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: [email protected] 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
3
Le
arn
ing
Cycle
3
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
ng C
ycle
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
2
Learning Cycle 1
4
Le
arn
ing
Cycle
3Your Homework Booklet
Belong Believe Be Proud
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
3
Learning Cycle 1
5
Le
arn
ing
Cycle
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 / / / /
5
Le
arn
ing
Cycle
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 / / / /
4
Learning Cycle 1
6
Le
arn
ing
Cycle
3
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
5
Learning Cycle 1
7
Le
arn
ing
Cycle
3
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
6
Learning Cycle 1
8
Le
arn
ing
Cycle
3
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
9
Le
arn
ing
Cycle
3
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
9
Le
arn
ing
Cycle
3
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
8
Learning Cycle 1
1010
Le
arn
ing
Cycle
3
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
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).
Top Related