A lesson plan signifies that a teacher is always prepared for her job and is always ready to cater different students. It also serves as evidence that a teacher has rendered a considerable amount of effort in the job. They are important because it gives the teacher a definite idea of which part of the lesson needs more focus and emphasis, which lessons need more clarity, and which needs to be amended if possible.
They can go back and refer to it if they have to. A lesson plan is important and vital because it shows how prepared the teacher is. It features the goals that need to be achieved for the betterment of the students. Planning lessons are also important because it allows the teachers to evaluate themselves with regard to how much knowledge she know about the subject matter Tips to Creating Effective Lesson Plans Again, the main goal here is to learn tips that will allow the teacher to manage her lessons effectively.
These tips will help you and other teachers out there create a reliable weekly lesson plan. Here are brilliant tips that you can apply: First thing to do is take consideration of the students for you to be able to determine your teaching context. Always be prepared and prepare more than what you need.
There must be extra seatwork and activities being prepared in case you ran out and if ever there is still enough time. Keep track of your time in planning the lessons. Having enough time preparation contributes to the smooth flow of your lessons. There must be variety of things to incorporate in your lesson plans, like teaching styles and teaching materials.
Lessons should end on a positive note. Rules like: Looking for a learning plan template format you prefer. Objectives should be labeled in different aspects, such as cognitive, psychomotor, and affective. Activity 1: Web Map Instruction: 4. Research on historical background about the music of Mindoro, Palawan and Visayas 5. Then prepare for class presentation. How do you feel after hearing the Mindoro music?
Evaluation: Vocal Singing with improvised instruments as accompaniment Rubric title: Rubric for vocal singing. Objective: Sing the song following the given criteria below. Vocal Sung the song Sung the song with Sung the song with Quality with exemplary good vocals, some very poor vocals, no vocals, proper inconsistency in technique in breathing, breathing, and breathing, and with and with erroneous with perfect only few error in pitch.
Improvised Able to use Able to use Able to use improvised Instruments improvised improvised instruments rarely instrument instrument most of during the the time during the whole performance. Research on the history of printmaking in the Philippines during pre-Hispanic times, the Spanish occupation and up to the present. Make a creative presentation with a group on the history of printmaking in the Philippines, including samples of the different prints from the different historical periods or a presentation on the different kinds of printmaking techniques.
Analyze the various designs and motifs created by other artists for various products: wall hanging, textile design, for borders of walls, plates, mugs, and book covers. Name the kinds of designs seen in the display or pictures, using art Vocabulary. Create a rubbing using various objects found in the room and the Environment following a particular pattern.
Realize that nature is a rich source of design as can be seen from different shapes of leaves 8. Create several motifs for a design using prints of different leaves, and apply it for a book cover or textile design.
Appreciate the variety of leaf designs and the uniqueness of each print created by other students and be able to select unusual designs. Topic: Print- Making in the Phil. Activity 2: Coin Rubbing Materials: Any coin, pencil colors, crayons, oslo paper with margins Instruction: 1.
Rub the coin using crayons or pencil colors. Add designs that will suit to the design of the coin. Activity 3: Leaf Printing Materials: Any leaf dry , pencil colors, crayons, oslo paper with margins Instruction: 1. Rub the leaf using crayons or pencil colors. Add designs that will suit to the design of the leaf. Cover the lights colors with black or dark. Sketch you design by etching the dark colors and let the light colors come out.
Find the meaning of the listed words using dictionary. Put the word and its definition in the coupon bond.
Use web mapping in presenting your activity Printmaking Relief print linoleum intaglio lithography Ground Woodcut engraving etching aquatint Dry point silk screen craftsman Evaluation: Portfolio making Rubric title: Rubric for portfolio making Target Intelligence: Visual-Spatial Performance Task: The students will be grouped. Illustrate impressive Illustrate just Content is not seen.
Practice the skills learned in this course with few observable errors in technique. Execute with confidence the fundamental skills of Arnis. Understand the rules, conventions and terminology in Arnis by using them during the execution of skills. Perform the warm-up, stretching and cool-down exercises properly and on my own.
Determine my fitness levels and identify areas for improvement. Be open to criticism when a peer is evaluating my performance, and at the same time, is critical and fair when evaluating others. Be honest and fair at all times. Topic: Arnis Activity 2: Warm-up exercise Instruction: The class will perform the following warm-up exercises together.
Jog in place for 1 minute 7. Side shuffle 32 cts 8. Carioca 32 cts 9. Butt kicks 32 cts High knees 32 cts Activity 3: Dynamic Stretching Instruction: The class will perform the following dynamic stretching together. Knee hug to calf raise 6. Single leg deadlift 7. Lunge and twist 8. Toe touch Activity 4: Fundamental skills Instruction: The class will perform the following fundamental skills. Proper grip 2.
Basic stance and salutation 3. Forward stance 4. Finger stretch 8. Overhead 9. Chest stretch Triceps Cross elbow Zipper shoulder stretch Activity 6: Striking Techniques Instruction: The class will perform the striking techniques. Left side of the head attack 2. Right side of the head attach 3. Left side of the body trunk attack 4. Right side of the body trunk attack 5.
Thrust to the solar plexus stomach attack 6. Left chest stub 7. Right chest stub 8. Right lower leg Left eye poke Right eye poke Crown attack Activity 7: Blocking Techniques Instruction: The class will perform the blocking techniques.
Inward 2. Outward 3. Rising 4. Downward inward 5. Downward outward Evaluation: Final Performance of the following skills Skills Repetition Warm-up 32 counts each Dynamic stretching 32 counts each Striking techniques 1 round Blocking techniques 1 round Warm-up static stretching 32 counts each Rubric title: Rubric for Warm-up, Arnis basic techniques and cool down exercises Target Intelligence: Kinaesthetic Performance Task: Each student will perform the listed skills above.
Objective: Show the proper execution of the basic skills in Arnis. Mastery Able to perform all Perform only some of Unable to perform majority the listed skills. Follow the appropriate nutritional guidelines for healthy eating. Explain the need to select food based on the nutritional needs of adolescents.
Follow the Food Guide Pyramid for adolescents in choosing food to eat 4. Discuss the importance of following the nutritional guidelines appropriate for Filipino adolescents 5. Discuss the nutritional problems among adolescents. Analyze the current nutritional status of Filipino adolescents. Describe the signs and symptoms, prevention, and control of malnutrition underweight and overweight and micro-nutrient deficiencies.
Explain the characteristics, signs and symptoms, prevention and control of eating disorders anorexia nervosa, bulimia nervosa, compulsive eating disorders. This activity allows students to evaluate the foods they eat and decide on what to do after becoming aware of their food choices.
It also teaches them to develop self monitoring, self- awareness, and decision-making skills. Call on students to share their answer to the questions. Where do eat your meals? The vowels are therefore described as first, second and third place vowels. With strokes that can be written in either direction, the vowel placement will vary, and care should be taken when the stroke stands alone, both in writing and in transcription.
Place outside of circle S, Sway, Stee and Ster loop: bees beast swan star stock stopper poster blister 3. SES circle is deemed to include the vowel in "pen"; if it is a different vowel, write it inside the circle: success masses bases plural of base , basis, bases pronounced baseez, plural of basis emphasise emphasis exercise Dash vowel inside the circle — Books vary in showing at what angle it is written: census Colossus exhaust 4. Shun hook — vocalise the stroke just as you would if the shun hook were not there, with the following exceptions: a Third place dots written inside the shun hook: fashion fission vision revision mission permission lesion In most cases the dot inside the hook is the vowel immediately before the Shun, but sometimes it is the vowel before that: remission television compare initiation b Third place dashes, diphones and diphthongs are written outside the shun hook when the hook is final because they need more room and inside when the hook is medial to avoid the sign being read as belonging to the next stroke.
A third place vowel before the stroke should be placed a little way inwards from the hook. The following illustrates two vowels on the hook side of stroke: apposition opposition imposition 5. When Ell is written downwards, the vowels follow suit: like alike 6.
After a halved stroke, the vowel should be written against the second stroke, as it is sounded after the T or D: cottage pottage bandage octopus potato written 8. All dots and dashes should be just far enough away to be distinguishable as separate marks, so that they do not interfere with the recognition of the strokes themselves. This is because a third place vowel written after the first stroke could end up in an angle between strokes and therefore be ambiguous — you would not know whether it was a third place vowel after the first stroke, or a first place vowel against the next stroke: peel pull big beet book tick took deep jig cheap fig food video meal nil pip peep bib beep cook gig If the two strokes are separated by a circle S or S-plus-hook, then the vowel must remain with the first stroke, it cannot "jump" over the S, because it is sounded before.
The presence of the S or S-plus-hook enables the vowel to be written in its correct third place with less ambiguity: Dick disk, leap lisp, creep crisp, ping pinning A compound word is one that is made up of two other words. In the outline for a compound word, the vowel often remains where it would be if the words were written separately, thus aiding legibility: headache book-end steam-engine Compound words are treated as one outline as regards to position unlike phrases where the first word is written in position and the others tag along.
Therefore the first up or down stroke might reside in the second of the two words, such as "steam-engine" above. The above does not apply to derivative words, where there is one word and one affix; these have the vowels placed normally according to the basic rules: unable inorganic inactive fewness steamer B coming between an initial hook and the stroke e. Although the R and L hooks are primarily used to represent the two consonants together, sometimes the hooked form is used even though a vowel is present, in order to avoid an awkward outline or obtain a better outline for very common words.
Most of such intervening vowels are only lightly or indistinctly sounded. If the vowel is "-er" as in "permit" it is not shown. It is however taken to be a second place light dot vowel and is in fact shown as such in other outlines that are not using a hook and so the outline takes second position, where this is the first vowel. Where a second place dash vowel is written through the stroke, the following vowel has to be written against the next stroke, as in "courage" and "occurrence" below: tolerable correspondence church George shovelful fulfil courage occurrence A diphone or diphthong may also be written through, or at the end of, a hooked stroke: healthier junior direct 2 pronunciations temperature mixture capture captures capturing The above use of R or L hook plus intervening vowel is not generally used for words of one syllable: pale pair tall tore jeer mare Some short words use the intervening vowel to gain a brief outline, where clashes are unlikely: nurse dark gnarl barm course Turk NOTE: The prefixes "self-" and "self-con-" also use a circle in this case representing the S sound , and the outline is always in second position to match the vowel in "self".
It might therefore look identical to a 2nd position intervening vowel, but the rules state that the short E vowel between stroke and hook is not shown whether accented or not , although all other vowels may be shown. Therefore no clash occurs. Position writing combined with the various choices of abbreviating methods combine to make it clear which word is signified, without guesswork, when the vowels are eventually omitted. Unlike omitting vowels, position writing is not optional and you should practise inserting vowels until you know their placement perfectly, for two reasons: you need to know what and where they go in order to write the outline in the correct position, and when you do need to insert them, you have to do it very rapidly.
Words beginning with the disjoined circle for "self-" or "selfcon-" are always written in second position, to accord with the vowel in the word "self". As the second and subsequent up or downstrokes in the outline simply follow on from the first one, their position with regard to the ruled line carries no meaning.
An outline that is written as part of a phrase may end up out of position and may need a vowel inserted to keep it readable. If the first up or downstroke is a doubled one, then the first half of it is placed in position: father curvature alter latter letter litter "Father" should be started at high up as possible, and the end of the stroke will probably run through the ruled line, unless your shorthand writing is very small.
With "latter" the end of the stroke may invade the ruled line above, but this is acceptable. You should not reduce the full double length in order to squeeze it within the ruled lines. You need the full length for clarity, so aim for longer rather than shorter. Inserting the vowel helps when there is only one stroke — the vowels are placed further apart on doubled strokes.
Only a full up or downstroke can be written through the line, so if the first up or downstroke is halved, or there are only horizontal strokes in the outline, third position is also ON the line, sharing it with second position. Although horizontal strokes and halved up or downstrokes have no third position, vowels still have a third place against the stroke.
Although the beginner will write fully vocalised outlines, this is a temporary state of affairs while the vowels are being learned. At some point your textbook will encourage you to omit writing all the but the most necessary vowels. This does seem a great hurdle to the learner but once this step is taken, any perceived difficulties soon melt away.
After a very short while this will become second nature, and you will recognise instantly when a vowel needs to be inserted. Omitting vowels is the very first step in writing at speed, which is why it is introduced at an early stage.
This transition resembles writing separate letters of the alphabet and then going on to "joined-up" writing — you write lightly, flowingly and speedily, rather than slow drawing and pressing into the paper. This is the point in your learning when you realise that shorthand can be written fast, and eagerness takes over from frustration.
The shorthand you read is generally what you have written yourself, therefore you are seeing it for the second time. Reading matter provided by others tends to have more vowels inserted. Unusual words and names of people and places, at least on their first occurrence in the dictation, as context does not give you help with those. Words in phrases that end up out of position may need the help of a vowel. One or both of pairs of Distinguishing Outlines. If you know you have written an outline badly or wrongly, you may only have time to insert a vowel or two, rather than rewrite the outline.
All the horizontal and downstrokes are paired, thick and thin, to match the related sounds of voiced and unvoiced. No thick stroke is ever written upwards, Thick and thin refers to the width of the line and not the lightness or darkness of the colour, although the thick lines may end up being darker in colour because it takes pressure to form them. The outlines here were written with blue ink in a shorthand pen with flexible nib, and therefore the thick strokes appear darker because of the pooling of the ink.
Pencil outlines may also show variation between grey and black. Black ink should produce much less variation in shade. Some older books refer to shading which should not be taken literally but is a description of the overall appearance of the marks. No basic stroke represents more than one sound. A stroke can have other consonants added to it by various means e.
A vertical dash vowel, e. The only time the pen writes upwards is while completing a circle or hook. Some dash vowels may sometimes have an upward slant when written to curves. There is no stroke or sign that is written straight upwards in its basic form; however, the halved Ess is written upwards in certain situations being a halved stroke and therefore similar to writing half of a Circle Ses, part of which would necessarily have to be written upwards : educationist expressionist impressionist OUTLINE This is the shorthand form for a word, before the unattached vowel signs are added.
Write the strokes one after the other, joining them end to end, without stopping at the angles, lifting the pen or going back to thicken or correct any part.
All the strokes must be completed before inserting any further dots, dashes, vowel signs or intersections. Each stroke must be written in its correct direction. A few strokes have alternative directions in which they may be written, in certain circumstances. Advanced writers often find other uses for proximity in their phrases, enabling them to leave out obvious words: I am confident, in control Packing your shorthand outlines tightly together along the line is not a good idea, as proximity is meaningful in certain circumstances.
The only time to do that is when you are running out of paper in an emergency or writing that time-honoured secret shorthand postcard that the postman cannot read! Alternative methods are used in the following combinations: a Three similar straight strokes in succession — break up the outline, use the hyphen sign if it helps: pop-up cake-cutter Where a halved or doubled straight stroke would not make an angle with other strokes in the outline: popped Babette judged cooked dotted fact factor liked bonnet A succession of all up- or downstrokes: 3 is maximum, 4 should be avoided to prevent the outline invading the line below or above, causing delays and interference.
One might get away with 4 downstrokes if it started above the line, but these start already through the line. I would suggest breaking the words up — this gives the advantage that you can place both parts in position to indicate the vowel.
This is also relevant for many words where it is not settled in usage whether it is one word, hyphenated or two words. You should write a reliable and convenient outline, and make a separate decision on how it should be transcribed.
An outline without its vowels is not considered incomplete. Dictionaries always show all the vowels. Dot "con-", dot "-ing" and dash "-ings" are considered part of the outline, in the same way as joined diphthongs, and, unlike the unattached vowel signs, they should never be left out, except when using proximity for "con-".
Adding or omitting unattached vowels is a choice that is left to the writer. You should always include those vowels that you think will help you read the shorthand. If you always write in all the vowels, your speed will be severely hampered, and you should endeavour to omit all but the essential ones. When dictation slows right down or there is a breathing space, it is tempting to go back and put in all the vowels. It is up to you how much to vocalise, and whether the extra time taken is working for or against you.
If you think you might have to read back, having extra vowels in will reduce the stress. Putting them in at every opportunity is not a helpful habit if you wish to attain good shorthand speed — the two are incompatible. However, it is a good exercise to undertake periodically, so that you revise and consolidate your knowledge of them. Position writing is dependent on knowing your vowels thoroughly and you should not leave them out because you do not know what they are or where they go.
You should make lists of such vocabularies in your line of work and decide where you need to consistently insert the vowels. Single outlines that have little or no context, such as headings or lists. Proper names i. Context does not help with proper names. Such outlines should also be as full as possible and not make use of short forms. Clashing or very similar pairs see Distinguishing Outlines page. If the outlines are the same, you can generally omit the vowel in the common one and always put the vowel in the less common one, thus reducing your overall writing.
Compile your own lists as you come across them, and let none escape, considering the damage or embarrassment they are capable of. In the heat of rapid dictation, you may have to create an outline in an instant. You know it is not the dictionary outline, but you must write something.
The vowels will help you read it back, but the offending outline should be looked up and drilled to prevent a recurrence — keep a notebook so that you can practise them. Each pen lift approximates to writing a stroke, so avoiding a pen lift by phrasing saves time. Phrasing is generally for sets of words that are frequently found together, or is used to mirror the way words are naturally grouped in normal speech: Dear-Sirs Thank-you for-your-letter that-we-have- re ceived yest erday ev en ing yours-si n cerely Tick "the" is always joined and therefore it always makes a mini-phrase.
Phrasing is an extremely useful tool, with endless possibilities for time saving and many of its own abbreviation methods. The ink line forming the phrase was called a "phraseogram" in the early days of shorthand, out of a desire to give every new concept its own terminology, allowing the systems to be described and taught with exactitude.
It is normal nowadays to just use the word "outline" to cover any shorthand ink line, and "phrase" covers either the outline or the set of words being represented by it.
They are also necessary to insure the system against the inevitable distortion of handwritten outlines versus the drawn perfection on the textbook pages.
The system is geared to having the best possible outlines for high-speed writing and reliability. Producing the minimum number of rules or the slimmest possible textbook is not a priority in New Era. Incorporate any abbreviating devices available and suitable. Insert the vowel signs.
If the resultant outline violates "facility, legibility, lineality" then decide on a better outline. Some outlines depart from the normal rules because of the extreme convenience and brevity gained.
The rules are really just a way of describing how the outline choices were made, thus helping the student understand what is going on. Understanding requires intelligence but no great effort and is infinitely better than memorising, which is inefficient, painful and discouraging. As long as the initial understanding is followed by lots of writing practice, memorising is totally unnecessary and redundant.
Seeing a page thick with rules can be very daunting, but if you learn the example outlines thoroughly, they themselves will speak volumes to you and in far less time and space than the lengthy chapter they were presented in. They enable you to spot a bad combination simply by instant mental comparison with known good outlines.
Every shorthand writer does this when correcting a dubious outline that has been dashed off. If you have an understanding of why the choices of outline were originally made, you will be better informed to make your own choices when you need to decide on the outline for a new word without recourse to a dictionary — either it is not in there, or you do not have access to the book.
Until the publishers see fit to reprint Pitman's Shorthand dictionaries and bring them up to date, being able to do this is becoming ever more important for shorthand writers. You do not need to know all the niceties of the theory when first learning, but the more you know, the better you will be able to write new words, either ones not in the dictionary or when no dictionary is available.
To aspiring high-speeders they are a never-ending toolbox for further creative abbreviation. Some textbooks advise knowing all the rules and applying them perfectly in order to write good and fast shorthand, but I disagree strongly with this.
When writing shorthand, your outlines will of course embody the rules, but you will never be thinking of the rules — either the outline jumps to mind or it doesn't, and you must move on in the next fraction of a second. If you need to make up an outline during dictation, you will still not be thinking of the rules, you will be basing your new outline on one you already know. Shorthand outlines are visual and further learning and consolidation should concentrate on that, writing and seeing them constantly on the page and associating the spoken sound with them.
Perusing the rules is for when you are sitting in your armchair at home, correcting faulty outlines by consulting the shorthand dictionary or textbook, and wondering why the outline looks like it does.
For the learner, the outlines are the food, your understanding of the rules are the knife, fork and spoon that shape the meal and help it go down. When you are out and about using what you have assimilated, the cutlery stays at home! There are no thick versions of circle or loops. They must be written in the correct circular motion i. They are read first and last in the outline, or that section of the outline, with the stroke and its various vowels, hooks, halving, etc coming in the middle.
If the word starts or ends with a vowel, strokes must be used instead. May be added to short forms and contractions. May form part of phrases. Ensure to close the circle or loop so that it does not look like a hook. Ensure to take the circles right round so they do not look like loops. When used medially, circles will not always be exactly circular, they will take on distortions, see adjustment and chisel below as examples of this. When this occurs, do not mistake them for loops — medial loops are always followed by a sharp change of direction, see masterpiece in table above, something circles never do.
The outline gives no indication of this, unless vocalised. In this respect the Circle S differs from the R and L hooks which generally represent a compound consonant e. PL and PR. Theoretically, circle is extra small and the hook remains its normal size; in practice the hook generally needs to be ever so slightly larger to avoid ink blobbing, and the circle can be flattened into a tiny loop it is not a Stee loop which are never used inside hooks.
Do not let your small hooks grow in size and get confused with the larger hooks Shun, and L Hook on curves. In many cases a medial hook can be shown as well, with the circle following the motion of the hook: bicycle express listener display miscreant unschooled inscrutable Small Shun Hook: Circle S, and Circle S following N hook, can both be followed by the small shun hook composition compensation decision condensation transition Top of page With R Hook and N Hook to straight strokes: On a straight stroke, the R or N Hook is closed up to make a circle.
Medial circles use the direction that is most convenient, so the direction cannot be reversed to indicate any hooks, unlike at the beginning and ends of strokes apart from the necessity to choose the direction for legibility, it would also not be clear whether the plain circle, if so used, meant an N Hook on the first stroke, or an R Hook on the second stroke : prosper destroy district excursion corkscrew If there is a vowel after the N sound, use stroke En so that it can be vocalised.
The presence of the stroke N lets you know there is a vowel, so vocalisation is normally unnecessary: bones bonus, tens tennis, chines Chinese, mines minus The combination S-CH-R is not found standing alone in any English word, therefore this outline is used for the stroke downward Hay.
Should such a combination appear in a new word or name, it would be have to be written with stroke Ar after the S-CH, or stroke Ess plus Cher if the word began with a vowel. However, this sequence of sounds can be written in the middle of a word, providing the S is shown inside the hook, thus avoiding clashing with the downward Hay: beseech beseecher Abraham Circle S can be added to final Stee and Ster loops and Circle SES: posts posters exercises Top of page Read first and last In case of difficulty, mentally remove the circle and then read the outline correctly, before mentally adding the S back in: pray spray, upper supper, play splay, apple supply, pint pints, dove doves, roof roofs fund funds, amount amounts, nine nines, inner sooner, ever sever Dot "con-" dot "-ing" and dash "-ings" are read first and last, if present: strict constrict, strain constrain, some consume, dance dancing, rinsing rinsings Top of page When not to use Use the stroke Ess or Zee when: a there is an initial vowel before the S, or a final vowel after it.
Top of page Why Circle S and Ses include the Z sound The S sound can change into the Z sound in plurals and genitives, but when it does, it is not changing the word into a different word. The longhand has solved the problem, in only using the letter Z and sometimes letter C, to show othe difference. The shorthand has partly solved this problem in a similar manner, with the aim of writing words briefly and reliably, rather than strictly phonetically.
Shorthand does not always preserve the basic outline when forming derivatives, but as plurals and genitives cover so many words, the advantages of allowing Circles S to do duty for both S and Z sounds outweigh the disadvantages.
Suggestion for advanced writers: if you have constant trouble in your line of work with certain pairs of outlines, you can choose to use stroke Zee finally for Z-words as long as you are aware this it is not an official outline but you may wish to indicate that there is no following vowel, by using a short vertical line parallel to the stroke, or some other mark of your choosing.
Such idiosyncracies should be strictly limited by necessity, and given very careful consideration before adoption. As always, keep a note of your departure from the normal rules. You cannot adopt any such method if you wish to teach shorthand! Two initial S sounds should be shown with the full stroke Ess followed by Circle S. This makes an easier outline and logical derivatives, as the formation of an angle is avoided, its place being taken by the circle. The derivatives will generally keep the stroke Ess, but Circle Ses is sometimes used where it is more convenient e.
The outlines are distinctive with Circle Ses, and therefore they do not need to use the stroke S: exercise exercising, success successful, emphasise emphasised Note: sixes and sexes might need vocalising; exorcise is distinguished by the use of stroke Zee Top of page Basic words with vowel other than short E can use the Circle Ses: crisis analysis hypothesis Words like those above form their plural by a change of vowel.
It would be good practice to omit the singular vowel, and always insert the plural one: crises hypotheses Some of these types of words have identical plurals and verb endings in longhand, although pronounced differently, so vocalising the Circle Ses may be helpful: Noun: diagnosis diagnoses Verb: diagnose diagnoses Noun: analysis analyses Verb: analyse analyses If the accent falls in different places, you can indicate this by adding a small cross next to the vowel.
This method is useful for many pairs of words where the nouns and verbs have different syllables accented. As the words are generally spelled identically, this merely aids comprehension of the text as you read your shorthand back, especially important if reading back in situ, with all eyes on you.
Cambridge English First 1 - 3 with Answers. The accompanying Audio CDs, available separately, contain the recorded material for the aural component of the exam. Past papers Past exam papers Pearson qualifications. Question papers, mark schemes and examiner reports for the most recent exam sessions within the last 9 months can be accessed only by registered centres. If you don't have an Edexcel Online account, please contact your Exams Officer.
Convert your percentage using Cambridge's calculator. However, simple though these steps may seem, the The C2 Proficiency CPE test has 5 components papers and each of these components has a I am aware that in Cambridge has made some changes in the exams.
Though I have a Find teaching and learning resources from Cambridge English. Cambridge Exam Boosters for the Revised Exam 2. Cambridge Key English Test 5 1. Insights into Second Language Reading Students can use it to access questions If you do not pass, but still do reasonably well you are issued a B2 certificate.
Paper-based or computer-based exams You can do the CAE exam on a computer or on paper. When can I take the test?
Cambridge First Certificate English Download for free books pdf. Exam information and Exam advice is offered throughout, culminating in Exam round-up sections which check that candidates know how to approach each paper. For more information regarding Cambridge English exams, please see the Cambridge English website.
0コメント