1L Student Distance Learning Work for the Week of May 11-15, 2020
1L Webpage: http://www.parnassusteachers.com/first-level-logic-1l.html Password: Pegasus Click on each tab to view videos and class resources
Check off each assignment as you complete it:
Day Daily Work Weekly Work
One
□ MathLesson 99 Fraction-Decimal-Percent Equivalents Watch the
video going over the new concept (Follow along in your math book, page. 530) Answer Practice Set a-l (page 531 in your math book), and then Mixed Practice 1-30 (beginning on page 531) (Page 2 in packet for Practice Set, & pages 13-14 for theMixed Practice)
□ English Watch video for Monday Read Act III, Sc I (p. 35-44 in Julius Caesar) Read “Under the Starts” on pp. 26-27. You will need
your colored PENs for this assignment. Startgathering CDs (red for CD, green for CM) on p. 28.Watch video on gathering CDs.
□ Latin-Part 1: Copy Grammar Notes (p. 37-41) &-Part 1: Vocab Check (p.42)*Do not turn in the KEY, these are your notes for the chapter
□ Spanish: NO VIDEOS THIS WEEK.1 – Complete p. 54, use previous notes and reference pages
□ Science
Read Sponges andCnidarians on pp. 59-61.Then watch the LessonVideo. AnswerAssessment Questions onblank p. 62
Read Worms on pp. 63-66. Then watch theLesson video. AnswerAssessment Questions onblank p. 67.
Read Mollusks on pp. 68-70. Then watch theLesson Video. AnswerAssessment Questions onblank p. 71
□ History
Watch the Power Pointpresentation video ofRoman Architecture
Read through pp. 73-74and answer the questionsbased on the video
Write a 6-sentenceparagraph following theinstructions on pp. 75-78
Two
□ Math
Lesson 100 Algebraic Addition of Integers Watch the videogoing over the new concept (Follow along in your math book, page. 534) Answer Practice Set a-o (beginning on page 537 in your math book), and then Mixed Practice 1-30 (beginning on page 537) (Page 4-5 in packet for Practice Set, & pages 15-16 for the Mixed Practice)
□ English
Watch video for Tuesday Read Act III, Sc II (p. 44-51 in Julius Caesar) Work on CMs (Green CM, Blue TS) on pp. 29-30.
Watch Video on gathering CMs.□ Latin
-Part 2: Present (p. 43) &-Part 2: Vocab Check (p. 43)
Two (continued)
□ Spanish:
2: Complete p. 55, put the verb COMRAR in the past/preterite tense. Translate 1-3, if you are able, do the bonus – it is not required.
□ Music
Music as Conversation (p. 79-83)
(required for all 1L scholars)
□ Art
Human Proportions on pp. 85-91 (required for all 1L scholars)
□ PE
Exercise guide p. 93
Three
□ Math
Complete Math Facts Packet (pages 6-10 in your packet)
□ English
Watch video for Wednesday Read Act III, Sc III (p. 52 in Julius Caesar) Work on pp. 31-32, CS and graphic organizer – all in
color. □ Latin -Part 3: Imperfect (p. 44) & -Part 3: Vocab Check (p. 44) □ Spanish 3: Complete p. 56, match the vocabulary words, these are review from chapter 7, you have a packet with them in it
Four
□ Math
Lesson 101 Ratio Problems Involving Totals Watch the video going over the new concept (Follow along in your math book, page 546). Answer Practice Set questions a-b (page 548) and Mixed Practice 1-30 (beginning on page 548). (Page 11 in your packet for Practice Set, and pages 17-18 for Mixed Practice) □ English
Watch video for Thursday Catch up on reading (Act III Julius Caesar) and answer
Act III Study Questions (pages 24-25 in your packet) Write final draft on lined paper, p. 33. Must be in
color.
□ Latin
-Part 4: Future (p. 45) & -Part 4: Vocab Check (p. 45) □ Spanish:
4: Complete p. 57, preterite tense
Five
□ Math
Lesson 102 Mass and Weight Watch video going over new concept (Follow along in your math book, page 551). Answer the Practice Set a-e (beginning on page 552), and the Mixed Practice 1-30 (page 553) (Page 12 in packet for Practice Set, & pages 19-20 in packet for Mixed Practice)
Five (continued)
□ English
Watch video for Friday Finish Act III Study Questions (pages 24-25 in your
packet) Read “A Ballad with a Serious Conclusion”, p. 34. Do
multiple choice on p. 35. “Poetry Connection” instructions on p. 35. Think of a story you would like to tell and write it as a poem (prose or rhyme, any measure!). Use blank lined paper on p. 36. Writing must be in cursive.
□ Latin
-Part 5: Catch Up on Parts 1-4 if not finished; review endings of Charts S, T, & U; Study Quizlet/Vocab for Chapters 10 & 9 (p. 48-49) For online Latin resources visit:
http://www.parnassusteachers.com/sol-latin.html
□ Spanish:
5. Review vocabulary flashcards, notes or via Quizlet
PLEASE SIGN AND DATE BELOW BEFORE RETURNING:
Student Full Name (First & Last): __________________________________________
Parent Signature:______________________________________________________
Date:______________________________________
Lesson 99: Fraction-Decimal-Percent Equivalents (Saxon math book page 530) Complete below: Practice Set (page 531 in your math book) a-l a. b. c. d. e. f. g. h. i. j. k. l. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER
2
Lesson 100: Algebraic Addition of Integers (Saxon math book page 534-537) Complete below: Practice Set (page 537 in your math book) a-o a. b. c. d. e. f. g. h. i. j. k. l. m. n.
4
Lesson 101: Ratio Problems Involving Totals (Saxon math book page 546) Complete below: Practice Set (page 548 in your math book) a-b a. b. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER
11
Lesson 102: Mass and Weight (Saxon math book page 551) Complete below: Practice Set (page 552 in your math book) a-e a. b. c. d. e. COMPLETE MIXED PRACTICE 1-30 ON GRAPH PAPER
12
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Julius Caesar by William Shakespeare Name: ____________________________ Period: _____
Act III Study Questions
Directions: Answer the questions using complete sentences.
1. How many scenes are in Act III? (+2)
2. What city does Act III, Scene I take place in? (+2)
3. Who is the first person to speak in Act III, Scene I? Who is this person speaking to? (+3)
4. Use the footnotes in Act III to define the following: (+2)
a. schedule =
b. fond =
c. bootless =
d. conceit me =
5. Why is it unfortunate for Caesar that he did not read Artemidorus’ letter? (+2)
6. *Answer the questions about this quote from Act III, Scene I: “I am constant as the
northern star” (37).
a. Who says this line? (+2)
b. What does this tell us about the speaker’s personality? (+2)
24
7. Who is the last to stab Caesar? (+2)
8. *Why does Caesar not suspect that Brutus would kill him? (+2)
9. Quote Caesar’s last line in the play in Act III, Scene I. Hint: It is a question and a
statement. Be sure to blend the quote: use an introduction (+1), comma (+1), quotation
marks (+1), you quote (+1), and the page number in parentheses(+1).
(+1 for correct answer)
10. What does Caesar’s last line mean? Explain the question and the statement. (+3)
11. What is the name of the master of the servant who enters the stage on page 39? (+2)
12. What character speaks at Caesar’s funeral after Brutus speaks? Hint: This character
succeeds in making the citizens angry with the men who murdered Caesar. (+2)
13. In Scene III, an angry mob confronts a man named Cinna. What will the crowd do to the
poet named Cinna? (+2)
25
Literary Analysis and Reflection
To Sleep Under the Stars
Carol Shaw Craham
"But Mom, everybody's going."
"Cecilia, you know that isn't true. All 300 kids in the 7'h grade cannot be
going." Cecilia's mother Iooked across the kitchen at her. "And I truly am sorry---but
this is the only weekend your father has off until.after Christmas. We're going to
your Crandmother's. This is very important, Cecilia. Uncle Frank and Aunt Ellen
have been taking care of Grandma ever since her surgery, but we need to help out
too. There will be other class trips. This time, family has to come first,
"But . . ." Cecilia searched quickly for another reason to stay home.
"Cecilia. l'm disappointed in you. lt is time to be unselfish." Her mother
turned sadly back to the sink.
Cecilia slowly left the kitchen and wandered out to the porch. "lt's not fair,"
she thought. "My first class trip. I really wanted to see the planetarium." She
flopped into a chair and gave herself up to self-pity.
Cecilia was still unhappy when the time came to head for Crandma's. The
three-hour trip took the family east through beautiful farmland and several small
towns. Usually Cecilia enjoyed the ride, but this time she didn't. Her friends were on
a bus heading three hours west towards the Bay City Planetarium.
Grandma looked tired, but she was so happy to see them that Cecilia felt a
little better. "Stay and keep me compdhy," requested Grandma when Cecilia's
parents went to unpack. "You've grown so tall since the summer!" Grandma
exclaimed. "Sit down here next to me ---l'm getting a crick in my neck looking up at
you! Now tell me, where do you buy the beauty cream you must put on your face
every night? I need some!"
Cecilia laughed. "Oh, Crandma. You're just saying that."
Crandma smiled. "You are getting so grown-up and so busy. l've missed you.
Your mother told me about your report card. Almost all A's! That's wonderful.
What is your favorite subject this year?"
"Science, I guess. We're doing astronomy."
Jt.,.. d sV\'
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COPYRIGHT 2012,2O14. Louis Educational Concepts, LLC 74
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Literary Analysis and Reflection
"l loved astronomy. The stars are fascinating. I still love to look up at the sk
and find the constellations."
"Really? Maybe I inherited it from you," said Cecilia. "l wish I could sleep out
under the stars. Mom says l'd freeze!"
Gran smiled. "l know a way you can sleep under the stars every night and still
be warm. Help me down the hall to my room."
Cecilia gently helped Gran stand. She seemed so frail. Together they slowly
walked to Cran's bedroom. Gran sank into the Iittle chair in the cornerwith a sigh.
"Are you all right?" Cecilia asked anxiously.
"l'm feeling stronger every day! Now open the cedar chest there."
Cecilia lifted the heavy lid, and then turned to Gran. "What's in here, Gran?"
she asked.
"Memories. Your mother's baby shoes, a curl from your first haircut---all sorts
of things." Cecilia pulled out items one by one, and Gran told their stories. They
laughed and cried and Cecilia learned about her family. Finally, Cecilia pulled out a
big, cloth-wrapped bundle.
"A quilt! Oh Gran, did you make it?"
"A long time ago. When Iwas in high school, my mother became ill. The
doctor sent her to the desert to avoid the cold winter weather. I went with her---!
had to miss a year of high school. I was so disappointed at first. The teachers sent
me work through the mail, but I missed all the fun. But in the desert, I discovered
that the stars seem to jump out of the sky. My mother and lworked this quilt that
winter." She shook the quilt open over her lap. White stars shone out of a dark blue
background. A pearly moon hung in the corner.
"Gran, it's beautiful," said Cecilia, smoothing the quilt. "There's Orion's belt---
and Cassiopeia."
"We put all my favorites in. My mother and I really enjoyed those times
together. I learned that winter how important family is. Now I want to pass the quilt
on to you."
Cecilia wrapped her arms around Grandma. "Oh, Cran. Thank you!" she said.
l'm so glad I came to see you, and l'll love the quilt forever."
Jq-'3\\,P,!
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COPYRIGHT 2012,2O14. Louis Educational Concepts, LLC 75
27
Literary Analysis and Refleciion jt
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'tGATHERING CDS AND CMS
ONE-CHUNK RESPONSE TO LITERATURE PARAGRAPHS
PROMPT: Lilrtlea olrsctOeld/+L4
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Think of 3 or more CDs that would fit the prompt and writethem helow. Then circle the one CD you think is the hest.
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Literary Analysls and Reflection
RATIO: l:2+l. Write your topic sentence here:
+2. Complete the f<rllowing T-chart:
CDsWhat does the character do?What happens in the story?
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Literary Analysis and Reflection JI-*J g
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Literary Analysis and Reflection
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Literary Analysis and ReflectionTncdor {ew*IA I
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Name Date
And as rough and gruff a sailorAs ever sailed the sea
Was standing near grotesquelYAnd leering dreadfully.
I replied, though I was frightened,"lt was my father dear
I was calling for across the sea-I think he didn't hear."
He started fiercely toward me-Then made a sudden halt
And roared, "l think he heard you!"And turned a somersault.
Then a wild fear overcame me,
And I flew off like the wind,Shrieking "MOTHER!"-and the sailor
Just a little way behind!And then my mother heard me,
And I saw her shade her eYes,
Looking toward me from the doorwaY,Transfixed with pale surPrise
For a moment-then her featuresGlowed with all their wonted charms
As the sailor overtook me,
And I fainted in her arms.
When I awoke to reasonI shuddered with affright
Till I felt my mother's presenceWith a thrill of wild delight-
Till, amid a shower of kissesFalling glad as summer rain,
A muffled thunder rumbled,-"ls he coming 'round again?"
Then I shrieked and clung unto her,
While her features flushed and burnedAs she told me it was father
From a foreign land returned.
Unit Four: Tales to Tell
Poetry 5, SV 2049-4
A Baltad with a Serious Conclusion lexcerpt]bU James Whitcomb RileA
Crowd about me, little children-Come and cluster'round my knee
While I tell a little storyThat happened once with me.
It/y father he had gone awayA-sailing on the foam,
Leaving me-the merest infant-And my mother dear at home;
For my father was a sailor,And he sailed the ocean o'er
For full five years ere yet againHe reached his native shore.
Poor mother she would kiss meAnd look at me and sigh
So strangely, oft I wonderedAnd would ask the reason whY.
And she would answer sadly,Between her sobs and tears,-
"You look so like your father,Far away so many years!"
Thus I went playing thoughtfullY-For that my mother said.-
"You look so like your father!"Kept ringing in my head.
So, ranging once the golden sandsThat looked out on the sea,
I called aloud, "My father dear,Come back to ma and me!"
Then I saw a glancing shadowOn the sand, and heard the shriek
Of a sea-gull flying seaward,And I heard a gruff voice sPeak:-
" Ay , ay , my little shipmate,I thought I heard you hail;
Were you trumpeting that sea-gull,Or do you see a sail?"
O Steck-Vaughn Company 45
Go on to the next page.
34
@E Think about the poem. Then answer these questions. Fill in the
circle before the correct answer.
l. The mother says the boy looks like
@ her father.@ her.
O his grandmother.
@ his father.
5. The boy "saw a glancing shadow."What does "glancing" mean?
@ brief@ frightf ul
C dark@ leaPing
*rtft
about the boyshort story tha
@ Steck-Vaughn ComPanY
Very long poems that tell a story are called epics. Some famous
epics are "The lliad," "The Odyssey," and "Beowulf'" The poem
and his father tells a much shorter story than an epic. Think of a
t you would like to tell and write it as a poem.
4. This story is mostlY about
@ a father's return from the sea.
@ a boy's walk on the beach.
@ a mother's loneliness.
@ a boy's love for his mother.
5. You can conclude that
@ the boy's father likes to frightenchildren.
@ the boy's father has changedsince he left.
O the boY's mother does not like
the ocean.@ the boY wants to be a sailor like
his father.
6. At the end of the Poem, the boY
most likelY
@ wishes that his father did not
return.@ will not walk on the beach again.
O does not understand whY his
mother is haPPY.
@ does not want to look like his
father.
Unit Four: Tales to Tell
Poetry 5, SV 2049'446
PoetrgConnection
Date
A Baltad with a Serious Conclusion, p- 2
II
2. What does the boY do before he
meets the man on the beach?
@ He runs home.
@ He calls out for his father.
O He goes for a swim.
@ He faints.
1,.,{\_35
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
1L Latin Distance Learning Week 6 May 8 -14
Part 1: Chapter 10 Grammar Notes
3rd –iō and 4th Conjugation Verbs Directions: Using the completed version of the grammar notes on the following pages, copy your blank
grammar notes (don’t forget long marks). KEEP YOUR NOTES. DO NOT TURN THEM IN.
Review:
laudō, laudāre, laudāvī, laudātum
moneō, monēre, monuī, monitum
agō, agere, ēgī, āctum
Principal Parts of a 3rd -iō Conjugation Verb:
capiō, capere, cēpī, captum
• Notice that the stem vowel of the 2nd principal part is a short _______, but the first
principal part ends in ____________.
Principal Parts of a 4th Conjugation Verb:
audiō, audīre, audīvī, audītum
• The stem vowel for all 4th conjugation verbs is long __________.
• For many of the forms of 3rd –iō and 4th conjugation verbs the vowel ________ is placed
in front of the endings.
Present Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agō
2nd pers. agis
3rd pers. agit
PLU
R.
1st pers. agimus
2nd pers. agitis
3rd pers. agunt
38
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Imperfect Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agēbam
2nd pers. agēbas
3rd pers. agēbat
PLU
R.
1st pers. agēbamus
2nd pers. agēbatis
3rd pers. agēbant
Future Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agam
2nd pers. agēs
3rd pers. aget
PLU
R.
1st pers. agēmus
2nd pers. agētis
3rd pers. agent
Present Imperative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
2nd sing. age
2nd plur. agite
39
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Part 1: Chapter 10 Grammar Notes KEY
3rd –iō and 4th Conjugation Verbs Review:
laudō, laudāre, laudāvī, laudātum
moneō, monēre, monuī, monitum
agō, agere, ēgī, āctum
Principal Parts of a 3rd -iō Conjugation Verb:
capiō, capere, cēpī, captum
• Notice that the stem vowel of the 2nd principal part is a short -e but the first principal
part ends in -iō.
Principal Parts of a 4th Conjugation Verb:
audiō, audīre, audīvī, audītum
• The stem vowel for all 4th conjugation verbs is a long -ī
• For many of the forms of 3rd –iō and 4th conjugation verbs the vowel i is placed in front
of the endings.
Present Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agō capiō audio
2nd pers. agis capis audīs
3rd pers. agit capit audit
PLU
R.
1st pers. agimus capimus audīmus
2nd pers. agitis capitis audītis
3rd pers. agunt capiunt audiunt
40
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Imperfect Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agēbam capiēbam audiēbam
2nd pers. agēbās capiēbās audiēbās
3rd pers. agēbat capiēbat audiēbat
PLU
R.
1st pers. agēbāmus capiēbāmus audiēbāmus
2nd pers. agēbātis capiēbātis audiēbāt
3rd pers. agēbant capiēbant audiēbant
Future Indicative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
SIN
G.
1st pers. agam capiam audiam
2nd pers. agēs capiēs audiēs
3rd pers. aget capiet audiet
PLU
R.
1st pers. agēmus capiēmus audiēmus
2nd pers. agētis capiētis audiētis
3rd pers. agent capient audient
Present Imperative
3rd Conjugation 3rd –iō Conjugation 4th Conjugation
agō, agere capiō, capere audiō, audīre
2nd sing. age cape audī
2nd plur. agite capite audīte
41
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Part 1: Vocab Check
Directions: Analyze each of your NEW nouns (using your Chapter 10 Vocab Sheet) by identifying the
genitive singular, gender, declension, and meaning of each given noun. Remember, that the declension is
found by looking at the ending of the genitive singular (the 2nd word in the vocab entry)
1st Declension (ae) 2nd Declension (ī) 3rd Declension (is).
Nominative Sg Genitive Sg Gender Declension Meaning
amīcitia
cupiditās
hōra
nātura
senectus
timor
vēritās
via
voluptās
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Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Part 2: Present
Directions: Conjugate then translate the 4th Conjugation Verb veniō, vēnīre, vēnī, ventum (to come) in the
PRESENT tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).
Person Singular Translation
1st
2nd
3rd
Person Plural Translation
1st
2nd
3rd
Imperative Singular Imperative Plural Translation (Same for both)
Infinitive Translation
Part 2: Vocab Check
Directions: Analyze your NEW verbs by identifying all four principal parts, the conjugation, the
PRESENT STEM, and the meaning of each given verb/1st Principal Part. Remember that the stem comes
for 1st, 2nd, & 4th Conjugations comes from chopping off the -re from the 2nd P.P. The stem for the 3rd
Conjugation comes from chopping off the -ere. To find the conjugation, look at the ending of the 2nd
Principle Part.
1st Conjugation (-āre) | 2nd Conjugation (-ēre) | 3rd Conjugation (-ere) | 4th Conjugation (-īre)
1st P.P. 2nd P.P. 3rd P.P. 4th P.P. Conjugation STEM Meaning
audiō audīre audīvī audītum 4th audī To hear
capiō
dīcō
faciō
fugiō
veniō
inveniō
vīvō
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Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Part 3: Imperfect
Directions: Conjugate then translate the 3rd Conjugation -io verb fugiō, fugere, fūgī, fugitūrum (to flee)
int the IMPERFECT tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).
Person Singular Translation
1st
2nd
3rd
Person Plural Translation
1st
2nd
3rd
Imperative Singular Imperative Plural Translation (Same for both)
Infinitive Translation
Part 3: Vocab Check
Directions: Use your Vocab Sheets for Chapter 10 and Chapter 9.
beātus ____________________ quoniam ____________________
cum ____________________ amīcitia ____________________
cupiditās ____________________ locus ____________________
morbus ____________________ studium ____________________
hic, haec, hoc ____________________ ille, illa, illud ____________________
iste, ista, istud ____________________ alius ____________________
alter ____________________ neuter ____________________
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Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
Part 4: Future
Directions: Conjugate then translate the 3rd Conjugation verb faciō, facere, fēcī, factum (to accomplish) in
the FUTURE tense. Remember that infinitives are the same as the 2nd P.P. (translated as to verb).
Person Singular Translation
1st
2nd
3rd
Person Plural Translation
1st
2nd
3rd
Imperative Singular** Imperative Plural Translation (Same for both)
Infinitive Translation
**Imperative for faciō is IRREGULAR, refer to the Special Note of the Grammar Companion
Part 4: Vocab Check
Directions: Use your Vocab Sheets for Chapter 10 and Chapter 9.
hora ____________________ natūra ____________________
veritas ____________________ timor ____________________
senectus ____________________ nūllus ____________________
sōlus ____________________ tōtus ____________________
ūllus ____________________ ūnus ____________________
uter ____________________ enim ____________________
in(+acc) ____________________ nimis ____________________
45
Nōmen______________________________ Classis (Circle) Lacina | Sharpe | Trauba | Browers
Veach
1L Latin Grammar Companion
Part 1: Grammar Notes
To complete the assignment for Part 1, all you need to do is copy down the notes.
We have a new chapter, bringing us new vocab, new grammar, and a new conjugation (verb family). The
rules for the 4th Conjugation are actually very simple and similar to the 3rd Conjugation which you’ve
already learned.
The biggest difference is that you smack an i after the stem. That’s it. Try to note which forms will have a
long ī, since that will distinguish it from the 3rd Conjugation -io verbs.
3rd Conjugation io:
All this refers to is a special type of verbs that belong to the 3rd Conjugation family (as identified by the ere
ending of the 2nd principal part). You will know that hey are special because the first principal part ends
in…wait for it... io. You will notice that the rest of the 3rd Conjugation forms are very similar to the 4th
Conjugation, where an i remains part of the stem. Simply note which forms have a long ī and which have a
short i.
Stems:
When conjugating with the 4th Conjugation or the 3rd io, you will still follow that pattern of stem + ending.
Your stem for the 3rd Conjugation io is found exactly the same as the third:
by chopping off the -ere from the 2nd Principal Part. Just remember that there will always be an i after the
stem.
Your stem for the 4th Conjugation is slightly different but it’s a return to the familiar rules of the 1st and 2nd:
chop off the -re from the 2nd Principal Part. After that, you will add the same endings from the 3rd
Conjugation. These endings are found on Charts S, T, & U. *Note that I’ve added the i/ī to remind you that it should always come after the stem, but in the case of the
4th Conjugation, you will not need to add the i a second time since the i is already part of the stem. (Ex. not
audiiunt but audiunt).
Imperative
3rd Conjugation io
Singular: stem + e
ex. capiō, capere → cap → cape
Plural: stem + ite
ex. capiō, capere → cap → capite
4th Conjugation
Singular: stem
ex. audiō, audīre → audī → audī
Plural: stem + te
ex. audiō, audīre → audī → audīte
*Special Note*
Remember that some words have irregular singular imperatives:
dūcō, ducere → dūc NOT dūce
dīcō, dīcere → dīc NOT dīce
faciō, facere → fāc NOT face
These irregulars need to be MEMORIZED
Part 2: Present Chart S Part 3: Imperfect Chart T Part 4: Future Chart U
46
Present Tense Endings (3rd-io/4th)
NONE/am, is, are
Person Singular Plural
1st
-iō -īmus
2nd
-īs -ītis
3rd
-it -iunt
Imperfect Tense Endings (3rd-io/4th)
WAS/WERE
Person Singular Plural
1st
-iēbam -iēbāmus
2nd
-iēbās -iēbātis
3rd
-iēbat -iēbant
Future Tense Endings (3rd-io/4th)
WILL
Person Singular Plural
1st
-iam -iēmus
2nd
-iēs -iētis
3rd
-iet -ient
Perfect Tense (All Conj.)
Magic Words: have, has, + Past Participle
(-ed)
Ex. I have verbed, HSI has verbed
Person Singular Plural
1st
-ī -imus
2nd
-istī -istis
3rd
-it -erunt
Pluperfect Tense (All Conj.)
Magic Words: had + Past Participle (-ed)
Ex. I had verbed, HSI had verbed
Person Singular Plural
1st
-eram -erāmus
2nd
-erās -erātis
3rd
-erat -erant
Future Perfect Tense (All Conj.)
Magic Words: will have + Past Participle
(-ed)
Ex. I will have verbed, HSI will have verbed
Person Singular Plural
1st
--erō -erimus
2nd
-eris -eritis
3rd
-erit -erint
1st Person Singular Pronoun Chart:
Case Singular Translation
Nom ego
I
Gen meī
of me
Dat mihi
to me
Acc mē
me
Abl mē
by-with-
from me
1st Person Plural Pronoun Chart:
Case Plural Translation
Nom nōs
We
Gen nostrum/
nostrī
of us,our
Dat nōbīs
to us
Acc nōs
us
Abl nōbīs
by-with-
from us
S
T
U
V
W
X
Y
Z
47
1. aliī...aliī some...others
2. alius, alia, aliud other, another
3. alter, altera, alterum the other (of two), second
4. enim for, in fact, truly
5. hic, haec, hoc this; these
6. ille, illa, illud that; those
7. in (+acc) into, toward; against
8. iste, ista, istud that (of yourse)
9. locus, locī, m place
10. morbus, morbī, m disease, sickness
11. neuter, neutra, neutrum not either, neither
12. nimis or nimium (adverb) too, too much, excessively
13. nūllus, -a, -um not any, no, none
14. studium, studiī, n eagerness, zeal, pursuit, study
15. tōtus, -a, -um whole, entire
16. ūllus, ūlla, ūllum any
17. ūnus, -a, -um one, single, alone
18. uter, utra, utrum either, which
Wheelock's Latin Chapter 9Study online at quizlet.com/_63f9tn
48
1. amīcitia, amīcitiae, f. friendship
2. audiō, audīre, audīvī, audītum hear, listen to
3. beātus, beāta, beātum happy, fortunate, blessed
4. capiō, capere, cēpī, captum to take, capture, seize, get
5. cum (+abl) with
6. cupiditās, -tātis, f. desire, longing, passion; cupidity, avarice
7. dīcō, dīcere, dīxī, dictum to say, tell, speak; name, call
8. faciō, facere, fēcī, factum to make, do, accomplish
9. fugiō, fugere, fūgī, fugitūrum to flee, hurry away; escape; go into exile; avoid, shun
10. hōra, hōrae, f. hour, time
11. inveniō, invenīre, invēnī, inventus to come upon, find
12. nātūra, nātūrae, f. nature
13. quoniam since, inasmuch as
14. senectūs, senectūtis, f. old age
15. timor, timōris, m fear
16. veniō, venīre, vēnī, ventum to come
17. vēritās, vēritātis, f truth
18. via, viae, f. way, road, street
19. vīvō, vīvere, vīxī, vīctum to live
20. voluptās, voluptātis, f. pleasure
Wheelock's Latin Chapter 10Study online at quizlet.com/_63f85z
49
1L SPANISH
MAY 11 – MAY 15
• DAY 1: Preterite concept review questions 1-3
• DAY 2: The verb comprar in the preterite tense
• DAY 3: Vocabulary matching
• DAY 4: Read notes on -CAR -GAR -ZAR verbs in the preterite
Complete activities A & B
• DAY 5: Review vocabulary with flashcards, notes or online with
Quizlet: https://quizlet.com/join/ZFmTs8Npr
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KEEP FOR REFERENCE
The tune goes with “3 Blind Mice” as follows:
é, aste, ó,
amos, asteis, aron
í, iste, ió,
imos, isteis, ieron
are the forms of the preterit
the first ones with ar is where they fit
with er & ir’s the second set
jugué, jugaste, jugó,
jugamos jugasteis, jugaron
comí, comiste, comió,
comimos, comisteis, comieron…
English Verses:
3 blind mice
3 blind mice
See how they run
See how they run
They all ran after the farmer’s wife
She cut off their tails with a carving knife
Did you ever see such a sight in your life?
3 blind mice
3 blind mice
See how they run
See how they run…
52
NAME ________________________ CLASS ____________
DAY 1 SEÑORA PEYERL
Answer the following questions in English.
1. What does it mean when a verb is in the preterite tense in Spanish?
______________________________________________________________________________
2. One of the subject pronouns has the same conjugation in the present tense and the preterite tense.
Which subject pronoun is it?
_______________________________________________________________________________
3. Which 2 conjugations need to have accent marks on them in the preterite tense?
________________________________________________________________________________
Subject Pronouns:
Yo I Nosotros/as We
Tú You Vosotros/as Y’all
Él He
Ella She
Usted You
Ellos They
Ellas They
Ustedes You guys
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NAME ________________________ CLASS _______________
DAY 2 SEÑORA PEYERL
Comprar – to buy **Conjugate the verb in the preterite (past) tense
Yo _________________
Nosotros/as ___________________
Tú _________________
Vosotros/as ___________________
Él Ella __________________ Usted
Ellos Ellas ___________________ Ustedes
Translate the sentences into ENGLISH. 1. Yo compré un anillo para mi hermana.
________________________________________________________________________
2. Mi mamá compró zapatos en la zapatería. ________________________________________________________________________
3. Ellos compraron los libros en la librería. ________________________________________________________________________
Challenge/Bonus: Write 3 sentences of your own using the chapter vocabulary and the verb comprar in the preterite.
1. ________________________________________________________________________
2. ________________________________________________________________________
3. ________________________________________________________________________
55
NAME ________________________ CLASS ________________
DAY 3 SEÑORA PEYERL
Match the definition If you do not remember these vocabulary words, make flashcards for yourself.
1. ______ el bolso a. ring
2. ______ anoche b. jewelry store
3. ______ la cadena c. gloves
4. ______ la librería d. last night
5. ______ el anillo e. last week
6. ______ el perfume f. watch
7. ______ la semana pasada g. bookstore
8. ______ la joyería h. perfume
9. ______ el reloj j. chain
10. ______ los guantes k. bag
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Name: ___________________________________
1L History Roman Architecture
Directions: Read through this worksheet. You must also watch the Roman Architecture video on the www.parnassusteachers.com webpage. Fill in the blanks for questions 1-6 after watching the lesson video. Ancient Roman architecture has endured for about 2,000 years because the Romans perfected the use of three architectural elements: the arch, the vault, and concrete. Each of these three important elements helped to lighten the load carried by Roman structures while maintaining both structural strength and stability. The Arch The arch consists of two supports, called piers, each topped by a platform called an impost. Angled blocks of brick or stone, called voussoirs [voo-swars’], are placed on the imposts in an arched, curved pattern that is capped by the central block of the arch called the keystone. A row of arches is called an arcade. Arches allowed the Romans to create wider, taller, and lighter structures. They also learned that they if they built arches entirely inside the walls of their buildings that this would make the walls even stronger. The Vault Vaults are extended arches and the Romans used them to create large open rooms and high, covered passageways. Concrete Concrete was probably the greatest Roman contribution to architecture. Roman concrete was made with a special
Roman mortar or cement that gave Roman cement its special strength. Roman concrete was created by first building a form and then pouring in alternating layers of the Roman cement and layers of rocks, bricks, or gravels. As each layer of rocks, bricks, or gravels was poured in and spread around, Roman workers would then pound the layers firmly together with a tool called a tamp. Roman cement was special not only because it was strong but because it was also hydraulic—it would set up and harden even under water, which made it handy for building things like Roman sewers, cisterns, baths, and even harbor. Colosseum ca. 72-80 CE, concrete, stone & brick, approx. 187’ high x 617’ wide at the longest point, Rome, Italy Perhaps the greatest work of architectural engineering left to us by the ancient Romans is the Colosseum. It is one of the most famous buildings in the world. Originally, it was called the Flavian Amphitheater, after the family name of the emperors who built it, Vespasian, Titus, and Domitian. The Colosseum served as a stage for popular Roman entertainments such as gladiator and animal fights, public executions, and even naval battles. This type of building is a Roman invention. They expanded the semi-circular Greek theater into an amphitheater [“amphi” means “double” or “two”] by placing two theatres facing each other to enclose an oval space called the arena. The Roman Colosseum is the largest amphitheater and most major cities throughout the Roman Empire also had their own amphitheaters. The Pantheon 118-128 CE, stone, marble concrete and Bronze, Rome, Italy The Pantheon is considered the crowning achievement of Roman architecture and it is the best-preserved building dating from ancient Roman times. Famous for its round design and dome, the whole building is based on the circle, except for the rectangular porch in front. The Pantheon is the first temple to combine concrete construction (a Roman innovation) with Greek decorative elements. The Pantheon (from Greek, meaning “of all the gods”) was originally built as a temple to all Roman gods, some of which were used to name the five planets that were known at the time: Jupiter, Mars, Mercury, Saturn and Venus.
73
In 608 CE, the Pantheon was converted to a Christian church and it became the burial place of kings, queens and many great men of Italy. This conversion to a church is one of the reasons that the building has survived intact for almost two thousand years. The interior of the Pantheon survives in its original form, making it unique among monuments of antiquity. The hemispherical dome represents the dome of heaven or the vault of the universe. At one time it was gilded so the spectator looked up to see shining gold as well as the natural light streaming down from the opening in the dome’s center. This round opening to the sky, called an oculus, is the only natural light source for the interior. http://pal.loswego.k12.or.us/art_lit/Rome-VolunteerPresentation-Notes.pdf
PowerPoint Viewing Guide 1. Roman architecture has endured for about 2,000 years due to the use of three architectural elements:
the ________________________, ______________________, and __________________________.
2. _________________________________ allowed the Romans to create wider, taller, and lighter structures.
3. Romans used ____________________________ to create large open rooms and high, covered passageways.
4. _______________________________ was probably greatest Roman contribution to architecture.
5. The _____________________________ served as a stage for popular Roman entertainments, such as gladiator and
animal fights, public executions, and even naval battles.
6. The crowning achievement of Roman architecture and best-preserved building dating from ancient Rome is the
______________________________________ .
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Scholar Name: ___________________________
SOL Music Lesson
“Music as Conversation”
Week of May 11, 2020
This week’s music lesson continues our exploration of the connections of
music and language. It looks at how composers such as Haydn, Mozart, and
Beethoven used conversation as a model for the ways in which instruments
interact, almost as if they are talking to each other. The lesson includes several
examples that use musical notation – contact one of us (Dr. Dean, Magistra
Neimeyer, or Magister Sood) if you have any questions about how to read it.
Please let us know if there are any issues opening the listening links that are
also a part of the lesson.
The “For Further Exploration” section has more “conversational” vocal and
instrumental music by Mozart, with additional listening links.
Important: put your name on this page and the answer sheet. Return your
completed answer sheet. The remaining music lesson pages are for you to
keep.
79
Scholar name: ______________________________________
Please answer the following questions based on the “Music as Conversation” reading.
When did the Classical era in music history start and end? _______________________
What three major Classical-era composers are represented in this lesson?
_______________________ _______________________ _______________________
Name at least three features of Classical-era music.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
How did Classical-era composers create a sense of instruments having a conversation?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
80
Music Lesson No. 5:
Music as Conversation
The Classical era (1750-1828) of music history is known for music that is elegant,
entertaining, and emotionally restrained. Composers of the time tried to incorporate
order and symmetry into their music, creating a kind of architecture in sound. In keeping
with the ideas of Enlightenment philosophy, they also thought of music as a kind of
conversation among equals. These musical conversations are found in the works of
Classical era composers such as Haydn, Mozart, and Beethoven.
One way that these composers suggest conversation is through commentary. When an
instrument states a melody, another instrument will play a contrasting passage that
“comments” on that statement. In Mozart’s “Hunting” Quartet, the middle two
instruments play the melody (at 1’22’ in the video), then the higher-pitched violin
comments (at 1’25’’). Listen a little further to see if it happens again. https://www.youtube.com/watch?v=FIUPPOToij4
They also use imitation, where the same snippet of melody is passed from one
instrument to another. Imitation implies that everyone is in harmonious agreement.
Impassioned argumentation, common in earlier music where rhetorical persuasion was
the model, is rare in Classical-era music. In the Mozart quartet, each instrument waits its
turn as the melody (marked with a *) is passed from lowest to highest instrument. This
passage is at 2’10” in the same video:
*
Violin 1 Violin 2 *
Viola *
Cello *
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Another conversational technique in Classical era music is symmetrical question-and-
answer phrasing. The melody begins with a question, then an answer of the same
length completes the melody, creating a symmetrical structure. This is symmetry that
we can both see and hear, as in Haydn’s “Surprise” Symphony, below. The question (Q)
and its answer (A) are each four measures long, in a soft (piano) volume. These eight
measures are then repeated (the second line in the music below), but Haydn changes
the “punctuation” of the answer to a loud fortissimo (ff) exclamation point – surprise!
Listen here: https://www.youtube.com/watch?v=lLjwkamp3lI
Q (four measures) A (next four measures)
In Classical-era music the melody is often in the highest, most prominent part, with
harmonic support from lower-pitched instruments. Beethoven reverses these traditional
roles by starting his String Quartet, Opus 59, No. 1, with the melody in the lowest part
and the higher instruments in the background (at 1’10” in the video). Then the
instruments trade roles, with the melody in the violin (at 1’22”). Beethoven also takes
question-and-answer to a new level by splitting the four instruments into two duets,
where the viola and cello answer the two violins to create a musical dialogue (at 1’52”).
The cello comments on the violin melody (at 3’54”). Also listen for imitation of the first
four notes of the opening melody. The dialogues and musical commentaries continue
throughout this piece, creating a richly-layered conversation where you can really hear
the personality of each instrument. https://www.youtube.com/watch?v=oXLKu-HglnM&t=259s
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For Further Exploration
Mozart “Starling” Variations. From a concerto for piano and orchestra, this piece has all
the hallmarks of musical conversation. Listen for symmetrical question-and-answer
phrases, dialogues between string and wind instruments and among individual wind
instruments, role-trading between the orchestra and the solo piano, piano commentary,
and more! https://www.youtube.com/watch?v=AsdfPVM0stI&t=92s
Vocal Quartet from Mozart’s Don Giovanni. Here the conversation includes the words!
This scene from one of Mozart’s Italian-language operas involves four characters: Don
Giovanni, Donna Anna, Don Ottavio, and Donna Elvira. Anna thinks Giovanni might have
killed Anna’s father, and her fiancé Ottavio is helping her get to the truth. Elvira is trying
to warn them about Giovanni’s true nature, while Giovanni hopes to convince them that
Elvira is crazy. By the end of the quartet Anna’s suspicion is confirmed. As you listen,
notice how the music dramatizes the complicated personal dynamics among the
characters. Elvira starts the quartet after a spoken passage between Giovanni, Anna,
and Ottavio, at 1’20 in the video. https://www.youtube.com/watch?v=c6oQy22dcQc
Donna Elvira (to Don Giovanni): Ah, I've found you again, faithless monster!
Donna Elvira (to Donna Anna): Do not believe, unhappy one,
in that faithless heart!
The villain has already betrayed me!
Now he seeks to betray you.
Donna Anna, Don Ottavio: Heavens, what noble bearing,
what sweet majesty!
Her pallor, her tears
fill me with pity!
Don Giovanni: The poor girl is mad, my friends,
leave me alone with her,
she's mad, my friends.
83
1.
2.
3.
4.
5.
6.
7.
8.
Chin line: Marks where the bo�om of your chin should end.
Shoulder line: Shows where the topof shoulders circles need to be
Center chest line: Points out the centerof the pectoral, or chest.
Belly bu�on/Elbow line: Indicates where you need to place elbow joint circles for both arms. Aso where the belly bu�on ofyour person should be.
Hip joint line: Shows where hip joint circles need to be placed. also acts as the top of the hand shape.
Finger �p line: Simply tells us how far our longest finger �p should go.
Bo�om kneecap line: Tells us where we need to place the bo�om of our knee joint
Bo�om of calf muscle: This line marks the center of the leg bone and serves morepurpose when adding muscles.
Soles of feet = Ground: This line marks the ground/ soles/ bo�om of the feet .
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line: When you daw in your head the top of it should start there.
Step1 : Last week you created a propor�onal “s�ck skeleton” that was 8 heads tall.This week you will transform that s�ck skeleton into a well propor�oned person. Begin by drawing that “s�ck skeleton”lightly on your work page.
85
1.
2.
3.
4.
5.
6.
7.
8.
Chin line: Marks where the bo�om of your chin should end.
Shoulder line: Shows where the topof shoulders circles need to be
Center chest line: Points out the centerof the pectoral, or chest.
Belly bu�on/Elbow line: Indicates where you need to place elbow joint circles for both arms. Aso where the belly bu�on ofyour person should be.
Hip joint line: Shows where hip joint circles need to be placed. also acts as the top of the hand shape.
Finger �p line: Simply tells us how far our longest finger �p should go.
Bo�om kneecap line: Tells us where we need to place the bo�om of our knee joint
Bo�om of calf muscle: This line marks the center of the leg bone and serves morepurpose when adding muscles.
Soles of feet = Ground: This line marks the ground/ soles/ bo�om of the feet .
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line: When you daw in your head the top of it should start there.
Step 2 : Now that you have your lightly drawn s�ck skeleton you can start to add thickness or muscle to the body. Start this by drawing thin oval shapes from the circle joints of each shoulder. Draw the same oval shape from the shoulder joint circle to the elbow joint circle. Con�nue this �ll you have outlined you skeleton like I have done Below. Dont forget we are s�ll drawing lightly in this step, these shapes will serve as a guide as we con�nue our drawing. ( NOTE: If you have internet check the schools web site in the distance lerning sec�on under art for a video reference.)
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1.
2.
3.
4.
5.
6.
7.
8.
Chin line: Marks where the bo�om of your chin should end.
Shoulder line: Shows where the topof shoulders circles need to be
Center chest line: Points out the centerof the pectoral, or chest.
Belly bu�on/Elbow line: Indicates where you need to place elbow joint circles for both arms. Aso where the belly bu�on ofyour person should be.
Hip joint line: Shows where hip joint circles need to be placed. also acts as the top of the hand shape.
Finger �p line: Simply tells us how far our longest finger �p should go.
Bo�om kneecap line: Tells us where we need to place the bo�om of our knee joint
Bo�om of calf muscle: This line marks the center of the leg bone and serves morepurpose when adding muscles.
Soles of feet = Ground: This line marks the ground/ soles/ bo�om of the feet .
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line: When you daw in your head the top of it should start there.
Step 3: Once you have your muscles drawn, it is �me to start to erase the s�ck skeleton.Erasing the “s�ck skeleton” should leave you with the shape of a person as shown below.At this point you have a blank person that is ready to be detailed .
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1.
2.
3.
4.
5.
6.
7.
8.
Chin line: Marks where the bo�om of your chin should end.
Shoulder line: Shows where the topof shoulders circles need to be
Center chest line: Points out the centerof the pectoral, or chest.
Belly bu�on/Elbow line: Indicates where you need to place elbow joint circles for both arms. Aso where the belly bu�on ofyour person should be.
Hip joint line: Shows where hip joint circles need to be placed. also acts as the top of the hand shape.
Finger �p line: Simply tells us how far our longest finger �p should go.
Bo�om kneecap line: Tells us where we need to place the bo�om of our knee joint
Bo�om of calf muscle: This line marks the center of the leg bone and serves morepurpose when adding muscles.
Soles of feet = Ground: This line marks the ground/ soles/ bo�om of the feet .
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line: When you daw in your head the top of it should start there.
Step 4: In this step you will draw in your persons face using a face map method and then adding details. This is your chance to turn this person into whoever you want. Some exapmples are: Spartan Warrior, Viking, Greek/RomanGod, Queen/Princess, anyone from history, or even yourself. So get crea�ve! Once you are done adding the defining details to you character start to erase any muscle lines that do not need to be seen anymore.
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1.
2.
3.
4.
5.
6.
7.
8.
Finished: Once you have removed all the ununnecessary lines, your drawing should be close to done. If you have access to colors you can customize it even further. Congratula�ons, you have drawn a propor�onal person!
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1.
2.
3.
4.
5.
6.
7.
8.
Chin line
Shoulder line
Center chest line
Belly bu�on/Elbow line
Hip joint line
Finger �p line
Bo�om kneecap line
Bo�om of calf muscle
Soles of feet = Ground
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line
1L Work page: Draw your person here.
Name
Hour
Red or Blue day
90
1.
2.
3.
4.
5.
6.
7.
8.
Chin line
Shoulder line
Center chest line
Belly bu�on/Elbow line
Hip joint line
Finger �p line
Bo�om kneecap line
Bo�om of calf muscle
Soles of feet = Ground
1.
2.
3.
4.
5.
6.
7.
8.
2.5.
9.
Top of Head line
1L Work page: Draw your person here.
Name
Hour
Red or Blue day
91
Name: _______________________________ Teacher (Circle): MANGOLD or BECK
Circle: Red or Blue Hour:____________
Monday Tuesday Wednesday Thursday Friday
1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself!
1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself..
1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself.
1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself.
1. Stretch/Warm up for 5 minutes using our daily stretching routine. Include push-ups, sit-ups, planks to challenge yourself.
2. Do 15 minutes of continuous exercise. Choose from the list below.
2. Do 15 minutes of continuous exercise. Choose from the list below.
2. Do 15 minutes of continuous exercise. Choose from the list below.
2. Do 15 minutes of continuous exercise. Choose from the list below.
2. Do 15 minutes of continuous exercise. Choose from the list below.
3. Have a parent initial here after you complete yourworkout.___________
3. Have a parent initial here after you complete yourworkout.___________
3. Have a parent initial here after you complete yourworkout.___________
3. Have a parent initial here after you complete yourworkout.___________
3. Have a parent initial here after you complete yourworkout.___________
SOL Gym Class Guide – Week of May 11th – May 15th
Do 20 minutes of continuous exercise 3 times a week, or every day if you want. Exercise will help you
manage stress and is a great way to take a break.
All 1L, 2L, 3L and 4L Students:
Complete #1-2 THREE times a week and have your parents initial box #3 when you finish each workout.
We want you to get moving! Here are some ideas for continuous exercise: go for a run, jump, juggle, lift
weights, dance, do household chores like vacuuming, jump rope, bounce a ball, walk where you’re
allowed, create a minute-2-win it challenge, invent a game, throw a ball, play catch, climb, etc. You can
also make up a game of your own!
Take care of yourselves! -Magister Mangold and Magister Beck
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