REVIEWER

FOR EVERY
SUBJECT (MAPEH)

THIS REVIEWER IS OWNED BY

MARY JONY P. ARAZAS, A
STUDENT FROM 9-BANYAN
MUSIC
LESSON 3: INSTRUMENTAL MUSIC OF THE
ROMANTIC PERIOD (1820 - 1900)

HISTORICAL-CULTURAL BACKGROUND OF INSTRUMENTAL

ROMANTIC MUSIC
1. ) PEOPLE AT THAT TIME WERE REBELLING AGAINST SOCIAL AND
POLITICAL STANDARDS OF THE CLASSICAL PERIOD.
2. ) THEY BELIEVE IN EXPRESSING THEIR IMAGINATIONS AND
PASSION AND IN EXPRESSING IT IN THEIR ARTWORK LIKE
LITERATURE, ARTS, EDUCATION, AND MUSIC.
3. ) THE CULTURAL, ECONOMIC, SOCIAL, AND POLITICAL ASPECTS
WERE GREATLY AFFECTED BY THE PROGRESS IN SCIENCE
MECHANICS SUCH AS PHOTOGRAPHY, STEAMBOAT, TELEPHONE,
TELEGRAPH, ETC.

ROMANTIC MOVEMENT (1800-1900) - WAS AN INTELLECTUAL,

ARTISTIC, & LITERARY MOVEMENT THAT STARTED IN THE SECOND
HALF OF THE 18TH CENTURY.

IMPORTANT WARS THAT HAPPENED

1. ) CRIMEAN WAR
2. ) CIVIL WAR (UNITED STATES)
3. ) FRANCO-PRUSSIAN WAR

INDUSTRIAL REVOLUTION - BROUGHT THE RISE OF SOCIALISM

AND CAPITALISM.
ROMANTIC ERA - BECAME THE RESULT OF A PERIOD OF CHANGE.
THIS WAS A TIME WHERE PEOPLE COULD HARDLY EXPRESS THEIR
EMOTIONS IN MUSIC BECAUSE THEY HAD TO FOLLOW STANDARDS
IN CREATING MUSIC. THIS WAS A TIME WHEN COMPOSERES USED
MUSIC TO INCREASE EMOTIONAL EXPRESSION. IT ALSO SWAYED
AWAY FROM THE CLASSICAL ERA BY ALLOWING ARTISTIC FREEDOM
AND EXPERIMENTATION. PEOPLE IN THIS ERA MOVED AWAY FROM
THE STANDARDS OF BALANCE AND RESTRAINT PROMINENT
DURING THE CLASSICAL ERA.
MELODIOUS MUSIC - BECAME A DOMINANT CHARACTERISTIC OF
MUSIC AND IT BECAME VERY EXPRESSIVE.
 CHARACTERISTICS FEATURES OF INSTRUMENTAL ROMANTIC
MUSIC
1. ) NOTEWORTHY ARE THE MUSIC CHARACTERISTICS ATTRIBUTED
TO ROMANTICISM.
2. ) THE ROMANTIC ERA WAS ALSO THE TIME COMPOSERS TRIED TO
USE VARIOUS TONE COLORS.
3. ) COMPOSERS INCREASED THE USE OF DISSONANCE AND
EXTENDED CHROMATICISM IN THE MELODY AND EXPERIMENTED
ON THE CREATION OF NEW WAYS TO PRODUCE SOUNDS USING
EXISTING MUSICAL INSTRUMENTS.
4. ) NEW FORMS OF MUSIC PROLIFERATED LIKE THE SYMPHONIC
POEM.

KIND OF ART AND MEDIA PORTRAYED ROMANTIC ERA ELEMENTS

1. ) ROMANTIC ERA ELEMENTS ARE PRESENTED IN ARTS AND MEDIA
IN THE FORM OF PAINTINGS AND LITERATURE.
2. ) THEY REFLECTS THEMES THAT FOCUSED ON SURRENDER TO
NATURE; THE MYSTIC AND SUPERNATURAL; A LONGING FOR THE
INFINITE, THE STRANGE, AND THE SURPRISING; AND SPIRITUAL
EXPERIENCES.

MUSICAL ELEMENTS OF ROMANTIC-ERA MUSIC

1. ) THE ART SONG BECAME LYRICAL, AND COMPOSERS GAVE
EFFORTS TO ASSOCIATE THE MUSIC TEXT TO ITS MUSICAL
COUNTERPART.
2. ) POETRY WAS CONVERTED INTO A FORM THAT MAY BE
EMOTIONALIZED THROUGH MUSIC.
3. THE USE OF THE PIANO AS AN ACCOMPANIMENT RESULTED TO
THE ADDING OF EMOTION, MOOD, AND MEANING TO THE MELODY.

ART SONG - A COMPOSITION FOR SOLO VOICE AND PIANO THAT

GIVES PREMIUM ON SYMBOLIC MEANING ATTACHED ON THE
LYRIC. GERMAN WORD IS LIED (LIEDER IN PLURAL FORM),
COMMONLY USED FOR GERMAN TEXT. IT IS NOT RESTIRCTED TO
STROPHIC OR THROUG-COMPOSED FORM (WRITING NEW MUSIC
FOR EACH STANZA)
ACCOMPANIMENT - INTEGRAL PART OF THE VOICE.
STROPHIC FORM - USES THE SAME MUSIC FOR EACH STANZA OF A
POEM AND IS ALMOST ALWAYS USED IN ALL FOLK SONGS.
 TWO LEADING ART SONGS AND ROMANTIC COMPOSERS
1. ) FRANZ SCHUBERT
2. ) JOHANNES BRAHMS

ROMANTIC ARTS AND ITS PAINTER/MAKER/SCULPTOR

EUGÈNE DELACROIX
TELLS THE STORY OF THE
FALL OF THE ASSYRIAN
MONARCHY AND ITS LAST
KING.

THE DEATH OF SARDANAPALUS

CASPAR DAVID
FRIEDRICH
THE ARTIST IS GLORIFYING
THE EMOTION OF
CURIOSITY AND HOPE, AND
GLORIFYING NATURE.

WANDERER ABOVE THE

SEA OF FOG

ROBERT LOUIS
STEVENSON
DEPICTING A MAN
UNDERGOING MULTIPLE
PERSONALITY DISORDER.

DR JEKYLL AND MR. HYDE

 PERFORMANCE PRACTICES DURING THE ROMANTIC ERA
1. ) ROMANTIC MUSIC COMPOSERS FOUND THEMSELVES
COMPELLED TO USE SHARP CONTRAST.
2. ) COMPOSERS EXPLORED THE EXPRESSION OF FEELINGS LIKE
FLAMBOYANCE AND INTIMACY, UNPREDICTABILITY, LONGING, AND
RAPTURE.

PROGRAM MUSIC - A FORM OF INSTRUMENTAL MUSIC THAT IS

INTENDED TO EXPRESS A STORY OR IMAGE THAT DEPICTS THE
THEME AND SCENES IN A LITERARY TEXT. IT REFERS TO THE
ROMANTIC PERIOD EUROPEAN MUSICAL WORK.
FRANZ LISZT - HE INTRODUCED THE TERM, DEFINED IT AS A
PROGRAM PREFACE ADDED TO A PIECE OF INSTRUMENTAL MUSIC
TO DIRECT THE LISTENER’S ATTENTION TO THE POETICAL IDEA OF
THE WHOLE OR A PARTICULAR PART OF IT.
NEW ROMANTICISM - A BRANCH OF POP CULTURE, WAS FOUND IN
THE BRITISH NICHTCLUB SCENE FROM 1979 TO 1981. IT WAS A
COUNTER-MOVEMENT TO PUNK.
SYMPHONIC POEM - AN ORCHESTRAL PIECE THAT ARTICULATED A
STORY.
FANTASTIC SYMPHONY - AN EXAMPLE OF PROGRAM MUSIC BY
HECTOR BERLIOZ.
ANTON BRUCKNER'S SYMPHONY NO. 4 - AN EXAMPLE OF
PROGRAM MUSIC IN E-MAJOR (ROMANTIC).

PX - HELEN ROBINSON'S COVENT GARDEN SHOP PROPAGATED

FASHION DESIGN REPRESENTING ROMANTIC THEMES.

MUSICAL ELEMENTS OF RONDEAU

RHYTHM 2/4 TIME SIGNATURE

TEMPO ALLEGRO OR FAST & QUICKLY

P OR SOFT TO MF OR MODERATELY
DYNAMICS
LOUD
 EXAMPLES OF MUSICANS THAT REPRESENTED NEW
ROMANTICISM
1. ) BOY GEORGE
2. ) SPANDAU BALLET
3. ) DURAN DURAN
4. ) VISAGE
5. ) PETER ROBINSON
ARTS
LESSON 3: ARTS OF THE NEOCLASSIC AND
THE ROMANTIC PERIOD (1780-1840)

NEOCLASSICAL MOVEMENT IN ARTS

1. ) MANY ARTISTS DURING THE MID 17TH CENTURY PROFITED MUCH
FROM THE NOBLES AND ROYALS.
2. ) THEY DID THIS BY CATERING TO THE VANITIES AND
EXTRAVAGANCE OF THE RICH PEOPLE DURING THOSE TIMES AS
THEY WERE COMMISSIONED TO PAINT FOR THEM.

CHARACTERISTICS OF NEOCLASSICAL ART

1. ) NEOCLASSICAL ART APPEARS CALM AND CLEAR.
2. ) ALTHOUGH FEELINGS ARE RESTRAINED, THE EXPRESSION
LOOKS COMPLETE.

FAMOUS ARTISTS
1.) JACQUES-LOUIS DAVID (1748-1825) - HE WAS BORN TO WEALTHY
PARENTS BUT HE CHOSE TO WORK WITH THE REVOLUTIONARIES OF
HIS TIME. HE HAD EXCELLENT EDUCATION IN ART AND LITERATURE &
THIS MADE HIM THE CHIEF PROPAGANDIST OF THE MILITANT
INTELLECTUALS WHO AIMED TO OVERTHROW THE FRENCH
MONARCHIAL SYSTEM. HE WAS HIGHLY EDUCATED IN CLASSICAL
CULTURE & LITERATURE AND USED HIS GREAT KNOWLEDGE IN
ROMAN AND GREEK CULTURES IN EXPRESSING HIS POLITICAL VIEWS
AGAINST THE FRENCH MONARCHIAL SYSTEM. HIS SUBJECTS ARE HIS
IDEAL HEROES. HIS CENTRAL FIGURE IS ALWAYS A MAN OR MEN WHO
DOMINATED THE WHOLE SCENE.

2.) JEAN AGUSTE DOMINIQUE INGRES (1780-1867) - HE WAS A

STUDENT OF DAVID, HOWEVER HE DID NOT JOIN THE MILITANT
MOVEMENT LIKE HIS TEACHER. HE HAD A STRONG ADMIRATION TO
THE STRONG PERSONALITY OF THE POST REVOLUTION LEADER,
EMPEROR NAPOLEON. HE WAS A HIGHLY FRENCH GIFTED ARIST AND
WENT TO ROME AS A SCHOLAR.

ECOLE DES BEAUX ARTS - HE WAS APPOINTED AS PRESIDENT IN

THIS UNIVERSITY IN FRANCE.
 ITALIAN RENAISSANCE PAINTERS THAT INFLUENCED INGRES
1. ) RAPHAEL
2. ) NICOLAS POUSIN
3. ) BOTTICELLI
4. ) HIS MENTOR, JACQUES-LOUIS DAVID

3.) FRANCISCO JOSE DE GOYA Y LUCIENTES (1746-1828) - A SPANISH

ARTIST AND CONSIDERED ONE OF THE GREATEST ARTISTS IN SPAIN.
HE CONTINUED HIS STUDIES IN ROME, MADE HIM A MASTER ARTIST.
WHEN HE WENT BACK TO SPAIN, HE BECAME THE OFFICIAL PAINTER
OF THE ROYAL COURT OF KING CHARLES IV. HE BECAME DEAF DUE TO
AN UNKNOWN ILLNESS DURING HIS MIDLIFE AND BECAME ALOFT &
VERY CRITICAL OF THE SOCIAL AND POLITICAL EVENTS OF HIS TIME.
HIS ARTISTIC WORKS INCLUDED IMAGES OF GHOSTS & WITCHES. HE
REMAINED FAMOUS IN THE ART WORLD BECAUSE OF HIS ABILITY TO
READ HUMAN CHARACTERISTICS HUMAN CHARACTER & EFFECTIVELY
PORTRAY IT ON HIS CANVASS.

DARK ANG PESSIMISTIC - HIS PAINTINGS BECAME LIKE THIS AS HE

GREW OLD.
LUZAN - A FAMOUS ART TEACHER IN SARAGOZA, SPAIN THAT
TUTORED LUCIENTES.
1828 - THE YEAR HE DIED.

FAMOUS PAINTINGS/SCULPTURES

1.) THE DEATH OF SOCRATES - BY JACQUES-LOUIS DAVID,

PORTRAYED THE GRANDEUR OF CHARACTERS OF THE ANCIENT GREEK
AND ROMANS IN DEFINING AND PROTECTING THE AFFAIRS OF THEIR
PARTICULAR STATE. HUMAN CHARACTERS & VIRTUOS ACTIONS ARE
POWERFULLY CONSERVED. HIS SUBJECTS SEEM TO BUGLE OUT FORM
HIS CANVAS & APPEAR REALISTIC.

2.) THE OATH OF THE HORATII - BY JACQUES-LOUIS DAVID, THE

PATRIOTIC SONS ON THE LEFT FIRMLY SALUTED IN THE GESTURE OF
A GLADIATOR WHO IS READY TO DIE.

3.) OEDIPUS AND THE SPHINX - ONE OF INGRES' FAVORITE SUBJECTS

IS THE HEROES OF THE GREEK MYTHS. HE LOVED TO PAINT THE GEST
-URES THAT SHOW THE IDEAS OF RIGHTEOUSNESS AND COURAGE BY
THE GREEKS AND ROMANS.

4.) NAPOLEON I ON HIS IMPERIAL THRONE - INGRES' ADMIRATION

FOR THE IMPOSING PERSONALITY OF EMPEROR NAPOLEON I IS
SHOWN IN THIS MAJESTIC POSE OF THE LEADER.

5.) THIRD OF MAY - PORTRAYED EMOTIONS OF DISAPPOINTMENT AND

DISGUST OVER THE KILLINGS OF ORDINARY SPANIARDS BY FRENCH
SOLDIERS IN HIS PAINTING. THE COLORS HE USED SUGGEST STRONG
AVERSION, COLD CARNAGE, AND NAUSEATING HORROR.

6.) ISABEL - AS A COURT PAINTER, GOYA SUCCESFULLY PORTRAYED

QUEEN ISABEL'S DIGNIFIED ELEGANCE AND COMPOSURE.

THE DEATH OF SOCRATES

THE OATH OF THE HORATII

OEDIPUS AND THE SPHINX NAPOLEN I IN
HIS IMPERIAL THRONE

THE THIRD OF MAY

ISABEL
 1800 TO 1850 - ROMANTICISM IN ART EXTENDS IN EUROPE AND
AMERICA.
ROMANCE-LIKE - THE WORD ROMANTIC ORIGINATED FROM. IT
RESEMBLES THE STRANGE AND FANCIFUL CHARACTER OF
MEDIEVAL ROMANCES.
ROMANTICISM - A MOVEMENT IN ART AND LITERATURE DURING
THE LATE 18TH CENTURY AND EARLY 19TH CENTURIES.
ROMANTIC MOVEMENTS IN ARTS - VALUED IMAGINATION AND
EMOTION OVER REASON.

THE IDEAS, MOODS, & MESSAGES THAT CONVEYS THE ARTWORKS

OF THE ROMANTIC PERIOD
1. ) THE ARTS DURING THE ROMANTIC PERIOD WERE EXPRESSIVE OF
INTENSE FEELINGS. THE ARTISTS WERE HIGHLY IMAGINATIVE &
EMOTIONAL. THEIR WORKS HAD A KIND OF MYSTIC AND
DREAMLIKE QUALITY.
2. ) DURING THE 18TH CENTURY, FEELINGS OR EMOTION BEGAN TO
BE CONSIDERED MORE IMPORTANT THAN REASON. THIS WAS
SHOWN IN OTHER FORMS OF ART LIKE LITERATURE.
3. ) FEELINGS AND IMAGINATION BEGAN TO BE STRONGLY
REFLECTED IN THE VISUAL ARTS.

INFLUENCES OF THE ROMANTIC MOVEMENT ON THE SUCCEEDING

ART MOVEMENTS
1. ) IT AFFECTED THE MORAL, SOCIAL, & POLITICAL LIFE OF THE
EUROPEANS AND AMERICANS FOR ALMOST HALF A CENTURY
(1800-1850). IT BECAME THE VISUAL, MUSICAL, AND LITERARY
EXPRESSION OF MAN'S BASIC RIGHTS & HIS EXERCISE OF
FREEDOM.
2. ) IT CONTRIBUTED IN THE DEVELOPMENT OF NATIONALISTIC
PRIDE. IT WAS USED AS A WAY OF EXPRESSING THE SUPERIORITY
OF THE SENSES & EMOTIONS OVER REASON & INTELLECT.
3. ) ROMANTICISM HIGHLY INFLUENCED THE NEXT FORM OF ART. A
LINE CAN BE TRACED FROM ENGLISHMAN WATERCOLORIST JOHN
CONSTABLE THROUGH THE BARBIZON SCHOOL TO
IMPRESSIONISM.
4. ) A MORE DIRECT INFLUENCE OF ROMANTICISM WAS SYMBOLISM,
REFINED OR INTENSIFIED THE ROMANTIC CHARACTERISTICS OF HI
-GHLIGHTING EMOTIONS, IMAGINATION, AND DREAMLIKE QUALITIES.
5.) ROMANTICISM CONTINUES TO INFLUENCE THE 20TH CENTURY
EXPRESSIONISM & SURREALISM. THIS IS SHOWN IN ROMANTICISM'S
BASIC PRINCIPLES OF ORIGINALITY, SELF EXPRESSION, & ARTISTIC
FREEDOM.
P.E
LESSON 3: DANCES FOR FITNESS
PROGRESSION

BALLROOM DANCE - A TYPE OF DANCE OR A PARTNER DANCE,

WHICH IS ENJOYED SOCIALLY AND COMPETITIVELY BECAUSE OF
ITS ENTERTAINMENT ASPECT. THIS DANCE IS INTENDED
PRIMARILY TO GET TO KNOW OTHER PEOPLE IN A SOCIAL
FUNCTION.

ESSENTIAL COMPONENETS OF DANCING

1. ) MOVEMENT
2. ) MUSIC
3. ) FORMATION AND POSITION

MOVEMENTS - CONVEY MEANING, CAN BE AN INTERPRETATION OF

THE SONG THAT ACCOMPANIES THE DANCE, TRADITION, OR
CULTURE. IT HAS AESTHETIC AND SYMBOLIC VALUE AND IT CAN
TELL A STORY, INCLUDING THE TIME AND PLACE WHERE THE
STORY TOOK PLACE. IT CAN EXPRESS LOVE, HATE, ANGER,
SADNESS, DEPENDING ON THE THEME OF THE DANCE AND THE
WAY IT IS INTERPRETED BY THE DANCERS.
MUSIC - IS ESSENTIAL TO DANCE BECAUSE IT ADDS FLAVOR TO
THE DANCE ITSELF. IT CAN CHANGE THE MOOD AND PROVIDE
STRUCTURE TO THE DANCE. IT MAKES DANCING MORE
INTERESTING.
MUSICAL COMPOSITION - DETERMINES THE DANCE
COMPOSITION.
FORMATION - TRANSITIONS ARE ESSENTIAL, THIS IS WHAT WE
CALL CHANGE OF FORMATIONS AND POSITIONS. IT IS KNOWN
THAT CHANGING OF FORMATION ADDS BEAUTY TO A DANCE. THE
FORMATIONS AND POSITIONS OF THE DANCERS HELP CONVEY
THE MESSAGE AND THE INTERPRETATION CLEARER, IF THERE ARE
NO CHANGES IN THE FORMATION, THE AUDIENCE WILL FIND IT
BORING TO WATCH.

FUNDAMENTAL HAND AND FEET POSITIONS

 Place both arms in front
of the chest in a circular
position with the heels
of the feet together and
the toes 45 degrees
apart.

First Position

Place both arms

sideward with palm
facing upward and
stride the feet sideward.

Second Position

Place one arm on your

side at shoulder level &
raise the other hand
overhead with the heel
of the foot placed beside
the in-step of the other
foot.
Third Position
 Place one arm in front of
the chest level with
elbow slightly bent & the
other arm is raised
overhead with one foot
placed in front of the
other foot.

Fourth Position

Raise both hands

overhead with elbows
slightly bent. The heel of
the foot is placed in
front of the toe of the
rear foot.

Fifth Position

COMPONENTS OF PHYSICAL FITNESS

1.) SPEED - ABILITY TO PERFORM A TASK OR COVER A DISTANCE IN
THE SHORTEST POSSIBLE TIME.

TEST PURPOSE EQUIPMENT

30 METER SPRINT - A SINGLE MEASURE THE ACCELERATION EXACTLY MEASURED TRACT OF

MAXIMUM SPRINTING OVER A OR MAXIMUM RUNIING SPEED 30 METERS
SET OF DISTANCE OF 30 ON A SPECIFIED MEASURE OR STOPWATCH
METERS. DISTANCE. CLAPPER
2.) POWER - ABILITY TO PERFORM EXERT MAXIMUM FORCE VERY
QUICKLY.

TEST PURPOSE EQUIPMENT

STANDING LONG JUPMP -

WHEREIN TWO-FOOT TAKE-
OFF AND LANDING IS
TAPE MEASURE
REQUIRED WITH THE SWING MEAURE THE POWER OF THE
NON-SLIP SURFACE OR FLOOR
OF ARMS AND BENDING OF LEGS.
CLEARLY MARKED TAKE-OFF
KNEES TO CREATE A FORWARD
DRIVE GOING TO THE LANDING
AREA.

3.) REACTION TIME - AMOUNT OF TIME IT TAKES TO MAKE PHYSICAL

RESPONSE TO A STIMULUS.

TEST PURPOSE EQUIPMENT

ILLUSTRATION BOARD (5 CM
WIDE AND 20 CM LONG WITH
MEASURE THE HAND AND EYE
CARBOARD REACTION TIME SET)
QUICKNESS AND
TEST REACTION TIMER
ATTENTIVENESS
RULER
PENCIL
HEALTH
LESSON 3: INJURY PREVENTION, SAFETY,
AND FIRST AID (UNINTENTIONAL)

UNINENTIONAL INJURIES - KNOWN AS ACCIDENTAL INJURIES.

ACCIDENT - A SEQUENCE OF UNEXPECTED EVENTS THAT COULD
RESULT TO INJURY, PROPERTY DAMAGE, AND EVEN DEATH.
EXAMPLES ARE VEHICULAR ACCIDENTS, POISONING, DROWNING,
AND HOUSEHOLD FIRES.
SAFETY EDUCATION - INCLUDES KNOWLEDGE, SKILLS, &
ATTITUDES THAT COULD HELP MINIMIZE OR AVOID RISKS OR
DANGERS AT HOME, SCHOOL, COMMUNITY, AND IN ANY
SITUATIONS. WHEN ONE IS EQUIPPED WITH SAFETY EDUCATION,
SKILLS, AND ATTITUDE, ONE IS IN A BETTER POSITION TO AVOID
DANGER, & MAXIMIZE THE QUALITY OF THEIR DAILY ACTIVITIES.
FIRST AID - AN IMMEDIATE CARE GIVEN TO A PERSON WHO HAS
BEEN INJURED OR SUDDENLY TAKEN ILL. IT INCLUDES SELF-HELP
AND HOME CARE IF MEDICAL ASSISTANCE IS NOT AVAILABLE OR
DELAYED.

OBJECTIVES OF FIRST AID

1. ) TO LESSEN THE PAIN
2. ) TO PREVENT FURTHER INJURY OR DAMAGE
3. ) TO PRESERVE LIFE
4. ) TO HASTEN RECOVERY

FIRST AIDER - A TRAINED PERSONNEL WHO PROVIDES FIRST AID.

ANYONE CAN BE A FIRST AIDER AS LONG AS YOU UNDERGO
TRAININGS, SEMINARS, AND WORKSHOPS.

CHARACTERISTICS OF A GOOD FIRST AIDER

1.) GENTLE - ONE WHO DOES NOT CAUSE MORE PAIN.
2.) RESOURCEFUL - ONE WHO MAKES USE OF THINGS AT HAND WITH
BEST CAPABILITY.
3.) OBSERVANT - ONE WHO NOTICES ALL SIGNS.
4.) TACTFUL - ONE WHO DOES NOT MAKE THE VICTIM WORRY.
5.) SYMPATHETIC - ONE WHO COMFORTS THE VICTIM.
6.) RESPECTABLE - ONE WHO HAS A PROFESSIONAL AND CARING
ATTITUDE.
7.) CALM AND CONFIDENT - ONE WHO DOES NOT EASILY PANIC AND
KNOWS WHAT HE OR SHE IS DOING.

ROLES AND CAPABILITIES OF A FIRST-AIDER

1. ) BRIDGES THE GAP BETWEEN THE VICTIM & THE PHYSICIAN. HE
OR SHE DOES NOT TAKE THE PLACE OF THE SERVICES OF THE
PHYSICIAN. HIS OR HER ROLE ENDS WHEN THE PHYSICIAN
BEGINS.
2. ) ENSURES SAFETY OF HIMSELF OR HERSELF AND THAT OF
BYSTANDERS.
3. ) GAINS ACCESS TO THE VICTIM.
4. ) DETERMINES ANY THREATS TO PATIENT'S LIFE.
5. ) SUMMONS ADVANCED MEDICAL CARE AS NEEDED.
6. ) PROVIDES NEEDED CARE FOR THE PATIENT.
7. ) RECORDS ALL FINDINGS AND CARE GIVEN TO THE PATIENT.

PROCEDURES
1. ) OBTAIN CONSENT OF THE VICTIM IF POSSIBLE.
2. ) GAIN THE CONFIDENCE OF THE VICTIM.
3. ) ASSESS THE VICTIM'S INJURY OR SUDDEN ILLNESS.
4. ) IDENTIFY THE VICTIM'S PROBLEMS & WHICH OF THEM REQUIRES
IMMEDIATE FIRST AID.
5. ) SEEK MEDICAL CARE IF NECESSARY.
6. ) PROVIDE THE APPROPRIATE FIRST AID TREATMENT.
7. ) GET USEFUL INFORMATION ABOUT THE VICTIM FOR THE USE OF
ATTENDING MEDICAL PERSONNEL.

THINGS A FIRST AIDER MUST TAKE INTO CONSIDERATION

1.) PRIMARY SURVEY - A QUICK & SYSTEMATIC SURVEY OF THE
PERSON TO FIND OUT IF THERE ARE CONDITIONS OR INJURIES
SUSTAINED AS LIFE THREATENING. CHECK FOR VITAL SIGNS,
CIRCULATION, AIRWAY, AND BREATHING (C.A.B) & CONTROL SERIOUS
BLEEDINGS.

2.) VITAL SIGNS - MEASUREMENT OF OUR BODY'S MOST BASIC

FUNCTIONS SUCH AS THE BODY TEMPERATURE, PULSE RATE,
RESPIRATION RATE, AND BLOOD PRESSURE.
3.) BODY TEMPERATURE - A THERMOMETER MAY NOT BE AVAILABLE
THE TEMPERATURE OF THE VICTIM. A VERY HIGH OR LOW BODY
TEMPERATURE MAY RESULT TO A MORE SERIOUS PROBLEM IF NOT
ADDRESSED IMMEDIATELY.

4.) PULSE RATE - TELLS YOU THE HEART RATE OR THE NUMBER OF
TIMES THE HEART BEAT PER MINUTE. A FIRST AIDER NEEDS TO
ASSESS WHETHER THE VICTIM'S HEART IS STILL BEATING OR NOT.

5.) RESPIRATION RATE - NEEDS TO ASSESS THE RESPIRATION RATE

OF THE VICTIM. IT IS IMPORTANT TO KNOW WHETHER THE VICTIM IS
TILL BREATHING NORMALLY, TOO FAST, OR TOO SLOW. THE NORMAL
RATE FOR AN ADULT PERSON RANGES FROM 12 TO 16 BREATHS.

6.) BLOOD PRESSURE- FORCE OF BLOOD PUSHING THE ARTERY WALS

OF THE VICTIM MUST ALSO BE CHECKED. HIGH BLOOD PRESSURE IS A
LIFE-THREATENING CONDITION. NORMAL BLOOD PRESSURE READING
SHOULD BE MORE THAN 120/80 AND LESS THAN 140/90.

STETHOSCOPE - AN INSTURMENT THAT YOU CAN USE TO CHECK

THE PRESSURE OF BLOOD.