________________

23

Julius Caesar by William Shakespeare Name: ____________________________ Period: _____

Act III Study Questions

Directions: Answer the questions using complete sentences.

1. How many scenes are in Act III? (+2)

2. What city does Act III, Scene I take place in? (+2)

3. Who is the first person to speak in Act III, Scene I? Who is this person speaking to? (+3)

4. Use the footnotes in Act III to define the following: (+2)

a. schedule =

b. fond =

c. bootless =

d. conceit me =

5. Why is it unfortunate for Caesar that he did not read Artemidorus’ letter? (+2)

6. *Answer the questions about this quote from Act III, Scene I: “I am constant as the

northern star” (37).

a. Who says this line? (+2)

b. What does this tell us about the speaker’s personality? (+2)

24

7. Who is the last to stab Caesar? (+2)

8. *Why does Caesar not suspect that Brutus would kill him? (+2)

9. Quote Caesar’s last line in the play in Act III, Scene I. Hint: It is a question and a

statement. Be sure to blend the quote: use an introduction (+1), comma (+1), quotation

marks (+1), you quote (+1), and the page number in parentheses(+1).

(+1 for correct answer)

10. What does Caesar’s last line mean? Explain the question and the statement. (+3)

11. What is the name of the master of the servant who enters the stage on page 39? (+2)

12. What character speaks at Caesar’s funeral after Brutus speaks? Hint: This character

succeeds in making the citizens angry with the men who murdered Caesar. (+2)

13. In Scene III, an angry mob confronts a man named Cinna. What will the crowd do to the

poet named Cinna? (+2)

25

Literary Analysis and Reflection

To Sleep Under the Stars

Carol Shaw Craham

"But Mom, everybody's going."

"Cecilia, you know that isn't true. All 300 kids in the 7'h grade cannot be

going." Cecilia's mother Iooked across the kitchen at her. "And I truly am sorry---but

this is the only weekend your father has off until.after Christmas. We're going to

your Crandmother's. This is very important, Cecilia. Uncle Frank and Aunt Ellen

have been taking care of Grandma ever since her surgery, but we need to help out

too. There will be other class trips. This time, family has to come first,

"But . . ." Cecilia searched quickly for another reason to stay home.

"Cecilia. l'm disappointed in you. lt is time to be unselfish." Her mother

turned sadly back to the sink.

Cecilia slowly left the kitchen and wandered out to the porch. "lt's not fair,"

she thought. "My first class trip. I really wanted to see the planetarium." She

flopped into a chair and gave herself up to self-pity.

Cecilia was still unhappy when the time came to head for Crandma's. The

three-hour trip took the family east through beautiful farmland and several small

towns. Usually Cecilia enjoyed the ride, but this time she didn't. Her friends were on

a bus heading three hours west towards the Bay City Planetarium.

Grandma looked tired, but she was so happy to see them that Cecilia felt a

little better. "Stay and keep me compdhy," requested Grandma when Cecilia's

parents went to unpack. "You've grown so tall since the summer!" Grandma

exclaimed. "Sit down here next to me ---l'm getting a crick in my neck looking up at

you! Now tell me, where do you buy the beauty cream you must put on your face

every night? I need some!"

Cecilia laughed. "Oh, Crandma. You're just saying that."

Crandma smiled. "You are getting so grown-up and so busy. l've missed you.

Your mother told me about your report card. Almost all A's! That's wonderful.

What is your favorite subject this year?"

"Science, I guess. We're doing astronomy."

Jt.,.. d sV\'

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COPYRIGHT 2012,2O14. Louis Educational Concepts, LLC 74

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"l loved astronomy. The stars are fascinating. I still love to look up at the sk

and find the constellations."

"Really? Maybe I inherited it from you," said Cecilia. "l wish I could sleep out

under the stars. Mom says l'd freeze!"

Gran smiled. "l know a way you can sleep under the stars every night and still

be warm. Help me down the hall to my room."

Cecilia gently helped Gran stand. She seemed so frail. Together they slowly

walked to Cran's bedroom. Gran sank into the Iittle chair in the cornerwith a sigh.

"Are you all right?" Cecilia asked anxiously.

"l'm feeling stronger every day! Now open the cedar chest there."

Cecilia lifted the heavy lid, and then turned to Gran. "What's in here, Gran?"

she asked.

"Memories. Your mother's baby shoes, a curl from your first haircut---all sorts

of things." Cecilia pulled out items one by one, and Gran told their stories. They

laughed and cried and Cecilia learned about her family. Finally, Cecilia pulled out a

big, cloth-wrapped bundle.

"A quilt! Oh Gran, did you make it?"

"A long time ago. When Iwas in high school, my mother became ill. The

doctor sent her to the desert to avoid the cold winter weather. I went with her---!

had to miss a year of high school. I was so disappointed at first. The teachers sent

me work through the mail, but I missed all the fun. But in the desert, I discovered

that the stars seem to jump out of the sky. My mother and lworked this quilt that

winter." She shook the quilt open over her lap. White stars shone out of a dark blue

background. A pearly moon hung in the corner.

"Gran, it's beautiful," said Cecilia, smoothing the quilt. "There's Orion's belt---

and Cassiopeia."

"We put all my favorites in. My mother and I really enjoyed those times

together. I learned that winter how important family is. Now I want to pass the quilt

on to you."

Cecilia wrapped her arms around Grandma. "Oh, Cran. Thank you!" she said.

l'm so glad I came to see you, and l'll love the quilt forever."

Jq-'3\\,P,!

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COPYRIGHT 2012,2O14. Louis Educational Concepts, LLC 75

27

Literary Analysis and Refleciion jt

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'tGATHERING CDS AND CMS

ONE-CHUNK RESPONSE TO LITERATURE PARAGRAPHS

PROMPT: Lilrtlea olrsctOeld/+L4

ry +ta fuir'sGATHERI

Think of 3 or more CDs that would fit the prompt and writethem helow. Then circle the one CD you think is the hest.

Now brainstorm 5 or more cMs you can for your cD and writethem below. Then pick the biggest, most important thoughtand lahel it 15 in blue. Nexr, label the 2 best CM thoughts ingreen as CM I and CMz. lt mey make it easier for you to use

one of these CM helpers:

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COPYRIGHT 2012,2014. Louis Educationat Concepts, LLC 7628

Literary Analysls and Reflection

RATIO: l:2+l. Write your topic sentence here:

+2. Complete the f<rllowing T-chart:

CDsWhat does the character do?What happens in the story?

CMI:

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Literary Analysis and Reflection JI-*J g

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Literary Analysis and ReflectionTncdor {ew*IA I

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COPYRIGHT 2412,2014. L0uis Educational C0ncepts, LLC 8333

Name Date

And as rough and gruff a sailorAs ever sailed the sea

Was standing near grotesquelYAnd leering dreadfully.

I replied, though I was frightened,"lt was my father dear

I was calling for across the sea-I think he didn't hear."

He started fiercely toward me-Then made a sudden halt

And roared, "l think he heard you!"And turned a somersault.

Then a wild fear overcame me,

And I flew off like the wind,Shrieking "MOTHER!"-and the sailor

Just a little way behind!And then my mother heard me,

And I saw her shade her eYes,

Looking toward me from the doorwaY,Transfixed with pale surPrise

For a moment-then her featuresGlowed with all their wonted charms

As the sailor overtook me,

And I fainted in her arms.

When I awoke to reasonI shuddered with affright

Till I felt my mother's presenceWith a thrill of wild delight-

Till, amid a shower of kissesFalling glad as summer rain,

A muffled thunder rumbled,-"ls he coming 'round again?"

Then I shrieked and clung unto her,

While her features flushed and burnedAs she told me it was father

From a foreign land returned.

Unit Four: Tales to Tell

Poetry 5, SV 2049-4

A Baltad with a Serious Conclusion lexcerpt]bU James Whitcomb RileA

Crowd about me, little children-Come and cluster'round my knee

While I tell a little storyThat happened once with me.

It/y father he had gone awayA-sailing on the foam,

Leaving me-the merest infant-And my mother dear at home;

For my father was a sailor,And he sailed the ocean o'er

For full five years ere yet againHe reached his native shore.

Poor mother she would kiss meAnd look at me and sigh

So strangely, oft I wonderedAnd would ask the reason whY.

And she would answer sadly,Between her sobs and tears,-

"You look so like your father,Far away so many years!"

Thus I went playing thoughtfullY-For that my mother said.-

"You look so like your father!"Kept ringing in my head.

So, ranging once the golden sandsThat looked out on the sea,

I called aloud, "My father dear,Come back to ma and me!"

Then I saw a glancing shadowOn the sand, and heard the shriek

Of a sea-gull flying seaward,And I heard a gruff voice sPeak:-

" Ay , ay , my little shipmate,I thought I heard you hail;

Were you trumpeting that sea-gull,Or do you see a sail?"

O Steck-Vaughn Company 45

Go on to the next page.

34

@E Think about the poem. Then answer these questions. Fill in the

circle before the correct answer.

l. The mother says the boy looks like

@ her father.@ her.

O his grandmother.

@ his father.

5. The boy "saw a glancing shadow."What does "glancing" mean?

@ brief@ frightf ul

C dark@ leaPing

*rtft

about the boyshort story tha

@ Steck-Vaughn ComPanY

Very long poems that tell a story are called epics. Some famous

epics are "The lliad," "The Odyssey," and "Beowulf'" The poem

and his father tells a much shorter story than an epic. Think of a

t you would like to tell and write it as a poem.

4. This story is mostlY about

@ a father's return from the sea.

@ a boy's walk on the beach.

@ a mother's loneliness.

@ a boy's love for his mother.

5. You can conclude that

@ the boy's father likes to frightenchildren.

@ the boy's father has changedsince he left.

O the boY's mother does not like

the ocean.@ the boY wants to be a sailor like

his father.

6. At the end of the Poem, the boY

most likelY

@ wishes that his father did not

return.@ will not walk on the beach again.

O does not understand whY his

mother is haPPY.

@ does not want to look like his

father.

Unit Four: Tales to Tell

Poetry 5, SV 2049'446

PoetrgConnection

Date

A Baltad with a Serious Conclusion, p- 2

II

2. What does the boY do before he

meets the man on the beach?

@ He runs home.

@ He calls out for his father.

O He goes for a swim.

@ He faints.

1,.,{\_35

Latin

Scholar's Name________________________

37

Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers

Veach

1L Latin Distance Learning Week 6 May 8 -14

Part 1: Chapter 10 Grammar Notes

3rd –iō and 4th Conjugation Verbs Directions: Using the completed version of the grammar notes on the following pages, copy your blank

grammar notes (don’t forget long marks). KEEP YOUR NOTES. DO NOT TURN THEM IN.

Review:

laudō, laudāre, laudāvī, laudātum

moneō, monēre, monuī, monitum

agō, agere, ēgī, āctum

Principal Parts of a 3rd -iō Conjugation Verb:

capiō, capere, cēpī, captum

• Notice that the stem vowel of the 2nd principal part is a short _______, but the first

principal part ends in ____________.

Principal Parts of a 4th Conjugation Verb:

audiō, audīre, audīvī, audītum

• The stem vowel for all 4th conjugation verbs is long __________.

• For many of the forms of 3rd –iō and 4th conjugation verbs the vowel ________ is placed

in front of the endings.

Present Indicative

3rd Conjugation 3rd –iō Conjugation 4th Conjugation

agō, agere capiō, capere audiō, audīre

SIN

G.

1st pers. agō

2nd pers. agis

3rd pers. agit

PLU

R.

1st pers. agimus

2nd pers. agitis

3rd pers. agunt

38


Veach

Imperfect Indicative



SIN

G.

1st pers. agēbam

2nd pers. agēbas

3rd pers. agēbat

PLU

R.

1st pers. agēbamus

2nd pers. agēbatis

3rd pers. agēbant

Future Indicative



SIN

G.

1st pers. agam

2nd pers. agēs

3rd pers. aget

PLU

R.

1st pers. agēmus

2nd pers. agētis

3rd pers. agent

Present Imperative



2nd sing. age

2nd plur. agite

39


Veach

Part 1: Chapter 10 Grammar Notes KEY

3rd –iō and 4th Conjugation Verbs Review:

laudō, laudāre, laudāvī, laudātum

moneō, monēre, monuī, monitum

agō, agere, ēgī, āctum

Principal Parts of a 3rd -iō Conjugation Verb:

capiō, capere, cēpī, captum

• Notice that the stem vowel of the 2nd principal part is a short -e but the first principal

part ends in -iō.

Principal Parts of a 4th Conjugation Verb:

audiō, audīre, audīvī, audītum

• The stem vowel for all 4th conjugation verbs is a long -ī

• For many of the forms of 3rd –iō and 4th conjugation verbs the vowel i is placed in front

of the endings.

Present Indicative



SIN

G.

1st pers. agō capiō audio

2nd pers. agis capis audīs

3rd pers. agit capit audit

PLU

R.

1st pers. agimus capimus audīmus

2nd pers. agitis capitis audītis

3rd pers. agunt capiunt audiunt

40


Veach

Imperfect Indicative



SIN

G.

1st pers. agēbam capiēbam audiēbam

2nd pers. agēbās capiēbās audiēbās

3rd pers. agēbat capiēbat audiēbat

PLU

R.

1st pers. agēbāmus capiēbāmus audiēbāmus

2nd pers. agēbātis capiēbātis audiēbāt

3rd pers. agēbant capiēbant audiēbant

Future Indicative



SIN

G.

1st pers. agam capiam audiam

2nd pers. agēs capiēs audiēs

3rd pers. aget capiet audiet

PLU

R.

1st pers. agēmus capiēmus audiēmus

2nd pers. agētis capiētis audiētis

3rd pers. agent capient audient

Present Imperative



2nd sing. age cape audī

2nd plur. agite capite audīte

41


Veach

Part 1: Vocab Check

Directions: Analyze each of your NEW nouns (using your Chapter 10 Vocab Sheet) by identifying the

genitive singular, gender, declension, and meaning of each given noun. Remember, that the declension is

found by looking at the ending of the genitive singular (the 2nd word in the vocab entry)

1st Declension (ae) 2nd Declension (ī) 3rd Declension (is).

Nominative Sg Genitive Sg Gender Declension Meaning

amīcitia

cupiditās

hōra

nātura

senectus

timor

vēritās

via

voluptās

42


Veach

Part 2: Present

Directions: Conjugate then translate the 4th Conjugation Verb veniō, vēnīre, vēnī, ventum (to come) in the

PRESENT tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).

Person Singular Translation

1st

2nd

3rd

Person Plural Translation

1st

2nd

3rd

Imperative Singular Imperative Plural Translation (Same for both)

Infinitive Translation

Part 2: Vocab Check

Directions: Analyze your NEW verbs by identifying all four principal parts, the conjugation, the

PRESENT STEM, and the meaning of each given verb/1st Principal Part. Remember that the stem comes

for 1st, 2nd, & 4th Conjugations comes from chopping off the -re from the 2nd P.P. The stem for the 3rd

Conjugation comes from chopping off the -ere. To find the conjugation, look at the ending of the 2nd

Principle Part.

1st Conjugation (-āre) | 2nd Conjugation (-ēre) | 3rd Conjugation (-ere) | 4th Conjugation (-īre)

1st P.P. 2nd P.P. 3rd P.P. 4th P.P. Conjugation STEM Meaning

audiō audīre audīvī audītum 4th audī To hear

capiō

dīcō

faciō

fugiō

veniō

inveniō

vīvō

43


Veach

Part 3: Imperfect

Directions: Conjugate then translate the 3rd Conjugation -io verb fugiō, fugere, fūgī, fugitūrum (to flee)

int the IMPERFECT tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).


1st

2nd

3rd


1st

2nd

3rd

Imperative Singular Imperative Plural Translation (Same for both)


Part 3: Vocab Check

Directions: Use your Vocab Sheets for Chapter 10 and Chapter 9.

beātus ____________________ quoniam ____________________

cum ____________________ amīcitia ____________________

cupiditās ____________________ locus ____________________

morbus ____________________ studium ____________________

hic, haec, hoc ____________________ ille, illa, illud ____________________

iste, ista, istud ____________________ alius ____________________

alter ____________________ neuter ____________________

44


Veach

Part 4: Future

Directions: Conjugate then translate the 3rd Conjugation verb faciō, facere, fēcī, factum (to accomplish) in

the FUTURE tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).


1st

2nd

3rd


1st

2nd

3rd

Imperative Singular** Imperative Plural Translation (Same for both)


**Imperative for faciō is IRREGULAR, refer to the Special Note of the Grammar Companion

Part 4: Vocab Check

Directions: Use your Vocab Sheets for Chapter 10 and Chapter 9.

hora ____________________ natūra ____________________

veritas ____________________ timor ____________________

senectus ____________________ nūllus ____________________

sōlus ____________________ tōtus ____________________

ūllus ____________________ ūnus ____________________

uter ____________________ enim ____________________

in(+acc) ____________________ nimis ____________________

45


Veach

1L Latin Grammar Companion

Part 1: Grammar Notes

To complete the assignment for Part 1, all you need to do is copy down the notes.

We have a new chapter, bringing us new vocab, new grammar, and a new conjugation (verb family). The

rules for the 4th Conjugation are actually very simple and similar to the 3rd Conjugation which you’ve

already learned.

The biggest difference is that you smack an i after the stem. That’s it. Try to note which forms will have a

long ī, since that will distinguish it from the 3rd Conjugation -io verbs.

3rd Conjugation io:

All this refers to is a special type of verbs that belong to the 3rd Conjugation family (as identified by the ere

ending of the 2nd principal part). You will know that hey are special because the first principal part ends

in…wait for it... io. You will notice that the rest of the 3rd Conjugation forms are very similar to the 4th

Conjugation, where an i remains part of the stem. Simply note which forms have a long ī and which have a

short i.

Stems:

When conjugating with the 4th Conjugation or the 3rd io, you will still follow that pattern of stem + ending.

Your stem for the 3rd Conjugation io is found exactly the same as the third:

by chopping off the -ere from the 2nd Principal Part. Just remember that there will always be an i after the

stem.

Your stem for the 4th Conjugation is slightly different but it’s a return to the familiar rules of the 1st and 2nd:

chop off the -re from the 2nd Principal Part. After that, you will add the same endings from the 3rd

Conjugation. These endings are found on Charts S, T, & U. *Note that I’ve added the i/ī to remind you that it should always come after the stem, but in the case of the

4th Conjugation, you will not need to add the i a second time since the i is already part of the stem. (Ex. not

audiiunt but audiunt).

Imperative

3rd Conjugation io

Singular: stem + e

ex. capiō, capere → cap → cape

Plural: stem + ite

ex. capiō, capere → cap → capite

4th Conjugation

Singular: stem

ex. audiō, audīre → audī → audī

Plural: stem + te

ex. audiō, audīre → audī → audīte

*Special Note*

Remember that some words have irregular singular imperatives:

dūcō, ducere → dūc NOT dūce

dīcō, dīcere → dīc NOT dīce

faciō, facere → fāc NOT face

These irregulars need to be MEMORIZED

Part 2: Present Chart S Part 3: Imperfect Chart T Part 4: Future Chart U

46

Present Tense Endings (3rd-io/4th)

NONE/am, is, are

Person Singular Plural

1st

-iō -īmus

2nd

-īs -ītis

3rd

-it -iunt

Imperfect Tense Endings (3rd-io/4th)

WAS/WERE


1st

-iēbam -iēbāmus

2nd

-iēbās -iēbātis

3rd

-iēbat -iēbant

Future Tense Endings (3rd-io/4th)

WILL


1st

-iam -iēmus

2nd

-iēs -iētis

3rd

-iet -ient

Perfect Tense (All Conj.)

Magic Words: have, has, + Past Participle

(-ed)

Ex. I have verbed, HSI has verbed


1st

-ī -imus

2nd

-istī -istis

3rd

-it -erunt

Pluperfect Tense (All Conj.)

Magic Words: had + Past Participle (-ed)

Ex. I had verbed, HSI had verbed


1st

-eram -erāmus

2nd

-erās -erātis

3rd

-erat -erant

Future Perfect Tense (All Conj.)

Magic Words: will have + Past Participle

(-ed)

Ex. I will have verbed, HSI will have verbed


1st

--erō -erimus

2nd

-eris -eritis

3rd

-erit -erint

1st Person Singular Pronoun Chart:

Case Singular Translation

Nom ego

I

Gen meī

of me

Dat mihi

to me

Acc mē

me

Abl mē

by-with-

from me

1st Person Plural Pronoun Chart:

Case Plural Translation

Nom nōs

We

Gen nostrum/

nostrī

of us,our

Dat nōbīs

to us

Acc nōs

us

Abl nōbīs

by-with-

from us

S

T

U

V

W

X

Y

Z

47

1. aliī...aliī some...others

2. alius, alia, aliud other, another

3. alter, altera, alterum the other (of two), second

4. enim for, in fact, truly

5. hic, haec, hoc this; these

6. ille, illa, illud that; those

7. in (+acc) into, toward; against

8. iste, ista, istud that (of yourse)

9. locus, locī, m place

10. morbus, morbī, m disease, sickness

11. neuter, neutra, neutrum not either, neither

12. nimis or nimium (adverb) too, too much, excessively

13. nūllus, -a, -um not any, no, none

14. studium, studiī, n eagerness, zeal, pursuit, study

15. tōtus, -a, -um whole, entire

16. ūllus, ūlla, ūllum any

17. ūnus, -a, -um one, single, alone

18. uter, utra, utrum either, which

Wheelock's Latin Chapter 9Study online at quizlet.com/_63f9tn

48

1. amīcitia, amīcitiae, f. friendship

2. audiō, audīre, audīvī, audītum hear, listen to

3. beātus, beāta, beātum happy, fortunate, blessed

4. capiō, capere, cēpī, captum to take, capture, seize, get

5. cum (+abl) with

6. cupiditās, -tātis, f. desire, longing, passion; cupidity, avarice

7. dīcō, dīcere, dīxī, dictum to say, tell, speak; name, call

8. faciō, facere, fēcī, factum to make, do, accomplish

9. fugiō, fugere, fūgī, fugitūrum to flee, hurry away; escape; go into exile; avoid, shun

10. hōra, hōrae, f. hour, time

11. inveniō, invenīre, invēnī, inventus to come upon, find

12. nātūra, nātūrae, f. nature

13. quoniam since, inasmuch as

14. senectūs, senectūtis, f. old age

15. timor, timōris, m fear

16. veniō, venīre, vēnī, ventum to come

17. vēritās, vēritātis, f truth

18. via, viae, f. way, road, street

19. vīvō, vīvere, vīxī, vīctum to live

20. voluptās, voluptātis, f. pleasure

Wheelock's Latin Chapter 10Study online at quizlet.com/_63f85z

49

Spanish

Scholar's Name________________

50

1L SPANISH

MAY 11 – MAY 15

• DAY 1: Preterite concept review questions 1-3

• DAY 2: The verb comprar in the preterite tense

• DAY 3: Vocabulary matching

• DAY 4: Read notes on -CAR -GAR -ZAR verbs in the preterite

Complete activities A & B

• DAY 5: Review vocabulary with flashcards, notes or online with

Quizlet: https://quizlet.com/join/ZFmTs8Npr

51

https://quizlet.com/join/ZFmTs8Npr

KEEP FOR REFERENCE

The tune goes with “3 Blind Mice” as follows:

é, aste, ó,

amos, asteis, aron

í, iste, ió,

imos, isteis, ieron

are the forms of the preterit

the first ones with ar is where they fit

with er & ir’s the second set

jugué, jugaste, jugó,

jugamos jugasteis, jugaron

comí, comiste, comió,

comimos, comisteis, comieron…

English Verses:

3 blind mice

3 blind mice

See how they run

See how they run

They all ran after the farmer’s wife

She cut off their tails with a carving knife

Did you ever see such a sight in your life?

3 blind mice

3 blind mice

See how they run

See how they run…

52

KEEP FOR REFERENCE

sin

gula

r p

lura

l

53

NAME ________________________ CLASS ____________

DAY 1 SEÑORA PEYERL

Answer the following questions in English.

1. What does it mean when a verb is in the preterite tense in Spanish?

______________________________________________________________________________

2. One of the subject pronouns has the same conjugation in the present tense and the preterite tense.

Which subject pronoun is it?

_______________________________________________________________________________

3. Which 2 conjugations need to have accent marks on them in the preterite tense?

________________________________________________________________________________

Subject Pronouns:

Yo I Nosotros/as We

Tú You Vosotros/as Y’all

Él He

Ella She

Usted You

Ellos They

Ellas They

Ustedes You guys

54

NAME ________________________ CLASS _______________


Comprar – to buy **Conjugate the verb in the preterite (past) tense

Yo _________________

Nosotros/as ___________________

Tú _________________

Vosotros/as ___________________

Él Ella __________________ Usted

Ellos Ellas ___________________ Ustedes

Translate the sentences into ENGLISH. 1. Yo compré un anillo para mi hermana.

________________________________________________________________________

2. Mi mamá compró zapatos en la zapatería. ________________________________________________________________________

3. Ellos compraron los libros en la librería. ________________________________________________________________________

Challenge/Bonus: Write 3 sentences of your own using the chapter vocabulary and the verb comprar in the preterite.

1. ________________________________________________________________________

2. ________________________________________________________________________

3. ________________________________________________________________________

55

NAME ________________________ CLASS ________________


Match the definition If you do not remember these vocabulary words, make flashcards for yourself.

1. ______ el bolso a. ring

2. ______ anoche b. jewelry store

3. ______ la cadena c. gloves

4. ______ la librería d. last night

5. ______ el anillo e. last week

6. ______ el perfume f. watch

7. ______ la semana pasada g. bookstore

8. ______ la joyería h. perfume

9. ______ el reloj j. chain

10. ______ los guantes k. bag

56

NAME ________________________ CLASS ________________


57

Science

Scholar's Name__________________

58

History

Scholar's name_______________

72

Name: ___________________________________

1L History Roman Architecture

Directions: Read through this worksheet. You must also watch the Roman Architecture video on the www.parnassusteachers.com webpage. Fill in the blanks for questions 1-6 after watching the lesson video. Ancient Roman architecture has endured for about 2,000 years because the Romans perfected the use of three architectural elements: the arch, the vault, and concrete. Each of these three important elements helped to lighten the load carried by Roman structures while maintaining both structural strength and stability. The Arch The arch consists of two supports, called piers, each topped by a platform called an impost. Angled blocks of brick or stone, called voussoirs [voo-swars’], are placed on the imposts in an arched, curved pattern that is capped by the central block of the arch called the keystone. A row of arches is called an arcade. Arches allowed the Romans to create wider, taller, and lighter structures. They also learned that they if they built arches entirely inside the walls of their buildings that this would make the walls even stronger. The Vault Vaults are extended arches and the Romans used them to create large open rooms and high, covered passageways. Concrete Concrete was probably the greatest Roman contribution to architecture. Roman concrete was made with a special

Roman mortar or cement that gave Roman cement its special strength. Roman concrete was created by first building a form and then pouring in alternating layers of the Roman cement and layers of rocks, bricks, or gravels. As each layer of rocks, bricks, or gravels was poured in and spread around, Roman workers would then pound the layers firmly together with a tool called a tamp. Roman cement was special not only because it was strong but because it was also hydraulic—it would set up and harden even under water, which made it handy for building things like Roman sewers, cisterns, baths, and even harbor. Colosseum ca. 72-80 CE, concrete, stone & brick, approx. 187’ high x 617’ wide at the longest point, Rome, Italy Perhaps the greatest work of architectural engineering left to us by the ancient Romans is the Colosseum. It is one of the most famous buildings in the world. Originally, it was called the Flavian Amphitheater, after the family name of the emperors who built it, Vespasian, Titus, and Domitian. The Colosseum served as a stage for popular Roman entertainments such as gladiator and animal fights, public executions, and even naval battles. This type of building is a Roman invention. They expanded the semi-circular Greek theater into an amphitheater [“amphi” means “double” or “two”] by placing two theatres facing each other to enclose an oval space called the arena. The Roman Colosseum is the largest amphitheater and most major cities throughout the Roman Empire also had their own amphitheaters. The Pantheon 118-128 CE, stone, marble concrete and Bronze, Rome, Italy The Pantheon is considered the crowning achievement of Roman architecture and it is the best-preserved building dating from ancient Roman times. Famous for its round design and dome, the whole building is based on the circle, except for the rectangular porch in front. The Pantheon is the first temple to combine concrete construction (a Roman innovation) with Greek decorative elements. The Pantheon (from Greek, meaning “of all the gods”) was originally built as a temple to all Roman gods, some of which were used to name the five planets that were known at the time: Jupiter, Mars, Mercury, Saturn and Venus.

73

http://www.parnassusteachers.com/

In 608 CE, the Pantheon was converted to a Christian church and it became the burial place of kings, queens and many great men of Italy. This conversion to a church is one of the reasons that the building has survived intact for almost two thousand years. The interior of the Pantheon survives in its original form, making it unique among monuments of antiquity. The hemispherical dome represents the dome of heaven or the vault of the universe. At one time it was gilded so the spectator looked up to see shining gold as well as the natural light streaming down from the opening in the dome’s center. This round opening to the sky, called an oculus, is the only natural light source for the interior. http://pal.loswego.k12.or.us/art_lit/Rome-VolunteerPresentation-Notes.pdf

PowerPoint Viewing Guide 1. Roman architecture has endured for about 2,000 years due to the use of three architectural elements:

the ________________________, ______________________, and __________________________.

2. _________________________________ allowed the Romans to create wider, taller, and lighter structures.

3. Romans used ____________________________ to create large open rooms and high, covered passageways.

4. _______________________________ was probably greatest Roman contribution to architecture.

5. The _____________________________ served as a stage for popular Roman entertainments, such as gladiator and

animal fights, public executions, and even naval battles.

6. The crowning achievement of Roman architecture and best-preserved building dating from ancient Rome is the

______________________________________ .

74

Scholar Name: ___________________________

SOL Music Lesson

“Music as Conversation”

Week of May 11, 2020

This week’s music lesson continues our exploration of the connections of

music and language. It looks at how composers such as Haydn, Mozart, and

Beethoven used conversation as a model for the ways in which instruments

interact, almost as if they are talking to each other. The lesson includes several

examples that use musical notation – contact one of us (Dr. Dean, Magistra

Neimeyer, or Magister Sood) if you have any questions about how to read it.

Please let us know if there are any issues opening the listening links that are

also a part of the lesson.

The “For Further Exploration” section has more “conversational” vocal and

instrumental music by Mozart, with additional listening links.

Important: put your name on this page and the answer sheet. Return your

completed answer sheet. The remaining music lesson pages are for you to

keep.

79

Scholar name: ______________________________________

Please answer the following questions based on the “Music as Conversation” reading.

When did the Classical era in music history start and end? _______________________

What three major Classical-era composers are represented in this lesson?

_______________________ _______________________ _______________________

Name at least three features of Classical-era music.

_____________________________________________________________________

_____________________________________________________________________

_____________________________________________________________________

How did Classical-era composers create a sense of instruments having a conversation?

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

80

Music Lesson No. 5:

Music as Conversation

The Classical era (1750-1828) of music history is known for music that is elegant,

entertaining, and emotionally restrained. Composers of the time tried to incorporate

order and symmetry into their music, creating a kind of architecture in sound. In keeping

with the ideas of Enlightenment philosophy, they also thought of music as a kind of

conversation among equals. These musical conversations are found in the works of

Classical era composers such as Haydn, Mozart, and Beethoven.

One way that these composers suggest conversation is through commentary. When an

instrument states a melody, another instrument will play a contrasting passage that

“comments” on that statement. In Mozart’s “Hunting” Quartet, the middle two

instruments play the melody (at 1’22’ in the video), then the higher-pitched violin

comments (at 1’25’’). Listen a little further to see if it happens again. https://www.youtube.com/watch?v=FIUPPOToij4

They also use imitation, where the same snippet of melody is passed from one

instrument to another. Imitation implies that everyone is in harmonious agreement.

Impassioned argumentation, common in earlier music where rhetorical persuasion was

the model, is rare in Classical-era music. In the Mozart quartet, each instrument waits its

turn as the melody (marked with a *) is passed from lowest to highest instrument. This

passage is at 2’10” in the same video:

*

Violin 1 Violin 2 *

Viola *

Cello *

81

https://www.youtube.com/watch?v=FIUPPOToij4

Another conversational technique in Classical era music is symmetrical question-and-

answer phrasing. The melody begins with a question, then an answer of the same

length completes the melody, creating a symmetrical structure. This is symmetry that

we can both see and hear, as in Haydn’s “Surprise” Symphony, below. The question (Q)

and its answer (A) are each four measures long, in a soft (piano) volume. These eight

measures are then repeated (the second line in the music below), but Haydn changes

the “punctuation” of the answer to a loud fortissimo (ff) exclamation point – surprise!

Listen here: https://www.youtube.com/watch?v=lLjwkamp3lI

Q (four measures) A (next four measures)

In Classical-era music the melody is often in the highest, most prominent part, with

harmonic support from lower-pitched instruments. Beethoven reverses these traditional

roles by starting his String Quartet, Opus 59, No. 1, with the melody in the lowest part

and the higher instruments in the background (at 1’10” in the video). Then the

instruments trade roles, with the melody in the violin (at 1’22”). Beethoven also takes

question-and-answer to a new level by splitting the four instruments into two duets,

where the viola and cello answer the two violins to create a musical dialogue (at 1’52”).

The cello comments on the violin melody (at 3’54”). Also listen for imitation of the first

four notes of the opening melody. The dialogues and musical commentaries continue

throughout this piece, creating a richly-layered conversation where you can really hear

the personality of each instrument. https://www.youtube.com/watch?v=oXLKu-HglnM&t=259s

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https://www.youtube.com/watch?v=lLjwkamp3lI

https://www.youtube.com/watch?v=oXLKu-HglnM&t=259s

For Further Exploration

Mozart “Starling” Variations. From a concerto for piano and orchestra, this piece has all

the hallmarks of musical conversation. Listen for symmetrical question-and-answer

phrases, dialogues between string and wind instruments and among individual wind

instruments, role-trading between the orchestra and the solo piano, piano commentary,

and more! https://www.youtube.com/watch?v=AsdfPVM0stI&t=92s

Vocal Quartet from Mozart’s Don Giovanni. Here the conversation includes the words!

This scene from one of Mozart’s Italian-language operas involves four characters: Don

Giovanni, Donna Anna, Don Ottavio, and Donna Elvira. Anna thinks Giovanni might have

killed Anna’s father, and her fiancé Ottavio is helping her get to the truth. Elvira is trying

to warn them about Giovanni’s true nature, while Giovanni hopes to convince them that

Elvira is crazy. By the end of the quartet Anna’s suspicion is confirmed. As you listen,

notice how the music dramatizes the complicated personal dynamics among the

characters. Elvira starts the quartet after a spoken passage between Giovanni, Anna,

and Ottavio, at 1’20 in the video. https://www.youtube.com/watch?v=c6oQy22dcQc

Donna Elvira (to Don Giovanni): Ah, I've found you again, faithless monster!

Donna Elvira (to Donna Anna): Do not believe, unhappy one,

in that faithless heart!

The villain has already betrayed me!

Now he seeks to betray you.

Donna Anna, Don Ottavio: Heavens, what noble bearing,

what sweet majesty!

Her pallor, her tears

fill me with pity!

Don Giovanni: The poor girl is mad, my friends,

leave me alone with her,

she's mad, my friends.

83

https://www.youtube.com/watch?v=AsdfPVM0stI&t=92s

https://www.youtube.com/watch?v=c6oQy22dcQc

1L Art

Scholar’s Name:_________________

84

1.

2.

3.

4.

5.

6.

7.

8.

Chin line: Marks where the bo�om of your chin should end.

Shoulder line: Shows where the topof shoulders circles need to be

Center chest line: Points out the centerof the pectoral, or chest.

Belly bu�on/Elbow line: Indicates where you need to place elbow joint circles for both arms. Aso where the belly bu�on ofyour person should be.

Hip joint line: Shows where hip joint circles need to be placed. also acts as the top of the hand shape.

Finger �p line: Simply tells us how far our longest finger �p should go.

Bo�om kneecap line: Tells us where we need to place the bo�om of our knee joint

Bo�om of calf muscle: This line marks the center of the leg bone and serves morepurpose when adding muscles.

Soles of feet = Ground: This line marks the ground/ soles/ bo�om of the feet .

1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.

Top of Head line: When you daw in your head the top of it should start there.

Step1 : Last week you created a propor�onal “s�ck skeleton” that was 8 heads tall.This week you will transform that s�ck skeleton into a well propor�oned person. Begin by drawing that “s�ck skeleton”lightly on your work page.

85

1.

2.

3.

4.

5.

6.

7.

8.










1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.


Step 2 : Now that you have your lightly drawn s�ck skeleton you can start to add thickness or muscle to the body. Start this by drawing thin oval shapes from the circle joints of each shoulder. Draw the same oval shape from the shoulder joint circle to the elbow joint circle. Con�nue this �ll you have outlined you skeleton like I have done Below. Dont forget we are s�ll drawing lightly in this step, these shapes will serve as a guide as we con�nue our drawing. ( NOTE: If you have internet check the schools web site in the distance lerning sec�on under art for a video reference.)

86

1.

2.

3.

4.

5.

6.

7.

8.










1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.


Step 3: Once you have your muscles drawn, it is �me to start to erase the s�ck skeleton.Erasing the “s�ck skeleton” should leave you with the shape of a person as shown below.At this point you have a blank person that is ready to be detailed .

87

1.

2.

3.

4.

5.

6.

7.

8.










1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.


Step 4: In this step you will draw in your persons face using a face map method and then adding details. This is your chance to turn this person into whoever you want. Some exapmples are: Spartan Warrior, Viking, Greek/RomanGod, Queen/Princess, anyone from history, or even yourself. So get crea�ve! Once you are done adding the defining details to you character start to erase any muscle lines that do not need to be seen anymore.

88

1.

2.

3.

4.

5.

6.

7.

8.

Finished: Once you have removed all the ununnecessary lines, your drawing should be close to done. If you have access to colors you can customize it even further. Congratula�ons, you have drawn a propor�onal person!

89

1.

2.

3.

4.

5.

6.

7.

8.

Chin line

Shoulder line

Center chest line

Belly bu�on/Elbow line

Hip joint line

Finger �p line

Bo�om kneecap line

Bo�om of calf muscle

Soles of feet = Ground

1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.

Top of Head line

1L Work page: Draw your person here.

Name

Hour

Red or Blue day

90

1.

2.

3.

4.

5.

6.

7.

8.

Chin line

Shoulder line

Center chest line

Belly bu�on/Elbow line

Hip joint line

Finger �p line

Bo�om kneecap line

Bo�om of calf muscle

Soles of feet = Ground

1.

2.

3.

4.

5.

6.

7.

8.

2.5.

9.

Top of Head line

1L Work page: Draw your person here.

Name

Hour

Red or Blue day

91

1L Physical Education

Scholar’s Name:_________________

92

Name: _______________________________ Teacher (Circle): MANGOLD or BECK

Circle: Red or Blue Hour:____________

Monday Tuesday Wednesday Thursday Friday

1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself!

1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself..

1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself.



2. Do 15 minutes of continuous exercise. Choose from the list below.





3. Have a parent initial here after you complete yourworkout.___________





SOL Gym Class Guide – Week of May 11th – May 15th

Do 20 minutes of continuous exercise 3 times a week, or every day if you want. Exercise will help you

manage stress and is a great way to take a break.

All 1L, 2L, 3L and 4L Students:

Complete #1-2 THREE times a week and have your parents initial box #3 when you finish each workout.

We want you to get moving! Here are some ideas for continuous exercise: go for a run, jump, juggle, lift

weights, dance, do household chores like vacuuming, jump rope, bounce a ball, walk where you’re

allowed, create a minute-2-win it challenge, invent a game, throw a ball, play catch, climb, etc. You can

also make up a game of your own!

Take care of yourselves! -Magister Mangold and Magister Beck

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1L Student Distance Learning - Parnassus Preparatory School

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