Year 9 Homework BookletYear 9 Homework Booklet

Lear

ning

Cyc

le 1

Belong Believe Be Proud

“Knowledge is power. Information is liberating. Education is the premise of progress, in every

society, in every family”

Nelson Mandela

Name:

Tutor:Email: sales@hdc-uk.com Web: hdc-uk.com

Learning Cycle 1

WEEK 1 WEEK 2

Monday Online Maths Music

Drama Religious Studies

Tuesday English

History

Computing

PE

Wednesday

Thursday Science Science

Modern Foreign Design Languages Technology

Friday Art English

Maths Geography

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Homework TimetableIt is expected that you complete one full page in your workbook as a minimum. Students should spend around 20 minutes on homework for each subject. Tutors will check your Knowledge Organiser homework during Tutor Time. They will be looking for a full page of work on the correct subjects of the Knowledge Organiser completed with no gaps, as well as for purple pen ticks/corrections and good presentation. Your writing needs to be neat and legible with H/W, Title and Date underlined with a ruler at the top of the page. If your tutor feels that any of these elements are not up to standard, your tutor will enter you for a homework support session that same day.

Belong Believe Be Proud

Belong Believe Be Proud

1

Your Homework BookletLe

arni

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1

This is your homework booklet, in your homework booklet you will find a knowledge organiser for each subject that you are going to study in learning cycle 1, these are a

summary of the most important pieces of information that you need to know.

You will be expected to learn all this information and complete activities in your workbook.

Contents

Your Homework Booklet .............................................................................................. 2

Knowledge Quiz ............................................................................................................ 3

Online Maths Work ...................................................................................................... 4

How to Use your Knowledge Organiser for Homework ................................................5

Look, Cover, Write, Check, Correct ............................................................................... 6

Look, Cover, Mind Map, Check, Correct ....................................................................... 7

Look, Cover, Transform, Check, Correct ........................................................................ 8

English .....................................................................................................................9-10

Maths ....................................................................................................................11-14

Science ..................................................................................................................15-18

History ...................................................................................................................19-20

Geography .............................................................................................................21-22

Religious Studies ....................................................................................................23-24

Modern Foreign Languages ...................................................................................25-26

Music .....................................................................................................................27-28

Drama ....................................................................................................................29-30

Design and Technology ..........................................................................................31-36

Physical Education .................................................................................................37-40

Computer Science .................................................................................................41-42

Art..........................................................................................................................43-44

Notes .....................................................................................................................45-48

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At TKASA, we place a great emphasis on the importance of reading in order to accelerate the development of your vocabulary and fluency in communication. Not only that, a good book will teach you more about the world around you and help you empathise with others. We recommend a minimum of 20 minutes of reading per day. Have a look at the reading list below for some inspiration

The Hunger Games Suzanne Collins

Northern Lights Philip Pullman

The Fault in Our Stars John Green

The Lord of the Rings J. R. R. Tolkien

Twilight Stephenie Meyer

To Kill a Mocking Bird Harper Lee

When Hitler Stole Pink Rabbit Judith Kerr

Maggot Moon Sally Gardner

Shug Jenny Han

Jane Eyre Charlotte Brontë

A Street Cat Named Bob James Bowen

Stargirl Jerry Spinelli

Roll of Thunder Hear My Cry Mildred D. Taylor

Swallows and Amazons Arthur Ransome

The Wheel of Surya Jamila Gavin

The Earthsea Quartet Ursula K. Le Guin

Never Say Die Anthony Horowitz

Treasure Island Robert Louis Stevenson

Fly–By-Night Frances Hardinge

Mortal Engines Philip Reeve

Geek Girl Holly Smale

Flour Babies Anne Fine

My Family and Other Animals Gerald Durrell

Holes Louis Sachar

Cirque Du Freak Darren Shan

Cow Girl G R Gemin

The Girl Who Drank the Moon Kelly Barnhill

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Knowledge QuizYour teacher will quiz you on your knowledge organiser 3 times each learning cycle to check how well you are doing your homework. The ‘Mark’ box must be used to record your score from each quiz.

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Maths English Science Geography

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

Food & Nutrition History MFL Drama Music

QUIZ 1 / / / / /

QUIZ 2 / / / / /

QUIZ 3 / / / / /

Art DT Comp RS

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

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ing

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3

Knowledge QuizYour teacher will quiz you on your knowledge organiser 3 times each learning cycle to check how well you are doing your homework. The ‘Mark’ box must be used to record your score from each quiz.

Belong Believe Be Proud

Maths English Science Geography

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

Food & Nutrition History MFL Drama Music

QUIZ 1 / / / / /

QUIZ 2 / / / / /

QUIZ 3 / / / / /

Art DT Comp RS

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

Maths English Science Geography

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

History MFL Drama Music PE

QUIZ 1 / / / / /

QUIZ 2 / / / / /

QUIZ 3 / / / / /

Art DT Comp RS

QUIZ 1 / / / /

QUIZ 2 / / / /

QUIZ 3 / / / /

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Belong Believe Be Proud

Learning Topic practised Signed by Signed by Cycle 2 parent Maths Teacher

Week 1

Week 2

Week 3

Week 4

Week 5

Week 6

Week 7

Week 8

Week 9

Online Maths Work

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How to use your knowledge organiser

for homework

Belong Believe Be Proud

The Knowledge Organisers are designed to help you learn a wide range of knowledge which in turn will mean you are more prepared for your lessons as well as the new style GCSEs that you will sit in the future. For homework you should use your knowledge organiser to complete one of our accepted strategies in your workbook you should either

• Write • Mind Map • Transform Do not just copy into your workbook! Here are some tips on how you can use your workbook Your tutor will check your workbook each week

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Belong Believe Be Proud

Look, cover Write, check, Correct

First Look through and read the information on a section of your knowledge organiser

Then Cover the section so you can no longer see the information

Next Try and write out the key definitions or facts that you need to know Now Uncover the section of your knowledge organiser and check how correct you were Finally Correct anything that you wrote down that was incorrect

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Belong Believe Be Proud

Look, cover Mind Map, check, Correct

Key Words and Definitions Chronology The order in which events happened Primary Source Something from the time being studied for

example if you were studying The Battle of Hastings a shield from the Saxon shield Wall would be primary source

Interpretation A view of the past created from primary sources e.g. a museum exhibition about the Battle of Hastings is an interpretation.

Cause A reason why something happened Consequence A result of an event or change Significance A measure of how much impact an event,

person or change has had. Saxon Most of the English people before 1066 Norman People from Normandy, France e.g.William

the Conqueror Tactics A planned action to help you achieve

success Cavalry Soldiers on horseback Infantry Soldiers on foot The Church Christian organisation led by the Pope.

England was a catholic country until the 16th century

Cycle 1 in History will focus on: An introduction to studying history, a depth study enquiry called why did William win the Battle of Hastings? and a short enquiry into why the Church was so important in medieval times.

History is finding out about the past by using the evidence that has been left behind. It is also about asking questions and sorting out answers. In history we also look at how why interpretations are created

Here are the different time periods we use to divide up British History: 55BC - 410AD Roman Britain 410 - 1066 Saxon and Viking Britain 1066 - 1485 Medieval Britain 1485 - 1603 Tudor Britain 1603 - 1714 Stuart Britain 1714 - 1837 Georgian Britain 1837 - 1901 Victorian Britain 1901 - 1910 Edwardian britain

The five ways a historian can measure significance 1 Did the person or event matter to the people at the

time? 2 Did the person or event affect a large number or a small

but important group of people? 3 Did the person or event cause change and if so, how

great was the change? 4 Was the change long lasting or short term? 5 Is the person or event still seen as important today?

Interpretations are versions of history. Authors, film makers, and museum designers are all producers of interpretations. There are different interpretations of the same event or person.

History

!

!!Topic 1 What is History?

First Look through and read the information on a section of your knowledge organiser

Then Cover the section so you can no longer see the information

Next Create a mind map that maps out everything from your knowledge organiser using keywords, colour and images Now Uncover the section of your knowledge organiser and check how correct you were Finally Correct anything that you wrote down that was incorrect

7

Learning Cycle 1

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Le

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Belong Believe Be Proud

Look, cover Mind Map, check, Correct

Key Words and Definitions Chronology The order in which events happened Primary Source Something from the time being studied for

example if you were studying The Battle of Hastings a shield from the Saxon shield Wall would be primary source

Interpretation A view of the past created from primary sources e.g. a museum exhibition about the Battle of Hastings is an interpretation.

Cause A reason why something happened Consequence A result of an event or change Significance A measure of how much impact an event,

person or change has had. Saxon Most of the English people before 1066 Norman People from Normandy, France e.g.William

the Conqueror Tactics A planned action to help you achieve

success Cavalry Soldiers on horseback Infantry Soldiers on foot The Church Christian organisation led by the Pope.

England was a catholic country until the 16th century

Cycle 1 in History will focus on: An introduction to studying history, a depth study enquiry called why did William win the Battle of Hastings? and a short enquiry into why the Church was so important in medieval times.

History is finding out about the past by using the evidence that has been left behind. It is also about asking questions and sorting out answers. In history we also look at how why interpretations are created

Here are the different time periods we use to divide up British History: 55BC - 410AD Roman Britain 410 - 1066 Saxon and Viking Britain 1066 - 1485 Medieval Britain 1485 - 1603 Tudor Britain 1603 - 1714 Stuart Britain 1714 - 1837 Georgian Britain 1837 - 1901 Victorian Britain 1901 - 1910 Edwardian britain

The five ways a historian can measure significance 1 Did the person or event matter to the people at the

time? 2 Did the person or event affect a large number or a small

but important group of people? 3 Did the person or event cause change and if so, how

great was the change? 4 Was the change long lasting or short term? 5 Is the person or event still seen as important today?

Interpretations are versions of history. Authors, film makers, and museum designers are all producers of interpretations. There are different interpretations of the same event or person.

History

!

!!Topic 1 What is History?

First Look through and read the information on a section of your knowledge organiser

Then Cover the section so you can no longer see the information

Next Create a mind map that maps out everything from your knowledge organiser using keywords, colour and images Now Uncover the section of your knowledge organiser and check how correct you were Finally Correct anything that you wrote down that was incorrect

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Learning Cycle 1

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Belong Believe Be Proud

Look, cover Transform, check, Correct

Kings Play Chess On Fine Glass SetsK I N G D O M

P H Y L U M

C L A S S

F A M I L Y

K I N G D O M

G E N U S

S P E C I E S

Next Transform the information on the knowledge organiser into either a mnemonic or series of images Now Uncover the section of your knowledge organiser and check how correct you were Finally Correct anything that you wrote down that was incorrect

Key Words and Definitions Chronology The order in which events happened Primary Source Something from the time being studied for

example if you were studying The Battle of Hastings a shield from the Saxon shield Wall would be primary source

Interpretation A view of the past created from primary sources e.g. a museum exhibition about the Battle of Hastings is an interpretation.

Cause A reason why something happened Consequence A result of an event or change Significance A measure of how much impact an event,

person or change has had. Saxon Most of the English people before 1066 Norman People from Normandy, France e.g.William

the Conqueror Tactics A planned action to help you achieve

success Cavalry Soldiers on horseback Infantry Soldiers on foot The Church Christian organisation led by the Pope.

England was a catholic country until the 16th century

Cycle 1 in History will focus on: An introduction to studying history, a depth study enquiry called why did William win the Battle of Hastings? and a short enquiry into why the Church was so important in medieval times.

History is finding out about the past by using the evidence that has been left behind. It is also about asking questions and sorting out answers. In history we also look at how why interpretations are created

Here are the different time periods we use to divide up British History: 55BC - 410AD Roman Britain 410 - 1066 Saxon and Viking Britain 1066 - 1485 Medieval Britain 1485 - 1603 Tudor Britain 1603 - 1714 Stuart Britain 1714 - 1837 Georgian Britain 1837 - 1901 Victorian Britain 1901 - 1910 Edwardian britain

The five ways a historian can measure significance 1 Did the person or event matter to the people at the

time? 2 Did the person or event affect a large number or a small

but important group of people? 3 Did the person or event cause change and if so, how

great was the change? 4 Was the change long lasting or short term? 5 Is the person or event still seen as important today?

Interpretations are versions of history. Authors, film makers, and museum designers are all producers of interpretations. There are different interpretations of the same event or person.

History

!

!!Topic 1 What is History?

First Look through and read the information on a section of your knowledge organiser

Then Cover the section so you can no longer see the information

Belo

ng B

elie

ve B

e Pr

oud

9

English

1

English

Cyc

le 1

in E

nglis

h w

ill fo

cus

on e

xplo

ring

and

enjo

ying

the

Cla

ssic

s: G

reek

and

Rom

an m

ytho

logy

and

Lite

ratu

re. T

he m

ytho

logi

cal c

anno

n is

hu

ge s

o yo

u w

ill be

focu

sing

on

key

stor

ies,

The

Tro

jan

War

s an

d G

reek

Tra

gedy

. Cla

ssic

s w

ill he

lp y

ou u

nder

stan

d al

lusi

ons

in la

ter

Lite

ratu

re. Y

ou w

ill al

so e

xpan

d yo

ur k

now

ledg

e of

ety

mol

ogy

(the

build

ing

bloc

ks o

f wor

ds) t

o ai

d yo

ur s

pellin

g an

d im

prov

e yo

ur v

ocab

ular

y.

Mai

n Th

emes

of

Gre

ek

Lite

ratu

re

FA

TE

ARRO

GANC

E &

HUB

RIS

HERO

ISM

JUST

ICE

&

VENG

EANC

E

LO

VE &

LU

ST

It’s

9 ye

ars

into

the

Gre

ek v

ersu

s Tr

ojan

war

. The

to

p G

reek

sol

ider

Ach

illes

has

just

won

a b

attle

for

his

Kin

g, A

gam

emno

n.

In c

eleb

ratio

n Ag

amem

non

and

Achi

lles

choo

se a

wom

an fr

om th

e lo

sing

si

de to

take

as

conc

ubin

e. T

he K

ing

take

s C

hrys

eis

and

Achi

lles

take

s Br

isei

s. B

oth

wom

en a

re fo

rmer

nob

les.

Chr

ysei

s’ fa

ther

is a

fam

ous

prie

st o

f the

god

Apo

llo. H

e be

gs A

gam

emno

n to

free

her

, he

even

offe

rs to

pay

lots

of g

old.

Aga

mem

non

moc

ks a

nd ji

bes

the

prie

st a

nd u

ltim

atel

y re

fuse

s hi

m.

Chr

ysei

s’ fa

ther

pra

ys to

Apo

llo fo

r hel

p. A

pollo

list

ens.

Apol

lo is

the

god

of p

lagu

e an

d ra

ts. H

e av

enge

s hi

s pr

iest

by

send

ing

hord

es o

f pla

gue

infe

cted

rats

into

the

Gre

ek a

rmy

cam

p.

The

Gre

ek a

rmy

peris

h. A

chille

s be

lieve

s if

the

Kin

g fre

es C

hrys

eis

the

plag

ue w

ould

be

cure

d. A

gam

emno

n re

fuse

s.

Achi

lles

conf

ront

s Am

amem

non

who

is fo

rced

to fr

ee C

hrys

eis.

In s

pite

the

King

ste

als

Bris

eis.

Hur

t by

this

Ach

illes

refu

ses

to o

rder

his

men

to fi

ght f

or

the

King

. With

out h

im th

e G

reek

s ar

e su

re to

lose

…

Iliad

I -

Plot

The

play

sta

rts y

ears

afte

r the

tale

of J

ason

and

the

Gol

den

Flee

ce. M

edea

, Jas

on a

nd th

eir c

hild

ren

are

livin

g in

Cor

inth

, Gre

ece.

The

play

ope

ns in

a s

tate

of c

onfli

ct. J

ason

has

bee

n of

fere

d th

e ‘o

ppor

tuni

ty’

to m

arry

Prin

cess

Gla

uce

by th

e K

ing

Cre

on o

f Cor

inth

. Jas

on is

ver

y ex

cite

d at

the

pros

pect

to a

dvan

ce h

is s

tatu

s.

Med

ea is

em

otio

nally

cru

shed

by

Jaso

n’s

cons

ider

atio

n of

aba

ndon

men

t of

her a

nd th

eir c

hild

ren.

She

is p

rese

nted

as

deep

ly d

epre

ssed

and

the

child

ren’

s nu

rse

lam

ents

wha

t Med

ea’s

grie

f mig

ht le

ad to

.

Jaso

n ac

cuse

s M

edea

of o

verr

eact

ing

and

they

arg

ue b

itter

ly.

Med

ea, a

form

er p

riest

ess

of m

agic

, plo

ts h

er re

veng

e. C

onve

nien

tly, s

he

mee

ts th

e Ki

ng o

f Ath

ens

who

offe

rs h

er s

afet

y in

his

city

if s

he h

elps

him

cu

re h

is s

teril

ity w

ith h

er m

agic

. She

acc

epts

.

Med

ea p

rete

nds

to a

polo

gise

to J

ason

; to

say

sor

ry fo

r the

stri

fe s

he

caus

ed s

he g

ifts

his

new

brid

e a

hand

mad

e ca

pe to

wea

r on

her w

eddi

ng

day.

The

cap

e is

lace

d w

ith p

oiso

ned

thre

ads.

As

soon

as

she

wea

rs it

G

lauc

e is

kille

d, a

s ar

e th

ose

who

go

to s

ave

her,

incl

udin

g K

ing

Cre

on.

Med

ea –

Plot

Med

ea h

owev

er is

not

qui

te fi

nish

ed. W

hile

her

hus

band

mou

rns

his

loss

(of

stat

us o

r of h

is b

ride

– th

e au

dien

ce h

as to

dec

ide!

) Med

ea g

athe

rs h

er

child

ren

and

kills

them

. Was

it m

adne

ss, p

rote

ctio

n fro

m th

e Ki

ng’s

gua

rds

or fu

rther

reve

nge?

Jas

on a

ppea

rs to

find

thei

r bod

ies

and

is d

istra

ught

.

Befo

re J

ason

can

reac

t Hel

ios

(the

god

of S

un) a

ppea

rs. H

elio

s al

low

s M

edea

to c

olle

ct th

e bo

dies

of h

er c

hild

ren,

then

car

ries

her a

nd th

em in

his

ch

ario

t to

the

safe

hav

en o

f Ath

ens.

Med

ea li

ves

out h

er d

ays

safe

ly a

nd

happ

ily in

Ath

ens,

Jas

on is

nev

er s

poke

n of

in G

reek

myt

h ag

ain.

GL

ORY

Belo

ng B

elie

ve B

e Pr

oud

10

English

Hub

ris

An e

xces

sive

prid

e or

def

ianc

e to

the

gods

whi

ch le

ads

to th

e ch

arac

ter’s

dow

nfal

l and

dem

ise.

Trag

edy

A lit

erar

y w

ork

in w

hich

the

mai

n ch

arac

ter i

s br

ough

t to

ruin

, ofte

n th

roug

h th

eir t

ragi

c fla

w.

Path

os

An e

xper

ienc

e th

at s

tirs

up e

mot

ions

of p

ity, s

orro

w a

nd s

ympa

thy.

Invo

catio

n Th

e be

ginn

ing

of a

lite

rary

wor

k (u

sual

ly a

poe

m) w

here

the

poet

ca

lls u

pon

the

aid

of p

artic

ular

mus

es to

aid

thei

r writ

ing.

Mus

e 9

godd

esse

s (d

augh

ters

of Z

eus

and

Mne

mos

yne)

who

pre

side

ov

er a

nd in

spire

the

arts

and

sci

ence

s.

Cat

hars

is

Is th

e em

otio

nal s

tate

(nor

mal

ly p

ity o

r fea

r) th

at a

n au

dien

ce

mem

ber f

eels

due

to a

rt an

d Li

tera

ture

. H

amar

tia

The

fata

l fla

w th

at le

ads

to th

e do

wnf

all o

f a tr

agic

her

o or

her

oine

.

Epic

Fr

om th

e G

reek

“epi

kos”

mea

ning

poe

tic s

tory

. The

mod

ern

liter

ary

mea

ning

rela

tes

to a

ver

y lo

ng p

oem

.

Mor

al

From

the

latin

“mor

ālis

” mea

ning

“a le

sson

lear

nt”.

The

mor

al o

f a

stor

y is

the

mes

sage

the

writ

er w

ants

to c

onve

y to

the

read

er.

Mal

efic

ent

Cau

sing

har

m o

r des

truct

ion

(ofte

n by

sup

erna

tura

l mea

ns)

Allu

ded

Sugg

est i

ndire

ctly

In

fer /

infe

renc

e To

read

bet

wee

n th

e lin

es

English

KEY

WO

RD

S Li

tera

cy

Focu

s –

Pref

ixes

&

Suffi

xes

Gre

ek a

nd L

atin

(the

lang

uage

s sp

oken

by

the

Anc

ient

Gre

eks

and

Rom

ans)

are

the

build

ing

bloc

ks

of m

oder

n En

glis

h. L

earn

ing

som

e of

the

patte

rns

in th

ese

early

la

ngua

ges

help

us

with

our

ow

n.

anti-

agai

nst

de-

oppo

site

in

- / im

- /

il- /

ir- /

un-

no

t in

ter-

betw

een

mis

-

w

rong

ly

mid

-

m

iddl

e pr

e-

befo

re

re-

agai

n se

mi-

half

sub-

unde

r tr

ans-

acro

ss

Pre

fixes

– T

hese

are

a s

erie

s of

lette

rs th

at S

TAR

T w

ords

to in

dica

te th

eir m

eani

ng.

-abl

e/ -i

ble

ca

n be

-a

l / -i

c / -

ly

bein

g lik

e -e

n

m

ade

of

-er /

-est

com

pare

d -fu

l

fu

ll of

-ion

proc

ess

-ity

/ -ty

/-ne

ss

stat

e of

-le

ss

w

ithou

t -m

ent

ac

tion

-ous

bein

g

Suf

fixes

– T

hese

are

a s

erie

s of

lette

rs th

at E

ND

w

ords

to in

dica

te th

eir m

eani

ng.

The

Gre

ek e

mpi

re c

onsi

sted

of a

ser

ies

of k

ey

citie

s. T

he G

reek

terr

itorie

s co

ver w

hat i

s no

w

mod

ern

Gre

ece,

Tur

key,

Ital

y, A

lban

ia,

Bul

garia

, Egy

pt, M

onte

negr

o, K

osov

o, S

erbi

a an

d N

orth

Mac

edon

ia.

Map

of

Anc

ient

G

reec

e (c

irca

200B

C)

Troy

Belo

ng B

elie

ve B

e Pr

oud

11

Maths - Foundation

Cyc

le 1

in M

aths

will

beg

in w

ith re

visi

on o

f the

4 o

pera

tions

; add

ition

, sub

tract

ion,

mul

tiplic

atio

n an

d di

visi

on w

ith in

tege

r val

ues

and

deci

mal

s. Y

ou w

ill m

ove

on to

look

ing

at h

ow n

umbe

rs c

an b

e ro

unde

d in

diff

eren

t way

s an

d be

com

e co

nfid

ent i

n ro

undi

ng to

a g

iven

nu

mbe

r of d

ecim

al p

lace

s or

sig

nific

ant f

igur

es.

You

will

stu

dy in

dice

s an

d be

abl

e to

iden

tify

diffe

rent

type

s of

num

ber e

.g. p

rime.

Maths - Foundation

Topi

c 1

To b

e ab

le to

roun

d to

the

near

est

inte

ger a

nd a

giv

en

num

ber o

f dec

imal

pl

aces

and

si

gnifi

cant

figu

res

HM

: 17,

56,

130

NU

MB

ER –

KEY

WO

RD

S AN

D D

EFIN

ITIO

NS

Sum

The

resu

lt of

add

ing

num

bers

toge

ther

Pro

duct

The

resu

lt of

mul

tiply

ing

num

bers

toge

ther

Quo

tient

The

resu

lt w

hen

you

divi

de n

umbe

rs

Inte

ger

A w

hole

num

ber

Trun

cate

Sho

rten

a nu

mbe

r to

the

requ

ired

num

ber o

f fig

ures

by

cutti

ng o

ff th

e en

dE

rror i

nter

val

Is th

e ra

nge

of v

alue

s th

at a

num

ber c

ould

hav

e ta

ken

befo

re b

eing

roun

ded

Dec

imal

pla

ceTh

e nu

mbe

r of d

igits

afte

r the

dec

imal

poi

nt

Est

imat

eR

ound

eac

h nu

mbe

r to

one

sign

ifica

nt fi

gure

and

then

w

ork

out

Inde

x (if

plu

ral i

ndic

es)

The

smal

l num

ber w

ritte

n to

the

top

right

of a

num

ber,

it te

lls y

ou h

ow m

any

times

the

num

ber i

s m

ultip

lied

by

itsel

f eg

24=

2 x

2 x

2 x

2

Ther

e ar

e m

any

way

s th

at y

ou c

an b

e as

ked

to ro

und.

You

coul

d be

ask

ed to

roun

d to

:

-th

e ne

ares

t who

le n

umbe

r-

the

near

est 1

0, 1

00 o

r 100

0-

to a

giv

en n

umbe

r of d

ecim

al p

lace

s-

to a

giv

en n

umbe

r of s

igni

fican

t fig

ures

You

need

to m

ake

sure

you

are

hap

py

with

eac

h m

etho

d.

Decimal Places Significant Figures

Nearest Hundred

Belo

ng B

elie

ve B

e Pr

oud

12

Maths - FoundationMaths - Foundation

TYPE

SO

F N

UM

BER

–K

EY W

OR

DS

AND

DEF

INIT

ION

S

Fact

orA

fact

or o

f a n

umbe

r is

a nu

mbe

r tha

t div

ides

into

it

exac

tlyM

ultip

leIs

the

resu

lt of

mul

tiply

ing

a nu

mbe

r by

a w

hole

num

ber

Prim

e Fa

ctor

A fa

ctor

that

is a

lso

a pr

ime

num

ber

Hig

hest

com

mon

Fa

ctor

Is th

e hi

ghes

t num

ber w

hich

is a

fact

or o

f eac

h of

the

give

n nu

mbe

rsLo

wes

t com

mon

m

ultip

leIs

the

low

est n

umbe

r tha

t is

a m

ultip

le o

f eac

h of

the

give

n nu

mbe

rs

Squ

are

Whe

n yo

u tim

es a

num

ber b

y its

elf

5 sq

uare

d =

5x5

=25

Cub

e W

hen

you

times

a n

umbe

r by

itsel

f and

then

by

itsel

f ag

ain

4 c

ubed

= 4

x4x4

= 6

4S

quar

e ro

ot

A nu

mbe

r tha

t giv

es th

e re

quire

d va

lue

whe

n m

ultip

lied

by

itsel

fC

ube

root

A nu

mbe

r tha

t giv

es th

e re

quire

d va

lue

whe

n it

is c

ubed

Topi

c 2

To b

e ab

le to

wor

k w

ith in

dice

s,

incl

udin

g ev

alua

ting

and

sim

plify

ing

HM

: 102

–10

6

Topi

c 3

To id

entif

y ty

pes

of

num

ber e

.g. p

rimes

, fa

ctor

s, m

ultip

lies

squa

res,

cub

es a

nd

root

s

HM

:

Squa

re n

umbe

rs –

the

resu

lt of

a n

umbe

r m

ultip

lied

by it

self

e.g.

3 s

quar

ed =

3 x

3

= 9

Belo

ng B

elie

ve B

e Pr

oud

13

Maths - Foundation

Cyc

le 1

in M

aths

will

beg

in w

ith re

visi

on o

f the

4 o

pera

tions

and

roun

ding

num

bers

to d

ecim

al p

lace

s an

d si

gnifi

cant

figu

res.

You

will

lear

n al

l abo

ut in

dex

form

and

how

indi

ces

can

be e

valu

ated

and

sim

plifi

ed u

sing

inde

x la

ws.

You

will

lear

n ho

wto

con

vert

num

bers

into

st

anda

rd fo

rm a

nd c

arry

out

cal

cula

tions

with

and

with

out a

cal

cula

tor.

Maths - Higher

Topi

c 1

To b

e ab

le to

sim

plify

an

d ev

alua

te in

dice

s us

ing

inde

x la

ws

HM

: 10

2 -1

10

NU

MB

ER –

KEY

WO

RD

S AN

D D

EFIN

ITIO

NS

Sum

The

resu

lt of

add

ing

num

bers

toge

ther

Pro

duct

The

resu

lt of

mul

tiply

ing

num

bers

toge

ther

Quo

tient

The

resu

lt w

hen

you

divi

de n

umbe

rs

Inte

ger

A w

hole

num

ber

Trun

cate

Sho

rten

a nu

mbe

r to

the

requ

ired

num

ber o

f fig

ures

by

cutti

ng

off t

he e

ndE

rror i

nter

val

Is th

e ra

nge

of v

alue

s th

at a

num

ber c

ould

hav

e ta

ken

befo

re

bein

g ro

unde

dD

ecim

al p

lace

The

num

ber o

f dig

its a

fter t

he d

ecim

al p

oint

Est

imat

eR

ound

eac

h nu

mbe

r to

one

sign

ifica

nt fi

gure

and

then

wor

k ou

t

The ‘Tricky’ Rules:

Belo

ng B

elie

ve B

e Pr

oud

14

Maths - HigherMaths - Higher

Topi

c 2

To b

e ab

le to

writ

e nu

mbe

rs in

st

anda

rd fo

rm

HM

: 122

-12

8

NU

MB

ER–

KEY

WO

RD

S AN

D D

EFIN

ITIO

NS

Inde

x (if

plu

ral

indi

ces)

The

smal

l num

ber w

ritte

n to

the

top

right

of a

num

ber,

it te

lls y

ou

how

man

y tim

es th

e nu

mbe

r is

mul

tiplie

d by

itse

lf e

g 24

= 2x

2x2x

2S

quar

eW

hen

you

times

a n

umbe

r by

itsel

f e.

g. 5

squ

ared

= 5

x5 =

25

Cub

e W

hen

you

times

a n

umbe

r by

itsel

f and

then

by

itsel

f aga

in 4

cub

ed

= 4x

4x4

= 64

Squ

are

root

A

num

ber t

hat g

ives

the

requ

ired

valu

e w

hen

mul

tiplie

d by

itse

lf

Cub

e ro

otA

num

ber t

hat g

ives

the

requ

ired

valu

e w

hen

it is

cub

ed

Sta

ndar

d fo

rmA

met

hod

of w

ritin

g nu

mbe

rs in

the

form

a x

10n

whe

re a

has

to b

e bi

gger

or e

qual

to o

ne a

nd le

ss th

an 1

0Fa

ctor

A fa

ctor

of a

num

ber i

s a

num

ber t

hat d

ivid

es in

to it

exa

ctly

Mul

tiple

Is th

e re

sult

of m

ultip

lyin

g a

num

ber b

y a

who

le n

umbe

r

Prim

e Fa

ctor

A fa

ctor

that

is a

lso

a pr

ime

num

ber

Hig

hest

com

mon

Fa

ctor

Is th

e hi

ghes

t num

ber w

hich

is a

fact

or o

f eac

h of

the

give

n nu

mbe

rsLo

wes

t com

mon

m

ultip

leIs

the

low

est n

umbe

r tha

t is

a m

ultip

le o

f eac

h of

the

give

n nu

mbe

rs

Sur

dA

num

ber l

eft i

n th

e fo

rm o

f a s

quar

e ro

ot a

s it

can’

t be

sim

plifi

ed

Rat

iona

l num

ber

Any

num

ber t

hat c

an b

e w

ritte

n as

a fr

actio

n

Irrat

iona

l num

ber

Any

num

ber t

hat c

anno

t be

writ

ten

as a

frac

tion

Rat

iona

lise

the

deno

min

ator

Mak

e th

e nu

mbe

r on

the

botto

m o

f a fr

actio

n ra

tiona

l ( n

ot a

√ )

A nu

mbe

r writ

ten

in s

tand

ard

form

mus

t alw

ays

be w

ritte

n in

th

is fo

rm:

A nu

mbe

r bet

wee

n 1

and

10 x 10

n , th

is ju

st m

eans

ho

w m

any

time

to

mul

tiply

or d

ivid

e by

10

Writ

e th

ese

in s

tand

ard

form

:a)

3600

= 3

.6 x

103

b)56

0 =

5.6

x 10

2

c)0.

0000

5 =

5 x

10-5

d)0.

0000

0005

89 =

5.8

9 x

10-8

Topi

c 3

To u

nder

stan

d su

rd

nota

tion,

sim

plify

ex

pres

sion

s w

ith

surd

s an

d ex

pand

br

acke

ts in

volv

ing

surd

s

HM

: 111

-11

9

√2 (s

quar

e ro

ot o

f 2) c

an't

be

sim

plifi

ed fu

rther

so

it is

a s

urd

whe

reas

√4

(squ

are

root

of

4)ca

nbe

sim

plifi

ed (t

o 2)

, so

it is

not a

sur

d!

Simplifying Surds

Exp

and

and

sim

plify

Belo

ng B

elie

ve B

e Pr

oud

15

Science - Biology

Nuc

leus

O

rgan

elle

foun

d in

man

y liv

ing

cells

, con

tain

ing

the

gene

tic in

form

atio

n.

Xyl

em

The

non-

livin

g tr

ansp

ort

tissu

e in

pla

nts

that

tr

ansp

ort

wat

er f

rom

the

roo

ts t

o th

e le

aves

and

sh

oots

. C

ytop

lasm

A

wat

er b

ased

cel

l in

whi

ch th

e or

gane

lles

of a

ll liv

ing

cells

are

foun

d. M

ost c

hem

ical

reac

tions

take

pl

ace

here

.

Ph

loem

Th

e liv

ing

tran

spor

t tis

sue

in p

lant

s th

at c

arri

es

diss

olve

d su

gars

aro

und

the

plan

t.

Cel

l mem

bran

e Th

e m

embr

ane

arou

nd th

e co

nten

ts o

f the

cel

l tha

t co

ntro

ls w

hat m

oves

in a

nd o

ut o

f the

cel

l.

Diff

usio

n Th

e m

ovem

ent

of p

artic

les

from

an

area

of hi

gh

conc

entr

atio

n to

an

area

of

low

con

cent

ration

. M

itoch

ondr

ia

The

plac

e w

here

aer

obic

resp

iratio

n ta

kes

plac

e in

a

cell.

Osm

osis

Th

e di

ffus

ion

of w

ater

thr

ough

a p

artia

lly p

erm

eabl

e m

embr

ane

dow

n a

conc

entr

atio

n gr

adie

nt.

Rib

osom

es

The

plac

e w

here

pro

tein

syn

thes

is ta

kes

plac

e.

D

ilute

M

akin

g a

solu

tion

wea

ker

by a

ddin

g w

ater

or

anot

her

solv

ent

to it

. C

ell w

all

The

rigid

stru

ctur

e ar

ound

pla

nt a

nd a

lgal

cel

ls. I

t is

mad

e of

cel

lulo

se a

nd s

treng

then

s th

e ce

ll.

Con

cent

rate

d W

hen

ther

e is

a h

igh

prop

ortio

n of

a s

ubst

ance

w

ithin

a s

olut

ion.

C

ellu

lose

Th

e co

mpl

ex c

arbo

hydr

ate

that

stre

ngth

ens

cell

wal

ls.

Is

oton

ic

A s

olut

ion

that

is t

he s

ame

conc

entr

atio

n as

the

ce

lls c

onte

nts.

C

hlor

ophy

ll Th

e gr

een

pigm

ent f

ound

in c

hlor

opla

sts.

It is

ne

eded

for p

hoto

synt

hesi

s.

H

yper

toni

c A s

olut

ion

that

is m

ore

conc

entr

atio

n th

an t

he c

ells

co

nten

ts.

Perm

anen

t vac

uole

Sp

ace

in th

e cy

topl

asm

that

is fi

lled

with

cel

l sap

.

Hyp

oton

ic

A s

olut

ion

that

is le

ss c

once

ntra

tion

than

the

cel

ls

cont

ents

Eu

kary

otic

cel

ls

Cel

ls fr

om e

ukar

yote

s th

at h

ave

a ce

ll m

embr

ane,

cy

topl

asm

, and

gen

etic

mat

eria

l enc

lose

d in

a

nucl

eus.

Tu

rgor

Th

e pr

essu

re in

side

a p

lant

cel

l exe

rted

by

the

cell

cont

ents

pre

ssin

g on

the

cel

l wal

l.

Bact

eria

A

sing

le c

elle

d pr

okar

yotic

org

anis

m.

Pl

asm

olys

is

The

stat

e of

a p

lant

cel

ls w

hen

so m

uch

wat

er is

lost

fr

om t

he c

ell b

y os

mos

is t

hat

the

vacu

ole

and

cyto

plas

m s

hrin

k an

d th

e ce

ll m

embr

ane

pulls

aw

ay

from

the

cel

l wal

l. Spe

rm c

ell

The

mal

e se

x ce

lls o

r ga

met

es t

hat

carr

y ge

netic

mat

eria

l fro

m t

he m

ale

pare

nt.

Act

ive

tran

spor

t Th

e m

ovem

ent

of s

ubst

ance

s fr

om a

dilu

te s

olut

ion

to a

mor

e co

ncen

trat

ed s

olut

ion

agai

nst

a co

ncen

trat

ion

grad

ient

, re

quirin

g en

ergy

fro

m

resp

irat

ion.

Roo

ts h

air

cell

Cel

l whe

re w

ater

is a

bsor

bed

from

the

soi

l.

Ven

tilat

ed

Mov

emen

t of

air o

r w

ater

into

and

out

of th

e ga

s ex

chan

ge o

rgan

, fo

r ex

ampl

e gi

lls o

r lu

ngs.

Ph

otos

ynth

esis

Th

e pr

oces

s by

whi

ch p

lant

s m

ake

food

usi

ng

carb

on d

ioxi

de,

wat

er a

nd li

ght.

In c

ycle

1 o

f you

r Bio

logy

less

ons

you

will

focu

s on

the

char

acte

ristic

s of

cel

ls a

nd lo

ok a

t how

they

are

org

anis

ed s

o th

at e

ven

the

larg

est o

rgan

ism

can

car

ry o

ut th

e fu

nctio

ns o

f life

.

Science - Biology

Topi

c B

1:-

Cel

ls a

nd

orga

nisa

tion

Belo

ng B

elie

ve B

e Pr

oud

16

Science - Biology

Topi

c B

1:-

Cel

ls a

nd

orga

nisa

tion

Science - Biology Req

uire

d pr

actic

al:

Mic

rosc

opy:

Incl

udes

dra

win

g a

slid

e, u

sing

a li

ght

mic

rosc

ope,

dra

win

g an

y ob

serv

atio

ns –

us

e a

penc

il an

d la

bel i

mpo

rtant

ob

serv

atio

ns.

Osm

osis

and

pot

ato

prac

tical

:

Inde

pend

ent v

aria

ble

– co

ncen

tratio

n

Dep

ende

nt v

aria

ble-

cha

nge

in m

ass

Con

trol v

aria

ble-

vol

ume

of s

olut

ion,

te

mpe

ratu

re, t

ime,

sur

face

are

a of

pot

ato

The

pota

to in

the

salt

solu

tion

will

lose

w

ater

and

so

will

have

less

mas

s at

the

end;

the

pota

to in

the

pure

wat

er s

olut

ion

will

gain

wat

er

Belo

ng B

elie

ve B

e Pr

oud

17

Science - Chemistry

Key

wor

d D

efin

ition

K

ey w

ord

Def

initi

on

Atom

Th

e sm

alle

st p

art o

f an

elem

ent t

hat c

an s

till b

e re

cogn

ised

as

an

elem

ent.

Filtr

atio

n Th

e te

chni

que

used

to s

epar

ate

subs

tanc

es th

at a

re

inso

lubl

e in

a p

artic

ular

sol

vent

from

thos

e th

at a

re

solu

ble.

El

emen

t A

subs

tanc

e th

at is

mad

e of

onl

y on

e ty

pe o

f ato

m. A

n el

emen

t can

not

be b

roke

n do

wn

chem

ical

ly in

to a

ny s

impl

er s

ubst

ance

. D

istil

latio

n Se

para

tion

of a

liqu

id fr

om a

mix

ture

by

evap

orat

ion

follo

wed

by

cond

ensa

tion.

Pe

riodi

c ta

ble

A ta

ble

of th

e ch

emic

al e

lem

ents

arr

ange

d in

ord

er o

f ato

mic

num

ber,

usua

lly in

row

s, s

o th

at e

lem

ents

with

sim

ilar p

rope

rties

app

ear i

n ve

rtica

l col

umns

.

Cry

stal

lisat

ion

This

invo

lves

eva

pora

ting

the

solu

tion

to a

muc

h sm

alle

r vol

ume

and

then

leav

ing

it to

coo

l and

form

cr

ysta

ls.

Com

poun

ds

A su

bsta

nce

mad

e w

hen

two

or m

ore

elem

ents

are

che

mic

ally

bon

ded

toge

ther

. Fr

actio

nal

dist

illat

ion

A w

ay to

sep

arat

e liq

uid

from

a m

ixtu

re o

f liq

uids

by

boili

ng o

ff th

e su

bsta

nces

at d

iffer

ent t

empe

ratu

res

then

co

nden

sing

and

col

lect

ing

the

liqui

ds.

Nuc

leus

Th

e ve

ry s

mal

l sen

se c

entra

l par

t of a

n at

om th

at c

onta

ins

prot

ons

and

neut

rons

. Bi

ofue

l A

fuel

that

is m

ade

from

ani

mal

or p

lant

pro

duct

s.

Elec

trons

A

tiny

parti

cle

with

a n

egat

ive

char

ge th

at o

rbit

the

nucl

eus

of a

tom

s in

io

ns o

r she

lls.

Chr

omat

ogra

phy

The

proc

ess

whe

reby

sm

all a

mou

nts

of d

isso

lved

su

bsta

nces

are

sep

arat

ed b

y ru

nnin

g a

solv

ent a

long

a

mat

eria

l suc

h as

abs

orbe

nt p

aper

, e.g

. sep

arat

ing

inks

. R

eact

ants

A

subs

tanc

e th

at w

e st

art w

ith b

efor

e a

chem

ical

reac

tion

take

s pl

ace.

Pr

oton

A

tiny

posi

tive

parti

cle

foun

d in

side

the

nucl

eus

of a

n at

om.

Prod

ucts

A

subs

tanc

e m

ade

as re

sult

of a

che

mic

al re

actio

n.

Neu

tron

A de

nse

parti

cle

foun

d in

the

nucl

eus

of a

n at

oms.

It is

ne

utra

l (ha

s no

cha

rge)

. W

ord

equa

tion

A w

ay o

f des

crib

ing

wha

t hap

pens

in a

che

mic

al re

actio

n by

sho

win

g th

e na

mes

of a

ll re

acta

nts

and

the

prod

ucts

they

form

. At

omic

num

ber

The

num

ber o

f pro

tons

(whi

ch e

qual

s th

at o

f the

nu

mbe

r of e

lect

rons

) in

an a

tom

. It c

an a

lso

be c

alle

d pr

oton

num

ber.

Sym

bol e

quat

ion

Inst

ead

of u

sing

the

nam

es o

f sub

stan

ces

to d

escr

ibe

a ch

emic

al

reac

tion,

we

use

the

chem

ical

form

ulae

of s

ubst

ance

s.

Mas

s nu

mbe

r Th

e nu

mbe

r of p

roto

ns p

lus

the

num

ber o

f neu

trons

in

the

nucl

eus

of a

n at

om.

Bala

nced

W

hen

ther

e ar

e eq

ual n

umbe

rs o

f eac

h ty

pe o

f ato

m o

n ei

ther

sid

e of

th

e eq

uatio

n.

Ion

A ch

arge

d pa

rticl

e pr

oduc

ed b

y th

e lo

ss o

r gai

n of

el

ectro

ns.

Law

of

cons

erva

tion

of

mas

s

The

tota

l mas

s of

the

prod

ucts

form

ed in

a re

actio

n is

equ

al to

the

tota

l m

ass

of th

e re

acta

nts.

Is

otop

e At

oms

that

hav

e th

e sa

me

num

ber o

f pro

tons

but

di

ffere

nt n

umbe

r of n

eutro

ns. T

his

mea

ns th

ey h

ave

the

sam

e at

omic

num

ber b

ut a

diff

eren

t mas

s nu

mbe

r. St

ate

sym

bols

Th

e ab

brev

iatio

n us

ed to

sho

w if

a s

ubst

ance

is a

sol

id (s

), liq

uid

(l),

gas

(g) o

r dis

solv

ed in

wat

er (a

q).

Elec

troni

c st

ruct

ure

A se

t of n

umbe

rs to

sho

w th

e ar

rang

emen

t of e

lect

rons

in

thei

r she

lls (o

r ene

rgy

leve

ls).

Aque

ous

solu

tions

Th

e m

ixtu

re m

ade

by a

ddin

g a

solu

ble

subs

tanc

e to

wat

er.

Shel

ls

An a

rea

of a

n at

om a

roun

d th

e nu

cleu

s w

here

ele

ctro

ns

are

foun

d.

Science – Chemistry In

cyc

le 1

of y

our c

hem

istry

less

on y

ou w

ill fo

cus

on th

e st

ruct

ure

of th

e at

om a

nd h

ow to

sep

arat

e m

ixtu

res

Topi

c C

1:-

Ato

mic

st

ruct

ure

Belo

ng B

elie

ve B

e Pr

oud

18

Science - Chemistry

Science – Chemistry

Belo

ng B

elie

ve B

e Pr

oud

19

History

Key

wor

ds a

nd d

efin

ition

s ab

dica

tion

whe

n a

rule

r suc

h as

Tsa

r Nic

hola

s II

choo

ses

to g

ive

up p

ower

as

sass

inat

e to

mur

der a

lead

er, s

uch

as a

kin

g,

empe

ror o

r pol

itica

l lea

der

Bol

shev

iks

Rus

sian

com

mun

ists

co

mm

unis

m

a po

litic

al id

ea b

ased

on

ever

yone

bei

ng

equa

l;

dum

a R

ussi

an p

arlia

men

t he

ir Th

e pe

rson

who

is to

take

the

thro

ne o

n th

e de

ath

of th

e m

onar

ch

haem

ophi

lia

dise

ase

whe

re th

e bl

ood

does

not

clo

t re

volu

tion

over

thro

win

g a

gove

rnm

ent b

y fo

rce

or

mak

ing

grea

t cha

nge

stat

e a

natio

n or

its

gove

rnm

ent

ts

ar

empe

ror o

f Rus

sia

auto

crat

a

mon

arch

with

tota

l pow

er

tsar

ina

Em

pres

s of

Rus

sia

P

eace

, Bre

ad,

Land

Le

nin’

s m

ost p

opul

ar s

loga

n

Cou

p d’

état

A

take

-ove

r of p

ower

W

inte

r Pal

ace

Hom

e of

the

tsar

and

late

r hea

dqua

rters

of

the

Pro

visi

onal

Gov

ernm

ent.

History

Year

9 C

ycle

1 K

now

ledg

e O

rgan

iser

C

ycle

1 in

His

tory

will

focu

s on

the

big

ques

tion

of w

hy th

ere

wer

e tw

o re

volu

tions

in R

ussi

a in

191

7. T

his

will

incl

ude

an e

nqui

ry in

to w

hy it

took

so

long

to fi

nd o

ut w

hat r

eally

hap

pene

d to

the

Rus

sian

roya

l fam

ily.

Why

wer

e th

ere

two

revo

lutio

ns in

Rus

sia

in 1

917?

Chr

onol

ogy

of R

ussi

an h

isto

ry

1894

Ts

ar A

lexa

nder

III d

ied;

his

son

Nic

hola

s be

cam

e Ts

ar N

icho

las

II

N

icho

las

mar

ried

Ale

xand

ra o

f Hes

se, a

Ger

man

prin

cess

.

1904

Al

exei

is b

orn

but i

s di

scov

ered

to h

ave

Hae

mop

hilia

. War

with

Jap

an

1905

R

evol

utio

n –

Tsar

Nic

hola

s ha

s to

set

up

a du

ma.

R

aspu

tin w

as in

trodu

ced

to th

e ro

yal f

amily

1914

Th

e G

reat

War

(WW

1) b

egan

.

1915

Ts

ar N

icho

las

took

per

sona

l com

man

d of

the

Rus

sian

arm

y.

1916

R

aspu

tin w

as m

urde

red.

1917

Fe

b/M

arch

: Rev

olut

ion

– Ts

ar N

icho

las

abdi

cate

d; P

rovi

sion

al G

ovt.

Ap

ril: L

enin

retu

rned

to R

ussi

a pr

omis

ing

‘Pea

ce, B

read

, Lan

d’

N

ovem

ber:

Rev

olut

ion

– Bo

lshe

viks

take

pow

er.

1918

M

arch

: Bo

lshe

viks

mak

e pe

ace

with

Ger

man

y

Ju

ly: T

sar N

icho

las

and

his

fam

ily d

isap

pear

1920

An

na A

nder

son

appe

ars

in B

erlin

cla

imin

g to

be

a da

ught

er o

f the

tsar

.

1991

En

d of

Com

mun

ist R

ussi

a; b

ones

of t

he R

oman

ovs

disc

over

ed, a

nd D

NA

test

ing

conf

irmed

thei

r ide

ntity

.

2018

Al

l Rom

anov

bon

es a

ccou

nted

for –

mys

tery

end

ed.

TIE

R 2

Voc

abul

ary

conc

eiva

ble

= s

omet

hing

whi

ch is

pos

sibl

e to

imag

ine

or th

ink

conc

ur =

to a

gree

with

som

ethi

ng

deba

tabl

e =

som

ethi

ng w

hich

can

be

disc

usse

d or

arg

ued

abou

t pr

eclu

de =

to p

reve

nt s

omet

hing

or m

ake

it im

poss

ible

Belo

ng B

elie

ve B

e Pr

oud

20

History

History

Why

did

it ta

ke s

o lo

ng to

find

out

wha

t hap

pene

d to

the

Rus

sian

roya

l fam

ily?

1.

Tsar

Nich

olas

was

inco

mpe

tent

. 2.

Ts

ar N

ichol

as re

fuse

d to

giv

e an

y of

his

pow

er a

way

. 3.

Ni

chol

as w

as a

use

less

war

le

ader

and

com

man

der o

f his

troo

ps.

4.

Durin

g th

e w

ar, N

ichol

as le

ft hi

s w

ife to

run

the

coun

try.

She

w

as h

ated

bec

ause

she

was

Ge

rman

. She

was

influ

ence

d by

Ra

sput

in.

1.

Russ

ia w

as n

ot e

cono

mica

lly

stro

ng. T

he w

ar p

ut to

o m

uch

pres

sure

on

the

Russ

ian

econ

omy.

2.

Ru

ssia

’s ra

ilway

syst

em w

as

poor

. Sup

plie

s for

the

war

and

fo

r sol

dier

s did

not

reac

h th

eir

dest

inat

ion.

3.

Th

ere

wer

e fo

od sh

orta

ges

beca

use

peas

ants

wer

e fo

rced

to

join

the

arm

y.

1.

The

Russ

ian

arm

y ke

pt lo

sing

batt

les.

2.

Tsar

Nich

olas

’s le

ader

ship

was

dr

eadf

ul. H

e w

as u

nabl

e to

m

ake

a de

cisio

n, a

nd o

nes h

e di

d m

ake

wer

e of

ten

base

d on

a

visio

n w

hich

Ras

putin

had

w

ritte

n to

him

abo

ut.

1.

Sold

iers

gra

dual

ly b

egan

to re

fuse

to

obey

ord

ers.

2.

Ther

e w

ere

food

shor

tage

s in

the

citie

s. 3.

Th

ere

wer

e br

ead

riots

in e

arly

19

17.

4.

Prot

ests

gre

w a

nd re

volu

tiona

ry

grou

ps b

egan

to b

ecom

e po

pula

r. 5.

Ni

chol

as w

as fo

rced

to a

bdica

te in

M

arch

191

7.

A de

scrip

tion

of w

hat h

appe

ned

on 1

7th Ju

ly, 1

918

By th

e be

ginn

ing

of Ju

ly 1

918

it w

as cl

ear t

hat E

kate

rinbu

rg w

as g

oing

to

fall

to th

e Whites.

The

killi

ng w

as p

lann

ed u

nder

the

new

co

mm

anda

nt o

f the

Hou

se o

f Spe

cial P

urpo

se, Y

akov

Yur

ovsk

y, w

ho

decid

ed to

recr

uit a

squa

d to

mur

der t

he ro

yals

all t

oget

her i

n on

e se

ssio

n an

d th

en b

urn

the

bodi

es a

nd b

ury

them

in th

e w

oods

nea

rby.

Early

on

that

July

mor

ning

, the

ble

ary-

eyed

Rom

anov

s and

thei

r loy

al

serv

ants

stoo

d in

the

cella

r as t

he h

eavi

ly a

rmed

mur

der s

quad

file

d in

to th

e ro

om. Y

urov

sky

sudd

enly

read

out

a d

eath

sent

ence

. The

n th

e m

en u

sed

thei

r wea

pons

. Eac

h w

as m

eant

to fi

re a

t a d

iffer

ent f

amily

m

embe

r, bu

t man

y of

them

secr

etly

wish

ed to

avo

id sh

ootin

g th

e gi

rls,

so th

ey a

ll ai

med

at t

he lo

athe

d Ni

chol

as a

nd A

lexa

ndra

, kill

ing

them

al

mos

t ins

tant

ly. T

he fi

ring

was

wild

; the

kill

ers m

anag

ed to

wou

nd o

ne

anot

her a

s the

room

fille

d w

ith sw

irlin

g du

st a

nd sm

oke

and

scre

ams.

Whe

n th

e fir

st vo

lley

was

don

e, m

ost o

f the

fam

ily w

as st

ill a

live.

The

may

hem

last

ed 2

0 ag

onisi

ng m

inut

es. T

he b

odie

s wer

e hi

dden

and

so

beg

an a

mys

tery

whi

ch w

ould

last

unt

il 20

18!

Belo

ng B

elie

ve B

e Pr

oud

21

Geography

Key

wor

ds a

nd d

efin

ition

s M

egac

ity

City

with

a p

opul

atio

n of

10+

m

illion

N

atur

al

incr

ease

Bi

rth ra

te –

dea

th ra

te

Rur

al u

rban

m

igra

tion

Peop

le m

ovin

g fro

m th

e co

untry

side

to th

e ci

ties

LIC

Lo

w in

com

e co

untry

Ec

onom

ic

oppo

rtuni

ty

Cha

nce

to e

arn

mon

ey

Res

ourc

es

Thin

gs w

e ne

ed to

live

Se

rvic

es

Whe

n so

meo

ne d

oes

som

ethi

ng fo

r som

eone

els

e Sa

nita

tion

Prov

isio

n of

toile

ts a

nd

disp

osal

of w

aste

wat

er

Abso

lute

po

verty

Pe

ople

are

too

poor

to m

eet

thei

r bas

ic n

eeds

Ai

r pol

lutio

n W

hen

air h

as h

igh

leve

ls o

f pa

rticl

es &

oth

er p

ollu

tant

s Tr

affic

co

nges

tion

Roa

ds a

re b

lock

ed b

y tra

ffic

jam

s M

alar

ia

Dis

ease

spr

ead

by m

osqu

itos

whi

ch k

ills a

chi

ld e

very

30

seco

nds

glob

ally

D

ysen

tery

D

isea

se c

ausi

ng d

iarrh

oea

whi

ch k

ills 6

00 0

00 p

eopl

e gl

obal

ly e

ach

year

BR

T Bu

s ra

pid

trans

it C

ontra

st

How

two

thin

gs a

re d

iffer

ent

Fact

or

An in

fluen

ce o

n so

met

hing

Cyc

le 1

Kno

wle

dge

Org

anis

er

Cyc

le 1

in Y

r 9 G

eogr

aphy

will

focu

s on

the

topi

c of

citi

es.

We

will

look

at m

egac

ities

firs

t and

then

stu

dy

Kam

pala

, the

cap

ital c

ity o

f Uga

nda.

Topi

c 1:

Meg

aciti

es

Geography

Lear

n th

e na

mes

and

loca

tions

of t

he 1

5 to

p m

egac

ities

. W

hich

3 w

ere

the

larg

est i

n 20

11?

W

hich

3 a

re p

redi

cted

to g

row

mos

t rap

idly

?

Belo

ng B

elie

ve B

e Pr

oud

22

Geography

Desc

riptio

n C

apita

l city

of U

gand

a, a

LIC

in E

ast A

frica

- Po

pula

tion

of 1

.5 m

illio

n - 6

0+%

live

in

slum

s

Impo

rtanc

e ●

Regi

onal

ly -

near

est c

ity fo

r peo

ple

in C

entra

l reg

ion

- hos

pita

ls, sc

hool

s etc

●

Nat

iona

lly- o

rgan

isatio

ns lik

e M

aker

ere

Univ

ersit

y se

rve

the

who

le o

f Uga

nda

● In

tern

atio

nally

- Th

e Ea

st A

frica

n D

evel

opm

ent B

ank

has

its H

Q in

Kam

pala

Cau

ses

of

grow

th

● N

atur

al in

crea

se -

wom

en in

Uga

nda

have

an

aver

age

of 5

.71

child

ren

● M

igra

tion

- rur

al u

rban

mig

ratio

n m

eans

citi

es a

re g

row

ing

by 5

.3%

a y

ear

Opp

ortu

nitie

s cr

eate

d by

gr

owth

● A

cces

s to

ser

vice

s (H

ealth

& e

duca

tion)

- i.e

Mak

erer

e Un

iver

sity,

In

tern

atio

nal H

ospi

tal

● A

cces

s to

reso

urce

s (w

ater

& e

nerg

y) -

only

32%

of p

eopl

e in

rura

l are

as

have

acc

ess t

o ba

sic w

ater

supp

lies,

but 7

9% in

citi

es d

o.

● Ec

onom

ic -

larg

e em

ploy

ers i

nclu

de A

irtel

and

Uga

nda

Brew

erie

s

Cha

lleng

es

crea

ted

by

grow

th

● Sl

ums

& sq

uatte

r set

tlem

ents

- i.e

. Kiv

ulu

●

Prov

idin

g cl

ean

wat

er, s

anita

tion

& en

ergy

- w

ater

cos

ts 3

x m

ore

in sl

ums

than

in ri

cher

are

as, ‘

flyin

g to

ilets

’ = p

last

ic b

ags

● Pr

ovid

ing

acce

ss to

ser

vice

s - l

imite

d a

cces

s to

med

ical

car

e - m

any

child

ren

suffe

r mal

aria

& d

ysen

tery

●

Redu

cing

une

mpl

oym

ent &

crim

e - v

iole

nt c

rime

is fu

elle

d by

pov

erty

and

d

omes

tic v

iole

nce

● M

anag

ing

envi

ronm

enta

l iss

ues

(was

te, p

ollu

tion,

con

gest

ion)

- coo

king

fire

s an

d b

urni

ng ru

bbish

cau

se se

rious

air

pollu

tion.

Bus

Rapi

d Tr

ansit

BRT

●

Nee

ded

to ta

ckle

traf

fic c

onge

stio

n an

d a

ir po

llutio

n an

d so

that

peo

ple

who

live

in sl

ums c

an tr

avel

to fi

nd w

ork

and

acce

ss s

ervi

ces

● It

is pl

anne

d to

incl

ude

133

x 15

0 se

at b

uses

, 25k

m n

ew b

us la

nes

and

au

tom

atic

tick

etin

g ●

It w

ill co

st U

S$1.

18 b

illio

n an

d be

pa

rt fu

nded

by

a W

orld

Ban

k lo

an w

hich

w

ill ne

ed to

be

repa

id.

● Th

e Ka

mpa

la B

RT w

as d

ue to

ope

n in

201

8 bu

t thi

s ope

ning

has

bee

n d

elay

ed.

Geography

Topi

c 2:

Kam

pala

Belo

ng B

elie

ve B

e Pr

oud

23

Religious Studies

Key

wor

ds a

nd d

efin

ition

s P

hilo

soph

y Th

e st

udy

of k

now

ledg

e, re

ality

& e

xist

ence

D

esig

n ar

gum

ent

The

argu

men

t tha

t an

inte

lligen

t cre

ator

ex

ists

bas

ed o

n pe

rcei

ved

evid

ence

of t

he

desi

gn o

f the

nat

ural

wor

ld.

Firs

t cau

se

argu

men

t Th

e ar

gum

ent t

hat G

od e

xist

s ba

sed

on th

e id

ea th

at e

very

thin

g ha

s a

caus

e.

Prim

e m

over

G

od in

itiat

es a

ll ch

ange

and

mot

ion.

A

nalo

gy

A c

ompa

rison

bet

wee

n on

e th

ing

and

anot

her.

Evo

lutio

n Th

e de

velo

pmen

t of o

rgan

ism

s ov

er ti

me

to

adap

t to

thei

r env

ironm

ents

. B

ig B

ang

theo

ry

A th

eory

abo

ut h

ow th

e un

iver

se b

egan

. P

robl

em o

f Evi

l C

an G

od b

e lo

ving

if e

vil e

xist

s in

the

wor

ld?

Gen

esis

Th

e fir

st b

ook

of th

e B

ible

. A

thei

st

Som

eone

who

dis

belie

ves,

or l

acks

a b

elie

f in

a G

od o

r god

s.

Agn

ostic

Th

e be

lief t

hat w

heth

er a

God

exi

sts

cann

ot

be p

rove

d or

dis

prov

ed.

Year

9 C

ycle

1 K

now

ledg

e O

rgan

iser

Ask

ing

ques

tions

are

impo

rtant

in th

e st

udy

of

Phi

loso

phy

and

Eth

ics.

Som

etim

es, q

uest

ions

do

n’t a

lway

s ha

ve a

nsw

ers

but t

hey

are

still

wor

thy

of d

iscu

ssio

n.

Cyc

le 1

in R

S w

ill fo

cus

on: A

n in

trodu

ctio

n to

Phi

loso

phy

so th

at y

ou c

an b

egin

to u

nder

stan

d th

e th

eorie

s be

hind

the

big

ques

tions

of l

ife.

Topi

c 1

Stud

ying

Ph

iloso

phy

In K

S3 R

S yo

u w

ill s

tudy

Ph

iloso

phy

and

Ethi

cs a

nd

lear

n ho

w c

erta

in c

once

pts

can

be a

pplie

d in

soc

iety

to

day,

incl

udin

g:

In R

S yo

u w

ill s

tudy

6

diffe

rent

relig

ions

and

Ther

e ar

e bi

g qu

estio

ns w

hich

we

will

cons

ider

and

dis

cuss

in R

S,

such

as:

1. W

hy a

re w

e he

re?

2.

Is th

ere

a G

od?

3.

Why

is th

ere

suffe

ring

in th

e w

orld

is G

od is

all-

lovi

ng?

4.

Can

the

deat

h pe

nalty

be

just

ified

?

5. W

hat i

s a

good

act

ion?

6.

Is e

utha

nasi

a w

rong

?

7. D

o w

e ha

ve fr

ee w

ill?

8.

Is w

ar e

ver a

ccep

tabl

e?

Philo

soph

y Is

ther

e a

God

?

Philo

soph

y W

hat a

ctio

ns c

an

be c

onsi

dere

d go

od?

Ethi

cs

Is h

uman

life

sa

cred

?

Ethi

cs

Can

eth

ical

theo

ries

be a

pplie

d to

mod

ern

soci

ety?

Religious Studies

Belo

ng B

elie

ve B

e Pr

oud

24

Religious Studies

Religious Studies

Philo

soph

y

The

Des

ign

Arg

umen

t

This

theo

ry a

rgue

s th

at th

ere

mus

t be

an in

telli

gent

cre

ator

as

we

can

obse

rve,

usi

ng o

ur

sens

es a

nd o

ur re

ason

, tha

t so

met

hing

mus

t hav

e de

sign

ed

the

natu

ral w

orld

.

Aqui

nas

argu

ed th

at th

e na

tura

l w

orld

has

ord

er a

nd p

urpo

se s

o ev

eryt

hing

mus

t hav

e be

en

desi

gned

.

Aqui

nas

give

s an

exa

mpl

e of

an

arro

w re

achi

ng a

targ

et. T

he

arro

w d

id n

ot re

ach

the

targ

et b

y its

elf.

An

arch

er m

ust h

ave

aim

ed a

nd fi

red

the

arro

w.

Aqui

nas

conc

lude

s th

at th

e un

iver

se m

ust h

ave

had

a de

sign

er a

s na

ture

has

ord

er

and

purp

ose.

Will

iam

Pal

ey b

elie

ved

that

the

wor

ld is

so

com

plex

that

it m

ust

have

pur

pose

. Pal

ey u

sed

a w

atch

to il

lust

rate

his

poi

nt. I

f he

cam

e ac

ross

a m

echa

nica

l w

atch

on

the

grou

nd, h

e w

ould

as

sum

e th

at it

s m

any

com

plex

pa

rts fi

tted

toge

ther

for

a pu

rpos

e an

d th

at it

had

not

co

me

into

exi

sten

ce b

y ch

ance

. Th

ere

mus

t be

a w

atch

mak

er.

Ther

e ar

e di

ffere

nt b

elie

fs a

bout

the

caus

e of

the

univ

erse

.

1.

Mos

t rel

igio

ns o

ffer a

n ex

plan

atio

n ab

out h

ow th

e un

iver

se w

as c

reat

ed a

nd th

is u

sual

ly in

volv

es a

div

ine

crea

tor.

Rel

igio

ns te

nd to

focu

s on

why

the

univ

erse

was

cre

ated

. 2.

Sc

ient

ific

theo

ries

have

bee

n pr

opos

ed to

try

to o

ffer a

n ex

plan

atio

n as

to h

ow th

e un

iver

se w

as c

reat

ed.

Scie

ntifi

c th

eorie

s av

oid

tryin

g to

exp

lain

why

the

univ

erse

was

cre

ated

and

inst

ead

focu

s on

how

the

univ

erse

w

as c

reat

ed.

3.

Man

y sc

hola

rs h

ave

put f

orw

ard

theo

ries

abou

t how

and

why

the

univ

erse

was

cre

ated

. Som

e sc

hola

rs u

se o

nly

relig

ion

to s

uppo

rt th

eir a

rgum

ent,

whi

lst o

ther

sch

olar

s co

mbi

ne b

oth

relig

ion

and

scie

nce

to tr

y to

exp

lain

how

an

d w

hy th

e un

iver

se w

as c

reat

ed.

The

Firs

t Cau

se A

rgum

ent

This

arg

umen

t is

base

d on

th

e id

ea th

at e

very

thin

g ha

s a

caus

e. T

he u

nive

rse

mus

t hav

e a

caus

e an

d th

at c

ause

is G

od.

Thin

gs s

tay

the

sam

e un

less

som

e fo

rce

acts

up

on th

em to

mak

e th

em

mov

e or

cha

nge.

An

‘unm

oved

mov

er’ (

God

) m

ust h

ave

set t

hing

s in

to

mot

ion.

The

refo

re, G

od is

th

e ca

use

of th

e un

iver

se.

Aqui

nas

cam

e to

this

co

nclu

sion

bec

ause

hu

man

s ar

e co

ntin

gent

; w

e de

velo

p fro

m

som

ethi

ng to

exi

st i.

e pa

rent

s. G

od m

ust b

e th

e ca

use

of e

very

thin

g’s

exis

tenc

e.

The

Prob

lem

of E

vil

How

can

God

be

all l

ovin

g if

evil

exis

ts?

How

can

God

be

all-

pow

erfu

l if h

e do

es n

ot ri

d ev

il?

Eith

er, G

od is

n’t a

ll lo

ving

and

po

wer

ful o

r the

exi

sten

ce o

f G

od c

an b

e qu

estio

ned.

Wha

t are

the

diffe

rent

relig

ious

vie

wpo

ints

abo

ut c

reat

ion?

Chr

istia

nity

G

od m

ade

the

univ

erse

in 6

day

s an

d re

sted

on

the

7th.

Bud

dhis

m

Bud

dhis

ts d

on’t

tend

to fo

cus

on q

uest

ions

they

can

’t an

swer

. Bud

dhis

ts a

re m

ore

conc

erne

d w

ith re

duci

ng

suffe

ring

in th

e he

re a

nd n

ow.

Juda

ism

G

-d m

ade

the

univ

erse

in 6

day

s an

d re

sted

on

the

7th.

Isla

m

Ther

e is

no

sing

le s

tory

of c

reat

ion

for M

uslim

s. A

ll M

uslim

s be

lieve

God

cre

ated

the

univ

erse

. Ev

olut

ion

Cha

rles

Dar

win

’s re

sear

ch

focu

sed

on h

ow s

peci

es a

dapt

to

its h

abita

t. D

arw

in c

oncl

uded

that

ev

ery

spec

ies

is in

com

petit

ion

to

surv

ive,

he

calle

d th

is ‘S

urvi

val o

f th

e Fi

ttest

’. S

peci

es w

ho e

volv

e an

d ad

apt t

o th

eir e

nviro

nmen

t are

lik

ely

to s

urvi

ve a

nd th

ose

that

do

n’t a

dapt

are

like

ly to

die

. D

arw

in c

alle

d th

is ‘N

atur

al

Sele

ctio

n’.

Evol

utio

n re

ject

s th

e de

sign

ar

gum

ent,

that

God

has

des

igne

d th

e w

orld

, and

inst

ead

prop

oses

th

at h

uman

s ev

olve

from

ani

mal

s,

whi

ch re

ject

s th

e id

ea th

at G

od

crea

ted

hum

ans.

The

Big

Ban

g Th

eory

The

Big

Ban

g Th

eory

arg

ues

that

all

of th

e m

atte

r tha

t is

with

in th

e un

iver

se o

rigin

ates

fro

m th

e in

itial

exp

ansi

on o

f spa

ce fr

om a

si

ngle

poi

nt in

tim

e –

this

was

the

Big

Ban

g.

Rel

igio

us b

elie

vers

can

acc

ept t

he B

ig

Bang

theo

ry a

s th

ey m

ay b

elie

ve G

od

caus

ed th

e B

ig B

ang

to o

ccur

whi

ch th

en

crea

ted

the

univ

erse

.

Non

-rel

igio

us p

eopl

e m

ight

acc

ept t

he B

ig

Bang

theo

ry a

s th

e le

adin

g ar

gum

ent f

or

how

the

univ

erse

beg

an a

s th

e th

eory

hi

ghlig

hts

law

s of

phy

sics

and

law

s of

qu

antu

m m

echa

nics

, whi

ch le

d th

e un

iver

se

to d

evel

op in

the

way

in w

hich

it d

id

deve

lop.

Belo

ng B

elie

ve B

e Pr

oud

25

MFLMFLMFL

LC1

is an

intro

duct

ory m

odul

e in

whi

ch w

e w

ill re

vise

fam

ily

and

activ

ity re

late

d vo

cabu

lary

. We

will

be

look

ing

at th

e pa

st,

pres

ent a

nd fu

ture

tens

es.

Subj

ect

Pron

ouns

Sing

ular

je =

Itu

= yo

u (in

form

al)

il/el

le=

he/s

heon

= w

e

Plur

alno

us =

we

vous

= yo

u (fo

rmal

)ils

= th

ey (m

asc)

elle

s= th

ey (f

em)

Noun

s

iden

tify

plac

es, p

eopl

e an

d th

ings

. Nou

ns h

ave

gend

ere.

g. le

collè

ge(s

choo

l)la

fem

me

(wom

an)

lesb

onbo

ns (s

wee

ts)

Adje

ctiv

esde

scrib

e no

uns.

They

hav

e to

agr

eew

ith th

e no

un:

e.g.

lepa

ntal

onbl

eu →

lesp

anta

lons

bleu

sla

chem

ise b

leue→

lesc

hem

ises b

leue

s

Verb

sar

e do

ing

wor

ds, e

.g. i

ljou

eau

foot

= h

e pl

aysf

ootb

all.

Verb

s nee

d to

be

put i

nto

a te

nse

(see

bel

ow)

Adve

rbs

add

mor

e de

tail

to a

sent

ence

e.g.

très

(ver

y), v

raim

ent(

real

ly),

souv

ent(

ofte

n), q

uelq

uefo

is(s

omet

imes

)

Infin

itive

sar

e th

e “t

o” fo

rm o

f the

ver

b.Fr

ench

has

thre

e ki

nds:

-ER

(e.g

. jou

er) –

IR (e

.g. f

inir)

and

–RE

(e.g

. fai

re)

Adve

rbs o

f fre

quen

cyto

ujou

rsal

way

sfré

quem

men

tfr

eque

ntly

jam

ais

neve

rso

uven

tof

ten

rare

men

tra

rely

quel

quef

ois

som

etim

espa

rfois

som

etim

esd’

habi

tude

usua

lly

Opin

ion

phra

ses

Je cr

ois q

ue…

I thi

nk th

atJe

pen

sequ

e…I t

hink

that

…J’i

mag

ine

que…

I im

agin

e th

at…

Je su

ppos

e qu

e…I p

resu

me

that

…Je

dira

is qu

e…I w

ould

say

that

…Il

me

sem

ble

que…

It se

ems t

o m

e th

at...

D’un

epa

rt…

On th

e on

e ha

nd…

D’au

tre

part

…On

the

othe

r han

d…

Tim

e ph

rase

sla

sem

aine

dern

ière

last

wee

kl’a

nnée

dern

ière

last

yea

rav

anth

ier

the

day

befo

re y

este

rday

hier

yest

erda

yau

jour

d’hu

ito

day

dem

ain

tom

orro

wle

lend

emai

nth

e da

y af

ter

la se

mai

nepr

ocha

ine

next

wee

kl’a

nnée

proc

hain

ene

xt y

ear

Rela

tions

hips

je m

’ent

ends

bie

n av

ec...

I get

on w

ellw

ith...

je m

e di

sput

e av

ec...

I arg

ue w

ith...

je m

e ch

amai

lle a

vec.

..I b

icker

with

...

je m

e fâ

che

cont

re...

I get

angr

yw

ith...

je m

’am

use

avec

...I h

ave

fun

with

...

je m

’inté

ress

e à.

..I’m

inte

rest

edin

...

je m

’occ

upe

de...

I loo

k af

ter..

.

Mes

par

ents

sont

...M

ypa

rent

s are

...

mar

iés

mar

ried

sépa

rés

sepa

rate

ddi

vorc

ésdi

vorc

ed

Les a

djec

tifs(

adje

ctiv

es)

drôl

efu

nny

péni

ble

anno

ying

timid

esh

yég

oïst

ese

lfish

aim

able

likea

ble

sens

ible

sens

itive

agaç

ante

anno

ying

méc

hant

ena

sty

char

man

tech

arm

ing

impo

lieim

polit

e/ru

dear

roga

nte

arro

gant

bava

rde

chat

typa

ress

eux(

se)l

azy

géné

reux

/se

gene

rous

série

ux/s

ese

rious

spor

tif/v

esp

orty

com

préh

ensif

/ve un

ders

tand

ing

trava

illeu

r/se

hard

-wor

king

têtu

(e)

stub

born

Belo

ng B

elie

ve B

e Pr

oud

26

MFLMFLMFL

All y

our L

C4

voca

b is

also

on

Quizle

t:

Dans

ma

fam

ille

il y

a cin

q pe

rson

nes:

In m

y fa

mily

ther

e ar

e fiv

e pe

ople

:

mon

pèr

e, m

a m

ère,

mes

deux

frèr

es e

t moi

.m

y da

d, m

y m

um, m

y tw

o br

othe

rs a

nd m

e.

Mon

pèr

ea

les c

heve

uxbo

uclé

set n

oirs

My

dad

has c

urly

blac

kha

ir

et il

est

très

gran

d –

il m

esur

e2,

10m

!an

d he

is v

ery

tall

–he

is 2

.10m

tall!

Ma

mèr

ees

tpet

ite e

tmin

ceM

y m

um is

shor

t and

thin

et e

llepo

rte

des l

unet

tes.

and

she

wea

rs g

lass

es.

Mon

pet

it frè

re a

des

bou

tons

et j

e m

e di

sput

e so

uven

tave

c lui

.M

y lit

tle b

roth

er h

as sp

otsa

nd I

ofte

nar

gue

wit

him

.

Mon

gra

nd-p

ère

estv

ieux

et il

a u

neba

rbe

blan

che

My

gran

dfat

her i

s old

and

he h

as a

whi

te b

eard

et je

m’e

nten

dstr

èsbi

en a

vec l

ui.

and

I get

on

very

wel

l with

him

.

Il se

mbl

e/ I

l a l’

airs

ensib

leHe

seem

s sen

sitiv

e

et je

peu

xpar

lerd

e to

ut a

vec l

uian

d I c

an ta

lk a

bout

eve

ryth

ing

with

him

parc

equ

’on

a le

s mêm

esce

ntre

s d’in

terê

t.be

caus

e w

e ha

ve th

e sa

me

inte

rest

s.

Quan

dj’é

tais

jeun

e, je

par

lais

rare

men

tW

hen

I was

litt

le, I

rare

ly sp

oke

mai

smai

nten

antj

e su

issu

per b

avar

d!bu

t now

I’m su

per c

hatt

y!

Tran

slatio

n ta

sk→→

Choo

se to

tran

slate

into

Eng

lish

(eas

y) o

r Fr

ench

(har

der).

LOOK

at o

ne li

ne o

f the

text

at a

tim

eCO

VER

the

lang

uage

you’

re tr

ansla

ting

into

WRI

TE y

our t

rans

latio

nCH

ECK

and

corr

ect m

istak

es in

pur

ple

pen

Linki

ng w

ords

mai

sbu

tce

pend

ant

how

ever

etan

den

suite

then

auss

ial

soap

rès c

ela

afte

r tha

tav

ecw

ithto

ut d

’abo

rdfir

st o

f all

quan

dw

hen

puis

next

enfin

final

lypo

ur fi

nir

to fi

nish

Indi

rect

pro

noun

s

avec

moi

with

me

avec

lui

with

him

avec

elle

with

her

Pres

ent t

ense

e.g

. je

joue

I pla

y, I

am p

layi

ng, I

do

play

Perfe

ctte

nse

e.g.

j’ai

joué

I hav

e pl

ayed

, I p

laye

d

Impe

rfect

tens

e e.

g. je

jo

uais

I use

d to

pla

y, I

was

pla

ying

Futu

re te

nse

e.g.

je jo

uera

iI w

ill p

lay,

I sh

all p

lay

Near

futu

re te

nse

e.g.

je v

ais j

ouer

I am

goi

ng to

pla

y

Cond

ition

alm

ood

e.g.

je v

oudr

ais j

ouer

I wou

ld li

ke to

pla

y

Être

(to b

e)je

suis

I am

je n

esu

ispa

sI a

m not

il/el

lees

the

/she

isil

n’es

tpas

he is

not

on e

stw

e ar

eon

n’e

stpa

sw

e ar

e no

tils

/elle

sson

tth

ey (m

/f) a

reils

neso

ntpa

sthe

y ar

e no

t

Avoi

r(to

hav

e)j’a

iI a

mje

n’a

ipas

I am

not

il/el

lea

he/s

he h

asil

n’a

pas

he d

oesn

’tha

veon

aw

e ha

veon

n’a

pas

we do

n’th

ave

ils/e

lleso

ntth

ey (m

/f) h

ave

ilsn’

ontp

asth

ey d

on’t

have

KEY

WOR

D: A

RTIC

ULAT

E

To a

rticu

late

mea

ns to

com

mun

icate

flue

ntly

, so

try

to in

clude

ext

ra d

etai

ls su

ch a

s in

tens

ifier

s (e.

g. re

ally

) and

conn

ectiv

es(e

.g. a

nd/o

r), o

r usin

g m

ore

varie

d w

ords

.e.

g. ça

a l’a

irin

tére

ssan

t(it

seem

s int

eres

ting)

Belo

ng B

elie

ve B

e Pr

oud

27

Music

MU

SICA

L EL

EMEN

TS

Tem

poSp

eed

of t

he m

usic

Dyn

amic

sH

ow lo

ud o

r qu

iet

the

mus

ic

is

Pitc

hH

ow h

igh

or lo

w t

he n

otes

are

Rhyt

hmN

ote

valu

es,

and

the

patt

erns

of

dif

fere

nt n

ote

valu

es.

Met

erTi

me

sign

atur

es -

how

man

y be

ats

are

in e

ach

bar

Art

icul

atio

nD

iffe

rent

sty

les

of p

layi

ng t

he

note

s /

mus

ic.

DYN

AM

ICS

TERM

SYM

BOL

MEA

NIN

G p

iani

ssim

o pp

very

sof

t

pia

no p

soft

for

te f

fort

e

for

tiss

imo

fffo

rtis

sim

o

mez

zo p

iano

mpm

oder

atel

y so

ft

mez

zo f

orte

mfm

oder

atel

y lo

ud

cres

cend

ogr

adua

lly g

etti

ng lo

uder

dim

inue

ndo

grad

ually

get

ting

sof

ter

ART

ICU

LATI

ON

TERM

SYM

BOL

MEA

NIN

Gle

gato

smoo

thly

stac

cato

de

tach

ed.

TERM

MEA

NIN

Gan

dant

ew

alki

ng p

ace

alle

gro

quic

kly

TEM

POIn

corp

ora

tin

g ch

an

ges

in

dyna

mic

int

o m

usic

mak

es i

t m

ore

inte

rest

ing

to li

sten

to.

Ost

inat

o pl

ayed

on

the

cello

in t

he

aria

Hab

aner

a fr

om G

eorg

e Bi

zet’

s op

era

Carm

en.

.

OST

INAT

O

An o

stin

ato

is a

sho

rt,

repe

ated

mus

ical

phr

ase

or p

atte

rn.

Very

oft

en it

run

s th

roug

h a

sign

ific

ant

sect

ion

of t

he p

iece

and

is

inst

antl

y re

cogn

isab

le.

In p

op m

usic

, an

ost

inat

o is

som

etim

es c

alle

d a

riff

. Sc

an t

he Q

R co

des

to h

ear

the

exam

ples

bel

ow:

Bass

line

rif

f -

“My

Gir

l” -

The

Te

mpt

atio

ns.

Bass

line

rif

f -

“7 N

atio

n Ar

my”

- T

he W

hite

Str

ipes

.

Each

lear

ning

cyc

le w

ill b

uild

upo

n th

e di

ffer

ent

elem

ents

of

mus

ic t

heor

y. K

now

ledg

e qu

izze

s w

ill c

heck

you

r un

ders

tand

ing

of k

ey p

oint

s. E

xtra

, op

tion

al m

ater

ials

will

be

post

ed in

goo

gle

clas

sroo

ms

for

stud

ents

wis

hing

to

stu

dy in

mor

e de

pth

and

chal

leng

e th

emse

lves

by

taki

ng a

gra

de 2

the

ory

exam

at

the

end

of y

ear

9.

VOCA

BULA

RY

INCO

RPO

RATE

- t

o in

clud

e so

met

hing

.

Belo

ng B

elie

ve B

e Pr

oud

28

Music

PITC

HLI

NES

SPAC

ES

Bass

cle

f -

tells

us

that

th

e no

te F

is o

n th

e fo

urth

line

.

Stav

e -

the

5 lin

es t

hat

we

use

to w

rite

mus

ical

no

tati

on o

n

Rem

embe

r w

here

the

ba

ss c

lef

note

s ar

e us

ing

thes

e ph

rase

s.

.

Flat

sig

n -

mak

es t

he n

ote

a se

mit

one

low

erSh

arp

sign

- m

akes

the

not

e a

sem

iton

e hi

gher

Nat

ural

sig

n -

canc

els

out

any

prev

ious

fla

ts o

r sh

arps

in t

he b

ar.

ACCI

DEN

TALS

MET

ERPe

ople

oft

en c

onfu

se M

ETER

wit

h RH

YTH

M.

M

eter

des

crib

es h

ow m

any

beat

s ar

e in

eac

h ba

r -

also

kno

wn

as t

he T

IME

SIG

NAT

URE

.

o

r4

crot

chet

bea

ts

per

bar

3 cr

otch

et b

eats

pe

r ba

r

2 cr

otch

et b

eats

pe

r ba

r

TERM

MEA

NIN

Gca

ntab

ileIn

a s

ingi

ng s

tyle

espr

essi

vopl

ay /

sin

g w

ith

expr

essi

on

EXPR

ESW

hen

we

need

to

wri

te n

otes

tha

t ar

e hi

gher

or

low

er t

han

thos

e on

the

sta

ve,

we

exte

nd t

he

stav

e by

add

ing

lines

cal

led

ledg

er li

nes.

LED

GER

LIN

ES

Each

lear

ning

cyc

le w

ill b

uild

upo

n th

e di

ffer

ent

elem

ents

of

mus

ic t

heor

y. K

now

ledg

e qu

izze

s w

ill c

heck

you

r un

ders

tand

ing

of k

ey p

oint

s. E

xtra

, op

tion

al m

ater

ials

will

be

post

ed in

goo

gle

clas

sroo

ms

for

stud

ents

wis

hing

to

stu

dy in

mor

e de

pth

and

chal

leng

e th

emse

lves

by

taki

ng a

gra

de 2

the

ory

exam

at

the

end

of y

ear

9.

ART

ICU

LATI

ON

TERM

SYM

BOL

MEA

NIN

Gte

nuto

—sl

ight

ly lo

nger

phra

se m

ark

Goe

s ov

er s

ever

al n

otes

to

show

the

y ar

e pa

rt o

f a

phra

se.

Belo

ng B

elie

ve B

e Pr

oud

29

Drama

DC

ycle

1 in

Dra

ma

will

focu

s on

und

erst

andi

ng a

nd d

evel

op d

ram

a te

chni

ques

to u

se w

hen

devi

sing

usi

ng a

stim

ulus

Wha

t is

devi

sing

?

Dev

isin

g is

a p

roce

ss in

whi

ch th

e w

hole

cre

ativ

e te

am d

evel

ops

a pl

ay c

olla

bora

tivel

y. Y

ou a

re u

sual

ly g

iven

a s

timul

us to

hel

p in

spire

idea

s to

mak

e up

you

r ow

n pi

ece

of d

ram

a. D

ram

a te

chni

ques

are

impo

rtant

to h

elp

mak

e yo

ur p

iece

of d

ram

a m

ore

inte

rest

ing

to w

atch

. Her

e ar

e so

me

impo

rtant

dra

ma

tech

niqu

es y

ou c

ould

util

ise

to a

dd d

epth

to y

our w

ork:

Th

ough

t Tra

ck

Thou

ght-t

rack

ing

help

s in

form

the

audi

ence

ab

out a

cha

ract

er.

You

see

it in

act

ion

whe

n:

a ch

arac

ter s

peak

s ou

t lou

d ab

out o

ther

ch

arac

ters

’ inn

er th

ough

ts a

t a p

artic

ular

m

omen

t in

the

dram

a.

A ch

arac

ter w

ould

usu

ally

do

this

dur

ing

a fre

eze

fram

e/st

ill-im

age.

Ther

e ar

e th

ree

diffe

rent

typ

es o

f th

ough

t tra

ck:

See

ing

Hea

ring

Feel

ing

Con

scie

nce

Cor

ridor

/Alle

y

This

stra

tegy

is

used

at

a ke

y po

int

in a

dr

ama,

and

is a

way

of e

xplo

ring

thou

ghts

of

a c

hara

cter

. It p

rovi

des

an o

ppor

tuni

ty to

re

flect

in

deta

il on

the

und

erly

ing

issu

es

and

dile

mm

as

of

a ch

arac

ter

at

that

pa

rticu

lar m

omen

t. It

can

used

to:

Hel

p a

char

acte

r mak

e a

deci

sion

P

rese

nt

diffe

rent

th

ough

ts

and

feel

ings

go

ing

on in

a c

hara

cter

's m

ind

Pre

sent

the

mem

orie

s of

a c

hara

cter

Split

sce

ne/C

ross

Cut

ting

A S

plit

scen

e is

a d

ram

a te

chni

que

borr

owed

fro

m th

e w

orld

of f

ilm e

ditin

g.

In d

ram

a an

d th

eatre

the

ter

m i

s us

ed t

o de

scrib

e tw

o or

m

ore

scen

es

whi

ch

are

perfo

rmed

on

stag

e at

the

sam

e tim

e. T

hey

have

to

resp

ect

each

oth

er i

n te

rms

of n

ot

flow

ing

over

the

top

of e

ach

othe

r.

This

can

be

done

thro

ugh

tabl

eaux

and

mim

e.

Usu

ally

spl

it sc

enes

focu

s on

:

Two

diffe

rent

tim

es

Two

diffe

rent

loca

tions

Tw

o di

ffere

nt o

pini

ons

Ense

mbl

e w

ork

Act

ors

wor

king

tog

ethe

r to

cre

ate

a pi

ece

of t

heat

re/d

ram

a.

All

the

acto

rs a

re o

f equ

al im

porta

nce,

and

hav

e ro

ughl

y th

e sa

me

amou

nts

of ti

me

on s

tage

.

Ense

mbl

e m

ovem

ent

is w

hen

all t

he c

ast

wor

k to

geth

er t

o ph

ysic

ally

cre

ate

one

sing

le e

ffect

.

This

app

roac

h to

act

ing

aim

s fo

r an

effe

ct w

hich

is a

chie

ved

by a

ll m

embe

rs o

f th

e ca

st w

orki

ng t

oget

her

rath

er t

han

emph

asiz

ing

indi

vidu

al p

erfo

rman

ces

Flas

hbac

k/Fl

ash

forw

ard

A fla

shba

ck/fo

rwar

d ar

e w

hen

acto

rs p

erfo

rm a

sce

ne w

hich

ta

ke p

lace

sec

onds

, min

utes

, day

s or

yea

rs b

efor

e or

afte

r a

dram

atic

mom

ent.

This

is a

n ex

plor

ativ

e st

rate

gy to

ena

ble

the

audi

ence

(and

ac

tors

) to

know

mor

e ab

out a

cha

ract

ers’

bac

kgro

unds

, m

otiv

atio

ns a

nd th

e co

nseq

uenc

es o

f the

ir ac

tions

.

Add

ing

Flas

hbac

ks o

r Fla

sh F

orw

ards

cre

ates

a c

onte

xt a

nd

Drama

VOCA

BULA

RY

Utilise

- u

se /

mak

e ef

fect

ive

use

of.

Belo

ng B

elie

ve B

e Pr

oud

30

Drama

How

to

eval

uate

a p

iece

of

dram

a

Cho

ral s

peec

h

A ch

oral

spe

ech

mea

ns a

gro

up o

f peo

ple

spea

king

toge

ther

as

one.

Thi

s ca

n be

a p

oem

or a

dra

mat

ic p

iece

. Whe

n pe

rform

ing

a ch

oral

spe

ech

it is

impo

rtant

to th

ink

abou

t how

you

all

use

your

vo

ice

and

voca

l ski

lls. Y

ou c

an a

lso

use

your

voi

ces

in a

mor

e ab

stra

ct w

ay to

cre

ate

a so

und

scap

e or

atm

osph

ere.

Cho

ral

spee

ches

usu

ally

com

men

t upo

n th

e ac

tion

but i

t can

als

o be

a w

ay

to c

onve

y th

ough

ts, e

mot

ions

and

idea

s.

Nar

ratio

n

Nar

ratio

n is

a

tech

niqu

e w

here

on

e or

m

ore

perfo

rmer

s sp

eak

dire

ctly

to th

e au

dien

ce, m

akin

g a

com

men

tary

ab

out

the

actio

n or

m

otiv

atio

n of

ch

arac

ters

on

stag

e to

info

rm th

e au

dien

ce.

FYI:

Dra

ma

tech

niqu

es

can

also

be

know

n as

dr

amat

ic

form

s an

d co

nven

tions

.M

onol

ogue

A m

onol

ogue

is

a

spee

ch

give

n by

a

sing

le

char

acte

r in

a

stor

y.

Dur

ing

the

spee

ch

the

char

acte

r te

lls

the

audi

ence

th

eir

thou

ghts

an

d fe

elin

gs. T

his

help

s th

e au

dien

ce h

ave

an in

sigh

t to

the

char

acte

rs m

otiv

atio

ns a

nd a

ctio

ns.

How

to d

evis

e us

ing

a st

imul

us.

A st

imul

us c

an b

e an

ythi

ng th

at c

an p

rovo

ke a

resp

onse

. A s

timul

us c

an b

e an

y of

the

follo

win

g: a

sc

ript,

a so

ng, a

pie

ce o

f mus

ic, a

pro

p, p

ictu

re/p

hoto

grap

h a

new

s ar

ticle

, a m

edia

clip

or a

dia

ry

entry

.

Whe

n yo

u ar

e gi

ven

a st

imul

us, y

ou h

ave

to d

iscu

ss a

ll of

you

r ide

as a

s a

grou

p. T

he b

est w

ay to

st

art f

orm

ulat

ing

idea

s as

a g

roup

is b

y m

akin

g a

min

d m

ap. B

y us

ing

a m

ind

map

you

can

ce

ntra

lise

all o

f you

r ide

as fo

r sce

nes,

writ

e do

wn

wor

ds th

at a

re im

porta

nt, t

hem

es a

nd is

sues

and

an

ythi

ng y

ou w

ant t

o ex

plor

e fu

rther

. Onc

e yo

u ha

ve g

ot a

ll th

ese

idea

s, y

ou c

an d

iscu

ss th

em

furth

er a

nd lo

ok a

t dev

elop

ing

scen

es b

ased

on

thes

e id

eas.

It is

real

ly im

porta

nt th

at y

ou a

lso

thin

k ab

out w

hat y

our a

im a

nd in

tent

ion

for y

our p

lay

will

be.

W

hat d

o yo

u w

ant t

o co

mm

unic

ate

to th

e au

dien

ce w

ho is

wat

chin

g yo

ur p

lay?

Spel

lings

to le

arn

this

cyc

le.

Ens

embl

e

Th

ough

t tra

ck

Nar

ratio

n

E

mot

ion

Dev

isin

g

Flas

hbac

k

Mon

olog

ue

Sce

ne

Cho

ral s

peec

h

C

onsc

ienc

e co

rrid

or

Drama

Belo

ng B

elie

ve B

e Pr

oud

31

Design and Technology

This

lear

ning

cyc

le in

Foo

d co

vers

: Fo

od p

roce

ssin

g, b

read

mak

ing

and

envi

ronm

enta

l iss

ues.

Key

wor

ds a

nd d

efin

ition

s:

Food

labe

lsTh

e in

form

atio

n pr

ovid

ed o

n fo

od p

acka

ging

to h

elp

cons

umer

s m

ake

info

rmed

cho

ices

whe

n th

ey b

uy

the

food

.

Nut

ritio

n in

form

atio

nTa

bles

on p

acka

ging

det

ailin

g th

e am

ount

of

spec

ific

nutri

ents

in th

e fo

od.

Dat

e la

bels

Spe

cific

dat

es w

hen

food

eith

er M

US

T be

co

nsum

ed b

y or

afte

r whi

ch it

mig

ht n

ot b

e at

its

best

–se

e op

posi

te fo

r diff

eren

t typ

es.

Mod

ifyTo

cha

nge

or a

dapt

som

ethi

ng.

Crit

eria

Spe

cific

sta

ndar

d th

at y

ou c

an ju

dge

som

ethi

ng

agai

nst.

Glu

ten

A p

rote

in in

flou

r mad

e fro

m g

liadi

n an

d gl

uten

in

Yea

stA

bio

logi

cal r

aisi

ng a

gent

use

d in

bre

ad a

nd b

read

pr

oduc

ts

Kne

adin

gS

tretc

hing

the

brea

d do

ugh

to s

tretc

h th

e gl

uten

Pro

ving

Res

ting

brea

d do

ugh

to le

t the

yea

st g

row

and

the

glut

en re

st

Env

ironm

ent

Ref

ers

to th

e ai

r, w

ater

and

land

on

whi

ch p

eopl

e,

anim

als

and

plan

ts li

ve.

Food

Sec

urity

Hav

ing

relia

ble,

saf

e ac

cess

to a

suf

ficie

nt q

uant

ity

of a

fford

able

, nut

ritio

us fo

od

Trac

eabi

lity

Mea

ns y

ou c

an tr

ack

any

food

thro

ugh

all s

tage

s of

pr

oduc

tion,

pro

cess

ing

and

dist

ribut

ion

(incl

udin

g im

porta

tion

and

at re

tail)

.

Car

bon

Foot

prin

tTh

e am

ount

of c

arbo

n di

oxid

e re

leas

ed in

to th

e at

mos

pher

e as

a re

sult

of th

e ac

tiviti

es o

f a

parti

cula

r ind

ivid

ual,

orga

nisa

tion,

or c

omm

unity

.

Design and Technology

•th

e na

me

of th

e fo

od;

•w

eigh

t or v

olum

e;•

ingr

edie

nt li

st;

•al

lerg

en in

form

atio

n;•

gene

tical

ly m

odifi

ed (G

M)

ingr

edie

nts;

•da

te m

ark

and

stor

age

cond

ition

s;•

Pre

para

tion

/ coo

king

in

stru

ctio

ns;

•na

me

and

addr

ess

of

man

ufac

ture

r, pa

cker

or s

elle

r;•

plac

e of

orig

in;

•lo

t (or

bat

ch) m

ark;

•nu

tritio

n in

form

atio

n.

Food

Cyc

le K

now

ledg

e O

rgan

iser

Info

rmat

ion

that

has

to b

e in

clud

ed o

n a

food

labe

l by

law

:Da

te la

bels

Opt

iona

l inf

orm

atio

n:•

Pic

ture

s•

Ser

ving

sug

gest

ions

•R

ecip

es•

Fron

t of p

acka

ge n

utrit

iona

l lab

ellin

g (tr

affic

ligh

ts)

•N

utrit

iona

l cla

ims

(eg

low

fat,

low

su

gar –

but m

ust b

e ba

cked

up

with

da

ta o

n th

e ba

ck o

f the

pac

kage

)

Food

Labe

lling

Qui

z 1

Pro

cess

es

Qui

z 1

Key

wor

ds

Mod

ifyTo

tran

sfor

m, o

r to

alte

r, or

to c

hang

e so

met

hing

Crit

eria

A pr

inci

ple

or st

anda

rd

by w

hich

som

ethi

ng m

ay

be ju

dged

or d

ecid

ed.

Bes

t bef

ore:

Fo

od is

saf

e to

eat

afte

r th

is d

ate

but

ther

e m

ight

be

som

e ch

ange

s to

th

e se

nsor

y ch

arac

teris

tics

(eg

colo

ur).

Use

by:

Food

is N

OT

safe

to

eat

afte

r thi

s da

te, u

sual

ly

beca

use

path

ogen

ic

bact

eria

will

hav

e re

ache

d da

nger

ous

leve

ls.

It is

ille

gal f

or

shop

s to

sel

l foo

d pa

st it

s us

e by

da

te.

Dis

play

unt

il / S

ell b

y:

Thes

e da

tes

are

info

rmat

ion

for t

he s

hops

, to

help

with

st

ock

cont

rol.

They

are

not

a

lega

l req

uire

men

t.

Belo

ng B

elie

ve B

e Pr

oud

32

Design and Technology

Food

Cyc

le K

now

ledg

e Or

gani

ser

Seco

ndar

y Pr

oces

sing

-FL

OU

R IN

TO B

REA

DM

etho

d:R

ub in

fat–

this

sto

ps s

ome

glut

en b

eing

mad

e an

d ad

ds to

th

e ta

ste

and

text

ure.

Stir

in s

ugar

and

yea

st–

the

suga

r fee

ds th

e ye

ast,

the

yeas

t is

the

rais

ing

agen

t (m

akes

the

brea

d ris

e).

Add

war

m w

ater

to m

ake

a do

ugh

–w

arm

wat

er h

elps

ac

tivat

e th

e ye

ast a

nd p

rovi

des

it w

ith li

quid

.K

nead

the

doug

h–

this

stre

tche

s th

e gl

uten

to g

ive

a st

rong

st

ruct

ure.

Shap

e th

en p

rove

you

r bre

ad –

prov

ing

lets

the

glut

en re

st

and

lets

the

yeas

t sta

rt to

wor

k.B

ake

the

brea

d–

the

brea

d ris

es u

ntil

the

yeas

t is

dest

roye

d by

the

heat

, the

n th

e br

ead

cook

s an

d br

owns

.

Yeas

t nee

ds:

Food

/ Li

quid

/ W

arm

thYe

ast m

akes

:C

arbo

n di

oxid

eAl

coho

lYe

ast i

s a

mic

roor

gani

sm:

It gr

ows

or m

ultip

lies

mak

ing

carb

on d

ioxi

de

and

alco

hol.

Glu

ten

in fl

our

Ther

e ar

e tw

o pr

otei

ns in

flou

r cal

led

glia

din

and

glut

enin

. W

hen

you

add

wat

er

to fl

our y

ou m

ake

glut

en.

Glu

ten

is s

tretc

hy li

ke a

n el

astic

ban

d. Y

ou

need

to s

tretc

h it

so th

at it

giv

es b

read

a

stro

ng s

truct

ure

but i

f you

ove

r stre

tch

it th

e st

rings

of g

lute

n sn

ap.

To p

reve

nt g

lute

n st

rand

s fr

om

snap

ping

you

add

vita

min

C (a

scor

bic

acid

) to

brea

d do

ugh

beca

use

it st

reng

then

s th

e gl

uten

. Thi

s m

eans

you

on

ly h

ave

to p

rove

the

brea

d on

ce. T

his

is

calle

d th

e C

horle

ywoo

d Br

ead

Proc

ess.

We

can

buy

FAST

AC

TIO

N y

east

whi

ch

has

vita

min

C a

dded

to it

.Th

is c

onfu

ses

peop

le b

ecau

se th

ey th

en

thin

k th

e vi

tam

in C

hel

ps th

e ye

ast!

Food

Alco

hol

Carb

on d

ioxi

de

War

mth

Liqui

d

Yeas

t

Design and Technology

Brea

d M

akin

gQ

uiz

2 Pr

oces

ses

You

need

to c

onsi

der t

hese

topi

cs a

nd a

lso

rese

arch

the

wid

er is

sues

ar

ound

eac

h on

e.

Sust

aina

bilit

y (m

akin

g su

re th

at w

e ha

ve e

noug

h to

eat

with

out d

estro

ying

na

tura

l res

ourc

es).

Trac

eabi

lity

(kno

win

g w

here

food

has

co

me

from

)W

aste

and

land

fill (

deal

ing

with

w

aste

in a

sus

tain

able

way

with

littl

e im

pact

on

the

envi

ronm

ent).

Food

sec

urity

(hav

ing

safe

, re

liabl

e, a

fford

able

acc

ess

to

nutri

tious

food

).

Pack

agin

g (u

sing

recy

cled

pa

ckag

ing,

re-u

sing

and

recy

clin

g pa

ckag

ing)

.P

estic

ides

and

che

mic

als

(thei

r im

pact

on

the

envi

ronm

ent a

nd fo

od c

hain

s).

Org

anic

food

s (m

ade

with

out a

ny

chem

ical

s, p

estic

ides

or f

ertil

iser

s)Fo

od m

iles

(how

far t

he fo

od

trave

lled

from

bei

ng g

row

n to

bei

ng

serv

ed o

n a

plat

e an

d th

en th

e m

iles

that

any

was

te tr

avel

led)

.

The

nega

tive

effe

cts

of b

uyin

g fo

od th

at h

as tr

avel

led

a lo

ng w

ay.

Rea

sons

why

we

buy

food

that

has

tra

velle

d a

long

way

.

Mor

e fu

el u

sed,

hig

her c

arbo

n em

issi

ons,

mor

e po

llutio

n, n

ot

supp

ortin

g ou

r loc

al e

cono

my.

Get

ting

food

s ou

t of s

easo

n (e

g st

raw

berri

es a

t Chr

istm

as),

can’

t gro

w

thos

e fo

ods

in o

ur o

wn

coun

try, c

ost.

In y

our t

est y

ou w

ill b

e as

ked

to w

rite

an e

xpla

natio

n of

why

mor

e pe

ople

bu

y lo

cally

sou

rced

food

s. T

hese

are

som

e re

ason

s, th

ere

are

man

y m

ore,

tr

y to

thin

k of

som

e of

you

r ow

n.

Rea

sons

to b

uy

loca

l foo

ds.

Can

you

thin

k of

an

y m

ore?

Envi

ronm

enta

l issu

esQ

uiz

3 G

ener

al K

now

ledg

e

Belo

ng B

elie

ve B

e Pr

oud

33

Design and Technology

Woo

d jo

ints

Dov

etai

l joi

ntA

very

stro

ng b

ecau

se o

f the

way

the

‘tails

’ an

d ‘p

ins’

are

shap

ed. T

his m

akes

it d

ifficu

lt to

pu

ll th

e jo

int e

spec

ially

whe

n gl

ued.

Use

d in

bo

x con

stru

ctio

ns su

ch a

s dra

wer

s, je

wel

lery

bo

xes a

nd o

ther

pie

ces o

f fur

nitu

re w

here

st

reng

th is

requ

ired.

Dow

el jo

int

This

join

t con

sists

of d

rillin

g ac

cura

te h

oles

in

both

sect

ions

of w

ood

and

join

ing

them

with

do

wel

peg

s. W

ithin

indu

stry

this

is of

ten

used

to

cons

truc

t fla

t pac

k fu

rnitu

re.

Mitr

e jo

int

Mitr

e jo

ints

are

ofte

n us

ed to

pro

duce

the

corn

ers o

f pict

ure

fram

es a

nd b

oxes

. The

m

itre

need

s to

be cu

t at a

45

degr

ee a

ngle

, th

is is

ofte

n us

ed w

ith a

mitr

e sa

w th

at ca

n cu

t at

man

y diff

eren

t ang

les.

•Pl

ywoo

d is

ver

y st

rong

in a

ll di

rect

ions

; ofte

n st

rong

er

than

sol

id w

ood.

•O

utsi

de la

yers

are

fini

shed

with

a h

ighe

r-qu

ality

ven

eer.

•M

ust a

lway

s in

clud

e an

odd

num

ber o

f lay

ers

with

the

gr

ain

runn

ing

in a

ltern

atin

g di

rect

ions

.•

Use

d in

con

stru

ctio

n, fu

rnitu

re.

•Fl

exi p

ly is

a fo

rm o

f ply

woo

d bu

t it i

s ex

trem

ely

flexi

ble.

Design and Technology

Tim

bers

Cyc

le K

now

ledg

e Or

gani

ser

Woo

d is

an

orga

nic

mat

eria

l tha

t is

the

mai

n su

bsta

nce

in th

e tru

nk a

nd

bran

ches

of a

tree

. Woo

d pr

epar

ed fo

r use

in b

uild

ing

and

carp

entry

is

know

as

timbe

r. Th

ere

are

two

type

s of

nat

ural

tim

ber:

Har

dwoo

d an

d so

ftwoo

d. T

hese

nam

es d

o no

t ref

er to

how

har

d th

e w

ood

is.

Plywood

Alte

rnat

e la

yers

of w

ood

(ven

eers

) are

glu

ed to

geth

er a

t 90

degr

ees

to e

ach

othe

r, to

bui

ld u

p th

e th

ickn

ess

need

ed.

Mad

e fro

m w

ood;

ofte

n us

ing

off-c

uts

from

nat

ural

tim

ber.

They

are

bo

nded

toge

ther

with

adh

esiv

es. T

hey

tend

to b

e ch

eape

r tha

n so

lid w

ood

plan

ksC

onst

ruct

ion

of p

lyw

ood.

Arro

ws

show

dire

ctio

n of

woo

d gr

ain.

Cha

ir m

ade

from

flex

i ply

.

War

ping

is th

e be

ndin

g or

twis

ting

that

ha

ppen

s to

nat

ural

tim

ber a

s it

drie

s ou

t.

Man

ufac

ture

d bo

ards

do

not h

ave

a gr

ain

in th

e sa

me

way

, whi

ch

mea

ns th

ey a

re

muc

h m

ore

stab

le a

nd

do n

ot w

arp

like

natu

ral

boar

ds.

Type

s of

war

ping

Natu

ral t

imbe

rsQ

uiz

1 G

ener

al K

now

ledg

e

Man

ufac

ture

d bo

ards

Qui

z 1

Gen

eral

Kno

wle

dge

Qui

z 1

Gen

eral

Kno

wle

dge

Belo

ng B

elie

ve B

e Pr

oud

34

Design and Technology

Softwood

Design and Technology

Tim

bers

Cyc

le K

now

ledg

e Or

gani

ser

Woo

d Pr

oper

ties

Den

sity

Com

pact

ness

of a

mat

eria

l, de

fined

as

mas

s pe

r uni

t vol

ume

Stab

ility

Abilit

y to

resi

st c

hang

es in

sha

pe o

ver t

ime

Stiff

ness

The

abilit

y to

resi

st b

endi

ng

Tool

nam

es a

nd u

ses

1.Tw

ist d

rill

Cutt

ing

tool

use

d to

crea

te h

oles

6.M

alle

tUs

ed w

ith ch

isels

and

for k

nock

ing

piec

es o

f woo

d to

geth

er

2.M

arki

ng g

auge

To m

ark

a lin

e pa

ralle

l to

an e

dge

7.Po

wer

dril

lDr

ills h

oles

in m

ater

ial –

batt

ery

pow

ered

and

han

d he

ld

3.M

itre

squa

reUs

ed to

mar

k ou

t 45°

angl

es8.

Beve

l chi

sel

Beve

lled

blad

es ca

n ge

t in

corn

ers f

or cu

ttin

g do

veta

ils

4.Pa

lm sa

nder

Sand

ing,

fini

shin

g w

ood

surfa

ces

9.Co

unte

r sin

kCr

eate

s a ca

vity

in m

ater

ial s

o sc

rew

hea

ds ca

n be

flus

h to

the

surfa

ce.

5.Fl

at b

itDr

ills l

arge

r hol

es in

woo

d10

.M

itre

box

Used

to g

uide

a h

and

saw

to m

ake

prec

isem

itre

cuts

1.2.

3.4.

5.6.

7.8.

9.10

.

Hardwood Qui

z 3

Pro

cess

es

Qui

z 2

Pro

pert

ies

and

Key

Wor

ds

Prop

ertie

s of w

ood

Qui

z 2

Pro

pert

ies

Prop

ertie

sU

ses

Pine

•Ea

sy to

wor

k w

ith•

Qui

te s

trong

•Lo

ts o

f kno

ts

•Fu

rnitu

re•

Con

stru

ctio

n•

Doo

r fra

mes

Prop

ertie

sU

ses

Mah

ogan

y

•H

ard

•Ea

sy to

wor

k•

Res

ista

nt to

rot

•Ex

pens

ive

•Fl

oorin

g•

Fine

furn

iture

•Je

wel

lery

box

es

Prop

ertie

sU

ses

Bee

ch

•H

ard

•To

ugh

•Fi

nish

es w

ell

•La

min

ated

furn

iture

•C

hild

ren'

s to

ys•

Floo

ring

Cla

rify

Mak

e it

clear

Just

ifyGi

ve a

reas

on

Belo

ng B

elie

ve B

e Pr

oud

35

Design and Technology

Pict

ure

Cont

rol d

evice

s and

com

pone

nts

Sym

bol

Resis

tor

It ca

n be

add

ed to

a ci

rcui

t to

chan

ge it

s re

sista

nce.

It ca

n re

stric

t the

flow

of

elec

trici

ty in

a ci

rcui

t.

Tran

sisto

rUs

ed a

s eith

er a

ele

ctric

al sw

itch

or a

cu

rren

t am

plifi

er.

Whe

n a

smal

lvol

tage

at th

e Ba

se

conn

ectio

n is

dete

cted

, cur

rent

can

flow

be

twee

n th

e Co

llect

or a

nd th

e Em

itter

.

Pict

ure

Cont

rol d

evice

s and

com

pone

nts

Sym

bol

Togg

le sw

itch

Used

to co

mpl

ete

or d

iscon

nect

a ci

rcui

t. Ca

n be

turn

on

(clo

sed)

to le

t cur

rent

flow

or

turn

ed o

ff (o

pen)

to st

op cu

rren

t flo

w.

Push

to m

ake

switc

hCu

rren

t flo

ws w

hen

push

ed in

.

Push

to b

reak

switc

hCi

rcui

t is b

roke

n w

hen

push

ed in

Pict

ure

Sens

ors (

inpu

t dev

ices)

Sym

bol

Light

-dep

enda

nt re

sisto

r (LD

R)De

tect

s cha

nges

in li

ght l

evel

s.Th

e re

sista

nce

decr

ease

s as t

he b

right

ness

in

crea

ses.

LDRs

are

use

d in

out

door

stre

et la

mps

Ther

mist

orIts

resis

tanc

e ch

ange

s with

tem

pera

ture

. Th

erm

istor

s are

ofte

n us

ed w

here

it is

im

port

ant t

o kn

ow th

e te

mpe

ratu

re, s

uch

as in

side

a re

frige

rato

r

Q1

Pict

ure

Outp

uts

Sym

bol

Light

-em

ittin

g di

ode

LED

Give

s out

ligh

t whe

n cu

rren

t pas

ses

thro

ugh

it. Lo

w v

olta

ge/ l

ow p

ower

co

nsum

ptio

n.

E.g.

pow

er in

dica

tors

and

TV

scre

ens

Buzz

erM

akes

a n

oise

whe

n a

curr

ent p

asse

s th

roug

h it.

Use

ful i

n a

sens

ing

devi

ce to

gi

ve p

eopl

e a

war

ning

that

som

ethi

ng

need

s the

ir at

tent

ion

A s

yste

m is

mad

e up

of s

ever

al p

arts

that

wor

k to

geth

er a

s a

who

le to

car

ry o

ut a

func

tion.

A

ll el

ectro

nic

syst

ems

requ

ire a

n in

put,

a pr

oces

s(c

ontro

l dev

ice…

) and

an

outp

ut.

B

C E

Key

on

a ke

yboa

rd

pres

sed.

Inpu

t dev

ice

Con

trolle

r rea

ds th

e in

put a

nd

tells

the

prog

ram

wha

t to

do.

Mon

itor d

ispl

ays

the

proc

esse

d da

ta.

Con

trol

dev

ices

and

co

mpo

nent

sO

utpu

t dev

ice

Syst

em

Elec

tron

icsQ

uiz

1 G

ener

al K

now

ledg

e

Design and Technology

Elec

tron

ics &

CAD

/CAM

Cyc

le K

now

ledg

e Or

gani

ser

Belo

ng B

elie

ve B

e Pr

oud

36

Design and Technology

Type

s of

The

rmop

last

ics

Acry

lic•

Har

d an

d rig

id•

Ran

ge o

f col

ours

•Ea

sily

scr

atch

ed•

Wat

erpr

oof

•In

sula

tor

HIP

sH

igh

impa

ct

poly

styr

ene

•Fl

exib

le•

Ligh

twei

ght

•C

an b

e va

cuum

form

ed•

Ran

ge o

f col

ours

•W

ater

proo

f•

Insu

lato

r

1.2.

3.4.

5.6.

7.8.

9.10

.

11.

12.

Design and Technology

2D D

esig

n to

ols

1. S

elec

tSe

lect

sha

pes

and

icon

s7.

Tex

tAl

low

s te

xt to

be

writ

ten

on w

ork

2. S

trai

ght l

ine

Dra

ws

a st

raig

ht li

ne8.

Zoo

m to

sel

ecte

d ar

eaAl

low

s us

er to

see

clo

se u

p w

ithin

the

wor

kspa

ce

3. C

ircle

Dra

ws

a ci

rcle

9. D

elet

e an

y ob

ject

Del

etes

sel

ecte

d ob

ject

4. C

urve

d lin

eD

raw

s cu

rved

sha

pes

10. D

elet

e pa

rt o

f lin

eD

elet

e a

part

of a

line

bet

wee

n tw

o po

ints

5. R

ecta

ngle

Dra

ws

rect

angu

lar s

hape

s11

. Grid

lock

Mov

es c

urso

r in

1 cm

incr

emen

ts

6. D

imen

sion

sM

easu

res

in m

m b

etw

een

two

poin

ts12

. Ste

p lo

ckM

oves

cur

sor i

n 1

mm

incr

emen

ts

Com

pute

r Aid

ed D

esig

n

Com

pute

r Aid

ed M

anuf

actu

ring

CAD

sof

twar

e is

com

mon

ly u

sed

by d

esig

ners

to

crea

te d

esig

n id

eas,

dev

elop

and

mod

el 2

D a

nd

3D p

rodu

cts

and

man

ipul

ate

befo

re m

anuf

actu

ring.

e.

g. 2

D d

esig

n an

d Au

tode

sk In

vent

or (3

D)

CAM

use

s co

mpu

ter n

umer

ical

con

trol (

CN

C) t

o m

anuf

actu

re th

e C

AD d

esig

ns. e

.g. L

aser

cut

ter,

3D p

rinte

r, C

NC

rout

er a

nd la

thes

.

•M

ore

accu

rate

than

han

d dr

awin

gs•

Des

igns

can

be

chan

ged

and

test

ed b

efor

e pr

oduc

tion.

•O

ffers

vie

ws

of 3

D m

odel

s fro

m a

ll an

gles

•Fi

nal d

raw

ing/

file

can

be e

mai

led

inst

antly

•H

igh

leve

l of a

ccur

acy

•C

onsi

sten

t qua

lity

of p

rodu

ct m

anuf

actu

red

•In

crea

ses

spee

d of

pro

duct

ion

•C

an o

pera

te 2

4 ho

urs

a da

y•

Prod

ucts

can

be

mad

e di

rect

ly fr

om C

AD fi

les

•C

an b

e di

fficu

lt to

lear

n•

Expe

nsiv

e so

ftwar

e•

Expe

nsiv

e eq

uipm

ent

•R

epla

ces

hum

an w

orkf

orce

Qui

z 2

Prop

ertie

s an

d K

ey W

ords

Adva

ntag

es

Disa

dvan

tage

s

Qui

z 2

Qui

z 3

Pro

cess

es

Varia

tion

A ch

ange

or s

light

di

ffere

nce.

A d

iffer

ent

vers

ion

of so

met

hing

Des

ign

a pl

an o

r dra

win

g pr

oduc

ed to

show

how

so

met

hing

look

s, or

how

it

will

wor

k be

fore

it is

m

ade

Elec

tron

ics &

CAD

/CAM

Cyc

le K

now

ledg

e Or

gani

ser

Belo

ng B

elie

ve B

e Pr

oud

37

Physical Education - Sports Science

Cyc

le 1

in P

hysi

cal E

duca

tion

will

focu

s on

Spo

rts S

cien

ce a

nd in

jurie

s. Y

ou w

ill d

evel

op a

n un

ders

tand

ing

of th

e In

trins

ic a

nd E

xtrin

sic

fact

ors

to in

jury

. In

trins

ic fa

ctor

s re

fer t

o fa

ctor

s th

at a

re a

bout

YO

U a

s an

indi

vidu

al

Physical Education-Intrinsic Factors

Cyc

le 1

Kno

wle

dge

Org

anis

er

Indi

vidu

al v

aria

bles

-Ph

ysic

al p

repa

ratio

n

Psyc

holo

gica

l Fac

tors

Cau

ses

of P

ostu

re

Gen

der

Flex

ibili

tyP

revi

ous

inju

ries

Sle

epA

geN

utrit

ion

Trai

ning

War

m-u

p

Mus

cle

Imba

lanc

es

Ove

ruse

Coo

l dow

n

Fitn

ess

leve

ls

Aro

usal

and

A

nxie

ty

Leve

ls

Agg

ress

ion

Mot

ivat

ion

Fatig

ueE

mot

iona

l Fa

ctor

sC

loth

ing

and

foot

wea

r

Poo

r gai

t/sta

nce

Lack

of e

xerc

ise/

ov

erw

eigh

t

Sitt

ing

or s

leep

ing

posi

tion

Bein

g to

agg

ress

ive

will

incr

ease

the

chan

ces o

f inj

ury

Bein

g ov

er

mot

ivat

ed w

ill

incr

ease

the

chan

ces o

f inj

ury

Bein

g an

xious

can

incr

ease

the

chan

ce o

f inj

ury

The

olde

r you

ar

e th

e m

ore

likel

y yo

u ar

e to

ge

t inj

ured

Bein

g de

hydr

ated

ca

n in

crea

se

chan

ce o

f in

jury

.

Mal

es g

ener

ally

hav

e m

ore

mus

cle m

ass

than

fem

ales

. In

crea

sing

risk

of in

jury

to

fem

ale

If yo

u do

not

ge

t eno

ugh

sleep

you

can

lose

co

ncen

trat

ion

-in

crea

sing

your

ch

ance

of i

njur

yIf

your

flex

ibili

ty is

go

od it

redu

ces t

he

chan

ce o

f inj

ury

If yo

u ha

ve p

revi

ous

inju

ries y

ou a

re m

ore

likel

y to

be

inju

red

agai

n

If yo

u do

not

tr

ain

regu

larly

fo

r a sp

ort,

you’

re

incr

easin

g yo

ur

chan

ce o

f inj

ury

If yo

u do

not

w

arm

-up

prop

erly

you

ar

e in

crea

sing

your

chan

ce o

f in

jury

A co

ol d

own

redu

ces

risk

of m

uscle

sore

ness

w

hich

coul

d pr

even

t yo

u tr

aini

ng

You

need

to h

ave

suffi

cient

rest

ot

herw

ise y

ou ca

n be

com

e in

jure

d

If yo

u ar

e no

t fit

enou

gh fo

r the

sp

ort y

ou p

lay,

you

are

incr

easin

g th

e ris

k of

inju

ry

Mus

cles w

ork i

n pa

irs to

m

ove,

if o

ne if

muc

h st

rong

er

than

the

othe

r you

are

likel

y to

bec

ome

inju

ried

Belo

ng B

elie

ve B

e Pr

oud

38

Physical Education - Sports SciencePhysical Education -Extrinsic Factors

Cyc

le 1

Kno

wle

dge

Org

anis

erC

ycle

1 in

Phy

sica

l Edu

catio

n w

ill fo

cus

on S

ports

Sci

ence

and

inju

ries.

You

will

dev

elop

an

unde

rsta

ndin

g of

the

Intri

nsic

and

Ext

rinsi

c fa

ctor

s to

inju

ry. E

xtrin

sic

fact

ors

are

fact

ors

that

are

not

abo

ut y

ou o

r in

your

con

trol.

Type

of a

ctiv

ity●

You’

re m

ore

likel

y to

be

inju

red

in a

co

ntac

t spo

rt th

an a

non

-con

tact

spor

t

Equi

pmen

t●

Perfo

rman

ce e

quip

men

t -eq

uipm

ent

you

need

to p

lay

the

spor

t -ba

lls, b

ats

●Pr

otec

tive

equi

pmen

t -eq

uipm

ent t

hat

redu

ces t

he ri

sk o

f inj

ury

-shi

n pa

ds,

helm

ets

Safe

ty h

azar

ds●

Emer

genc

y ac

tion

plan

(EAP

)●

Risk

ass

essm

ent

●Sa

fety

chec

ksEn

viro

nmen

tal f

acto

rs●

Wea

ther

●Ot

her p

artic

ipan

ts●

Play

ing

surfa

ce/s

urro

undi

ng

area

s

Emer

genc

y Ac

tion

Plan

(EAP

)●

Em

erge

ncy

pers

onne

l○

Firs

t aid

er○

Fast

resp

onse

●E

mer

genc

y co

ntac

t○

Cal

l 999

○E

mer

genc

y se

rvic

es●

Em

erge

ncy

equi

pmen

t○

Firs

t aid

kit

○In

hale

r

Coac

hing

and

supe

rvisi

on●

Poor

com

mun

icatio

n sk

ills

●Co

achi

ng in

corr

ect/

poor

te

chni

ques

●Im

port

ance

of a

dher

ing

to th

e ru

les a

nd re

gula

tions

Belo

ng B

elie

ve B

e Pr

oud

39

Physical Education - Sports Studies

Cyc

le 1

in P

hysi

cal E

duca

tion

will

focu

s on

Spo

rts S

tudi

es a

nd th

e C

onte

mpo

rary

issu

es in

Spo

rt. Y

ou w

ill d

evel

op

unde

rsta

ndin

g ar

ound

issu

es th

at a

ffect

par

ticip

atio

n in

spo

rt.

Physical Education -Issues affecting participation

Cyc

le 1

Kno

wle

dge

Org

anis

er

USER

GRO

UPS

–

Fam

ilies

with

you

ng ch

ildre

nW

orki

ng si

ngle

s/co

uple

sEt

hnic

min

oriti

esSi

ngle

par

ents

Teen

ager

sCh

ildre

nUn

empl

oyed

Retir

ed p

eopl

eDi

sabl

ed

F WES

T CU

RDFA

CTOR

S TH

AT C

AN IM

PACT

THE

POP

ULAR

ITY

OF A

SP

ORT

SMAP

PERS

Spec

tato

rshi

p -T

he m

ore

peop

le a

re v

iew

ing

spor

ts w

ill in

crea

se

part

icipa

tion.

Med

ia C

over

age

-Som

e sp

orts

chan

nels

show

cert

ain

spor

ts 2

4/7.

Th

is in

crea

ses p

artic

ipat

ion

in th

e sp

orts

that

the

med

ia sh

owse

.g.

foot

ball

vs a

thle

tics.

Acce

ptab

ility

-Cer

tain

spor

ts in

the

UK h

ave

resu

lted

in so

me

peop

le vo

icing

thei

r con

cern

s e.g

. box

ing

(dan

gero

us),

hors

e ra

cing

(ani

mal

crue

lty).

Part

icipa

tion

-Spo

rts w

ith w

ides

prea

d m

ass p

artic

ipat

ion

rem

ain

popu

lar.

Mor

e pe

ople

par

ticip

ate

in sp

orts

that

hav

e w

ides

prea

d pa

rtici

patio

n.Pr

ovisi

on-P

rovi

sion

varie

s in

the

UK. P

eopl

e ca

nnot

par

ticip

ate

if th

ere

is lit

tle o

r no

prov

ision

to fa

ciliti

es e

.g. d

ifficu

lt to

acc

ess a

te

nnis

cour

t with

out p

ayin

g.

Envi

ronm

ent -

Wea

ther

in th

e UK

can

impa

ct u

pon

part

icipa

tion

rate

s. Th

ere

is a

lack

of s

now

in th

e UK

for s

kiin

g.

Role

mod

els -

Posit

ive

role

mod

els i

ncre

ase

part

icipa

tion

in th

e sp

ort a

s the

y ins

pire

futu

re g

ener

atio

ns. A

lack

of r

ole

mod

els h

as

a ne

gativ

e im

pact

.

Succ

ess (

of te

am’s

and

indi

vidu

als)

-Sp

ortin

g suc

cess

insp

ires

peop

le to

take

par

t in

the

spor

ts e

.g. s

ucce

ss o

f the

GB

cycli

ng

team

.

Barr

iers

to p

artic

ipat

ion

•La

ck o

f tim

e•

Wor

k res

trict

ions

•La

ck o

f tra

nspo

rt•

Lack

of s

pecia

list e

quip

men

t•

Lack

of d

ispos

able

inco

me

•La

ck o

f rol

e m

odel

s•

Acce

ssib

ility

of f

acili

ties

•Fa

mily

com

mitm

ents

•Ge

nder

/rel

igio

us is

sues

•Pr

ovisi

on a

nd a

war

enes

s of a

ctiv

ities

•St

ereo

typi

ng

Belo

ng B

elie

ve B

e Pr

oud

40

Physical Education - Sports StudiesPhysical Education C

ycle

1 K

now

ledg

e O

rgan

iser

Cyc

le 1

in P

hysi

cal E

duca

tion

will

focu

s on

Spo

rts S

tudi

es a

nd th

e co

ntem

pora

ry is

sues

in s

port.

You

will

dev

elop

un

ders

tand

ing

arou

nd is

sues

that

affe

ct p

artic

ipat

ion

in s

port.

Physical Education -Issues affecting participation

SOLU

TION

S TO

PAR

TICI

PATI

ON IN

SPOR

T

•Pr

omot

e po

sitiv

e ro

le m

odel

s•

Incr

ease

med

ia co

vera

ge o

f the

use

r gro

up•

Impr

ove

acce

ssib

ility

•In

crea

se p

rovi

sion

of su

itabl

e ac

tiviti

es

•Su

bsid

ised

cost

s•

Targ

eted

cam

paig

ns•

Prov

ide

ram

ps a

nd e

quip

men

t•

Tim

etab

le o

f diff

eren

t ses

sions

POPU

LARI

TY O

F SPO

RTS (

PART

ICIP

ATIO

N)

Rece

nt st

udie

s hav

e su

gges

ted

that

recr

eatio

nal W

ALKI

NG, F

ISHI

NG,

CYCL

ING

and

SWIM

MIN

Gar

e th

e m

ost p

opul

ar sp

orts

in th

e UK

in te

rms o

f pa

rtici

patio

n.

PROM

OTIO

N(a

dver

tisin

g to

incr

ease

in

tere

st)

Targ

eted

pro

mot

ions

to a

sp

ecifi

c gro

up v

ia le

afle

ts,

socia

l med

ia e

tc.

Use

role

mod

els t

o en

cour

age

part

icipa

tion

e.g.

te

ache

rs, s

port

s sta

rs a

nd

pare

nts.

Initi

ativ

es (c

ampa

igns

to

prom

ote

part

icipa

tion)

e.g

. ‘T

his G

irl C

an’.

ACCE

SS

(abl

e to

reac

h/us

e th

e fa

ciliti

es)

Acce

ss to

facil

ities

e.g

. tr

ansp

ort t

here

and

bac

k,

ram

ps fo

r whe

elch

airs

.

Acce

ss to

equ

ipm

ent e

.g.

hoist

s to

acce

ss th

e sw

imm

ing

pool

.

Conc

essio

nary

pric

ing

e.g.

re

duct

ion

in p

rices

for

elde

rly, u

nem

ploy

ed a

nd

youn

g pe

ople

.

PROV

ISIO

N (p

rovi

ding

or s

uppl

ying

so

met

hing

for u

se)

Prog

ram

min

g of

sess

ions

for

diffe

rent

use

r gro

ups a

nd

abili

ties e

.g. o

ver 5

0’s.

Prov

idin

g ap

prop

riate

ac

tivity

opt

ions

for t

he

dem

and

of th

e sp

ecifi

c gr

oup

e.g.

whe

elch

air

bask

etba

ll.

Plan

ning

of t

imes

to su

it di

ffere

nt u

ser g

roup

s.

EMER

GING

SPOR

TS

Emer

ging

–Ne

w sp

orts

that

hav

e en

joye

d in

crea

sed

part

icipa

tion

in th

e UK

in re

cent

year

s.

Ultim

ate

Frisb

ee

Hand

ball

Park

our

Belo

ng B

elie

ve B

e Pr

oud

41

Computer Science

Belo

ng B

elie

ve B

e Pr

oud

Key

wor

ds a

nd d

efin

ition

s A

sset

s Th

ese

are

the

com

pone

nt p

arts

that

are

us

ed in

the

crea

tion

of d

igita

l gra

phic

s.

Exa

mpl

es w

ould

be

phot

ogra

phs,

imag

es,

grap

hics

, tex

t, lo

gos.

Fi

le fo

rmat

s Th

is re

fers

to th

e ty

pe o

f im

age

file

and

file

exte

nsio

n th

at is

bei

ng u

sed

or c

onsi

dere

d.

Typi

cal e

xam

ples

of f

ile fo

rmat

s ar

e .ti

ff,

.jpg,

.png

, .bm

p, .g

if an

d .p

df.

Imag

e ed

iting

so

ftwar

e S

oftw

are

with

a ra

nge

of im

age

editi

ng

tool

s an

d te

chni

ques

. D

PI

DP

I (D

ots

Per

Inch

) is

used

to d

escr

ibe

the

reso

lutio

n nu

mbe

r of d

ots

per i

nch

in a

di

gita

l prin

t and

the

prin

ting

reso

lutio

n of

a

hard

cop

y pr

int.

Prop

ertie

s Th

e pr

oper

ties

of d

igita

l gra

phic

s re

fer

prim

arily

to th

e pi

xel d

imen

sion

s an

d dp

i re

solu

tion.

B

itmap

imag

e A

bitm

ap is

a d

igita

l im

age

mad

e of

a

mat

rix o

f dot

s. E

ach

dot c

orre

spon

ds to

an

indi

vidu

al p

ixel

on

a di

spla

y.

Vect

or im

age

Dig

ital i

mag

es m

ade

usin

g m

athe

mat

ical

st

atem

ents

that

pla

ce li

nes

and

shap

es in

2D

poi

nts,

so

exce

llent

for g

raph

ics

that

re

quire

resi

zing

.

Computer Science

In c

ycle

1 w

e st

udy

iMed

ia w

ith a

focu

s on

the

basi

cs o

f dig

ital g

raph

ics

editi

ng fo

r the

cre

ativ

e an

d di

gita

l med

ia

sect

or. Y

ou w

ill le

arn

whe

re a

nd w

hy d

igita

l gra

phic

s ar

e us

ed a

nd th

e te

chni

ques

invo

lved

in th

eir c

reat

ion.

Und

erst

and

the

purp

ose

and

prop

ertie

s of

di

gita

l gra

phic

s

Topi

c 1

Gra

phic

s:

Com

pute

r Gra

phic

s –

A g

raph

ic is

an

imag

e or

vis

ual r

epre

sent

atio

n of

an

obje

ct.

Ther

efor

e, c

ompu

ter g

raph

ics

are

sim

ply

imag

es d

ispl

ayed

on

a co

mpu

ter s

cree

n.

Pixe

l (sh

ort f

or p

ictu

re e

lem

ent)

- is

the

smal

lest

uni

t of a

dig

ital i

mag

e or

gra

phic

th

at c

an b

e di

spla

yed

and

repr

esen

ted

on a

di

gita

l dis

play

dev

ice.

Pix

els

are

com

bine

d to

form

a c

ompl

ete

imag

e on

a c

ompu

ter

disp

lay.

Res

ourc

es -

This

refe

rs to

the

hard

war

e an

d so

ftwar

e us

ed to

cre

ate

the

grap

hics

. E

xam

ples

wou

ld in

clud

e bo

th th

e co

mpu

ter

equi

pmen

t, im

age

capt

ure

hard

war

e an

d th

e im

age

editi

ng s

oftw

are

appl

icat

ion.

Vi

sual

isat

ion

diag

ram

A s

ketc

h or

dia

gram

of w

hat i

s to

be

crea

ted

as th

e di

gita

l gra

phic

. It c

an b

e ha

nd d

raw

n or

pro

duce

d us

ing

a so

ftwar

e ap

plic

atio

n. T

he in

tent

ion

is th

e cl

ient

can

ge

t an

idea

of w

hat t

he fi

nal p

rodu

ct w

ill lo

ok li

ke. I

t can

incl

ude

anno

tatio

ns in

ad

ditio

n to

the

draf

t lay

out.

You

will

und

erst

and

the

purp

ose

and

prop

ertie

s of d

igita

l gra

phics

, and

kn

ow w

here

and

how

they

are

use

d. Y

ou w

ill p

lan

the

crea

tion

of d

igita

l gr

aphi

cs, c

reat

e ne

w d

igita

l gra

phics

usin

g a

rang

e of

edi

ting

tech

niqu

es

and

revi

ew a

com

plet

ed g

raph

ic ag

ains

t a sp

ecifi

c brie

f.

Belo

ng B

elie

ve B

e Pr

oud

42

Computer Science

Belo

ng B

elie

ve B

e Pr

oud

Key

wor

ds a

nd d

efin

ition

s Ti

mes

cale

s Ti

mes

cale

is th

e pe

riod

of ti

me

that

is n

eede

d to

do

som

ethi

ng, s

uch

as th

e de

velo

pmen

t of a

web

site

for a

cu

stom

er.

Cop

yrig

ht

Cop

yrig

ht is

a la

w th

at g

ives

the

owne

r of a

wor

k (li

ke

a bo

ok, m

ovie

, pic

ture

, son

g or

web

site

) the

righ

t to

say

how

oth

er p

eopl

e ca

n us

e it.

Tr

adem

ark

A tr

adem

ark

is a

reco

gnis

able

sig

n, d

esig

n or

ex

pres

sion

, whi

ch id

entif

ies

prod

ucts

or s

ervi

ces

of a

pa

rticu

lar s

ourc

e fro

m th

ose

of o

ther

s.

Inte

llect

ual

prop

erty

In

telle

ctua

l pro

pert

y re

fers

to c

reat

ions

of t

he m

ind,

su

ch a

s in

vent

ions

; lite

rary

and

arti

stic

wor

ks, d

esig

ns

and

sym

bols

. M

ilest

ones

A

sign

ifica

nt s

tage

or e

vent

in th

e de

velo

pmen

t of

som

ethi

ng, s

et to

mon

itor p

rogr

ess

of la

rger

pro

ject

s.

Targ

et a

udie

nce

A pa

rticu

lar g

roup

at w

hich

a p

rodu

ct, s

uch

as a

w

ebsi

te, i

s ai

med

. W

eb a

utho

ring

W

eb a

utho

ring

is c

reat

ing

web

doc

umen

ts u

sing

m

oder

n w

eb a

utho

ring

softw

are

and

tool

s. W

eb

auth

orin

g so

ftwar

e is

a ty

pe o

f des

ktop

pub

lishi

ng to

ol

that

allo

ws

user

s to

nav

igat

e th

e tri

cky

envi

ronm

ent o

f H

TML

and

web

cod

ing

by o

fferin

g a

diffe

rent

kin

d of

gr

aphi

cal u

ser i

nter

face

. H

yper

link

A lin

k th

at ta

kes

you

to a

noth

er w

ebsi

te, p

age

or

reso

urce

. Thi

s is

usu

ally

sho

wn

as b

eing

und

erlin

ed o

n a

web

site

to in

dica

te th

e hy

perli

nk a

nd th

e te

xt is

ofte

n in

ano

ther

col

our t

o m

ake

it st

and

out.

Nav

igat

ion

syst

em

The

syst

em b

y w

hich

you

mov

e th

roug

h a

web

site

from

pa

ge to

pag

e.

Embe

dded

co

nten

t C

onte

nt w

hich

is p

lace

d on

a w

ebsi

te b

ut is

hos

ted

by

anot

her w

ebsi

te s

uch

as a

You

Tube

vid

eo o

r a G

oogl

e M

ap.

Computer Science

Topi

c 2

Und

erst

and

targ

et a

udie

nce

requ

irem

ents

for a

dig

ital g

raph

ic.

Con

tinge

ncy

Plan

ning

A pl

an in

volv

ing

suita

ble

back

ups,

imm

edia

te a

ctio

ns a

nd lo

nger

-term

m

easu

res f

or re

spon

ding

to co

mpu

ter e

mer

genc

ies s

uch

as a

ttac

ks o

r ac

ciden

tal d

isast

ers.

Belo

ng B

elie

ve B

e Pr

oud

43

Art

Cyc

le 1

will

deve

lop

your

obs

erva

tiona

l dra

win

g sk

ills. Y

ou w

ill ex

plor

e th

e pr

ojec

t the

me

‘Mec

hani

cal’,

whe

re y

ou w

ill ex

perim

ent w

ith a

rang

e of

med

ia a

nd d

raw

ing

tech

niqu

es. Y

ou w

ill le

arn

how

to u

se a

dig

ital S

LR c

amer

a an

d be

com

e fa

milia

r with

pho

togr

aphy

term

inol

ogy.

Thi

s pr

ojec

t will

lead

into

lear

ning

cyc

le 2

whe

re y

ou w

ill cr

eate

a 3

D

clay

pie

ce o

f wor

k.

In y

our h

omew

ork

book

, rec

reat

e th

is d

raw

ing

of a

cha

in u

sing

pen

cil o

r biro

. Foc

us o

n di

rect

ing

tone

aro

und

the

shap

e of

eac

h ch

ain

link

to c

reat

e a

3D e

ffect

.

Try

usin

g cr

oss

hatc

hing

to a

dd to

ne w

hen

usin

g pe

n.

Botto

m o

f th

e fa

ce

Botto

m o

f the

m

outh

Botto

m o

f the

no

se

Eyes

: mid

dle

of

the

face

Top

of th

e fa

ce

Cen

tre o

f the

face

Key

Art

Voc

abul

ary

Abs

tract

A

rt th

at is

non

repr

esen

tatio

nal (

som

ethi

ng th

at is

unr

ealis

tic).

Con

trast

A

not

icea

ble

diffe

renc

e be

twee

n tw

o pa

rts o

f an

art p

iece

.

Illus

tratio

n A

dra

win

g or

pic

ture

.

Belo

ng B

elie

ve B

e Pr

oud

44

ArtART

Ape

rture

Adj

ustm

ent S

eque

nce:

Dep

th o

f fie

ld

Exam

ple

of a

n un

dere

xpos

edph

otog

raph

(not

eno

ugh

light

has

ent

ered

the

cam

era,

cre

atin

g a

dark

im

age)

, and

an

over

expo

sed

phot

ogra

ph

(too

muc

h lig

ht h

as

ente

red

the

cam

era

caus

ing

a br

ight

imag

e).

Belong Believe Be Proud

45

Notes

Belong Believe Be Proud

46

Notes

Belo

ng B

elie

ve B

e Pr

oud

47

Notes

Belo

ng B

elie

ve B

e Pr

oud

48

Notes