Pen Tagalog

Pen Tagalog

anong tagalog ng ball pen?​

Daftar Isi

1. anong tagalog ng ball pen?​


Answer:

bola at lapis sana makatulong


2. what's quill pen in tagalog po?​


Answer:

some of words are not easy to translate in tagalog but quill pen can also be called "Pluma" in tagalog.

Explanation:

mark as brainlest


3. ano ang tagalog ngcolgateball peneraser buohin ang mga salitatogasilamaamt​


Answer:

Colgate

ballpen

eraser

Sagot

Mali

Tama

Explanation:

Pa branliest


4. ibigay ang pen name o palayaw ng mga nanunulat sa diariong tagalog at la solidaridadplease help po need po now ...thank you​


Answer:

Marcelo H. del Pilar - Plaridel, Dolores Manapat, Piping Dilat

Graciano Lopez Jaena - Diego Laura

Mariano Ponce - Kalipulako, Naning, Tikbalang

Jose Maria Panganiban - Jomapa, J. M. P.


5. Give the past form of the verbsin parentheses. write your answer abovethe wordbiographyFrancisco Balagtas (leod) a life full of misfortunes. He(belong) to a poor family. His mother, Juana de la Cruz,(send) him to live with a relative named Balagtas. Whenhe (go) to school, Francisco (use) his relative's name, Bal-agtas. After graduation, he (work) for his relative. Duringhis free time, he (write) poetry. Balagtas (goin) popular-ity as a poet. He (be) forty-two when he fell in love withMaria Rivera. He (dedicate) his poem, "Kay Celia," to thisPandacan beauty. Balagtas (have) a strong rival. This rival(succeed) in putting him in joil and in marrying Rivera.In prison Balagtas (start) Florante at Laura. In 1842, he(marry) Juana Tiambeng of Orion, Bataan. They (have)eleven children. During his leisure moments he (write)awits, corridos, and moro-moro.In Orion, again somebody (plot) against him. This(be) Loferez Lucas. Because of this man, Balagtas (enter)prison for the second time. After serving his term, he (un-dergo) difficulties to feed his big family. The earnings fromhis pen (be) not enough. On his deathbed, he tell) hischildren not to follow his footsteps. In February 3, 1862,the great Tagalog poet (die) penniless.​


Answer:

leads

belongs

sent

went

used

worked

wrote

joined

dedicated

had

succeeded

started

married

had

wrote

was

entered

undergoes

was

died


6. anu tagalog nito LET ME REMIND YOU ABOUT THE MECHANICS FOR WRITING, Always have margins on your paper. Wider margin on the left hand side and narrower on the right hand side. Always use pen with black ink only. Penmanship should be legible and should be cursive. Erasure are not nice to see or look at. Observe usage of proper punctuations. Observe correct utilization of grammar. Wrong spelling is called wrong spelling because definitely it is wrong.​


Answer:

Ipaalalahanan Ko sa IYO TUNGKOL SA MGA MEKANIKAL PARA SA PAGSULAT, Palaging may mga margin sa iyong papel. Mas malawak na margin sa kaliwang kamay at mas makitid sa kanang bahagi. Palaging gumamit ng panulat na may itim na tinta lamang. Ang Penmanship ay dapat na mabasa at dapat maging sumpa. Ang pagbubura ay hindi magandang tingnan o tingnan. Pagmasdan ang paggamit ng wastong mga bantas. Pagmasdan ang wastong paggamit ng gramatika. Ang maling baybay ay tinatawag na maling baybay sapagkat tiyak na mali ito.

Explanation:


7. 1. Who are the characters in the story? Describe each. _________________________________________________________________________ 2. What unique identity/traits of the characters are shown in the story? Ka Ponso- _____________ Fathe/Julior- ________________ Jose- __________________ 3. How did Julio show his love to Jose?__________________________________________ 4. If you are in ka Ponso’s shoes, What will you do? Why and why not? _________________________________________________________________________ 5. How can you make others happy in your own way?_______________________________ The Happiest Boy in the World by: NVM Gonzalez Julio, who had come from Tables to settle in Barok, was writing a letter to, of all people, ka Ponso, his landlord, one warm June night. It was about his son, Jose, who wanted to go to school in Mansalay that year. Jose was in the fifth grade when Julio and his family had left Tablas the year before and migrated to Mindoro. Because the father had to stop schooling for a year. As it was, Julio though himself lucky enough to have ka Ponso to take him as tenant. Later when Julio’s wife, Fidela, gave birth to a baby. Ka Ponso, who happened to be visiting his property then, offered to become its godfather. After that they began to call each other compadre. "Dear Compadre,"Julio started to write in Tagalog bending earnestly over a piece of paper which he had torn out of Jose's notebook. It was many months ago when, just as now, he had sat down with a writing implement in his hand. That was when he had gone to the municipio in Mansalay to file a homestead application, and he had used a pen, and to his great surprise filled in the blank forms neatly. Nothing came of the application and talked with the officials concerned. Now, with a pencil instead of a pen to write with, Julio was sure that he could make his letter legible enough for Ka Ponso. "It's about my boy Jose, "he wrote on. "I want him to study this June in Mansalay. He's in the sixth grade now, and since he's quite a poor hand at looking after your carabaos, I thought it would be best that he goes to school in the town." He sat back and learned against the wall. He had been writing on a low wooden bench, the sole piece of furniture in the one-room house. There he sat in one corner. A little way across stood the stove; to his right Fidela and the baby girl, Felipa lay under the hempen mosquito net. Jose, who had been out all afternoon looking for one of Ka Ponso's carabaos that he had strayed away to the newly planted rice clearings along the other side of the Barok river, was here too, sprawing beside a sack of palay by the doorway. He snored lightly, like a tired youth; but he was only twelve. The kerosene lamp's yellow flame flickered ceaselessly. The dank smell of food, of fish broth particularly, that had been spilled from many a bowl and had dried on the floor seemed to rise from the very texture of the wood itself. The sad truth about their poverty, if Julio’s nature had been sensitive to it, might have struck him with a hard and sudden blow then; but as it was, he just looked about the room, even as the smell assailed his nostrils, and stared now at the mosquito net, now at Jose as he lay there by the door. Then he continued with his letter. "This boy, Jose, compadre,"he went on, "is quite an industrious lad. If you can only let him stay in your big house. Compadre, you can make him do anything you wish-any work. He can cook rice, and I'm sure he'll do well washing dishes." Julio recalled his last visit to ka Ponso's about three months ago, during the fiesta. he had seen that it was a big house with many servants; the floor was so polished you could almost see your own image under your feet as you walked; and always there was a servant who followed you about with a piece of rag to wipe away the smudges of dirt which your feet had left on the floor. "I hope you will not think of his as great bother. "Julio continued, trying his best to phrase these thoughts. He had a vague far that ka Ponso might not favourably regard his letter. But he wrote on, slowly and steadily, stopping only to read what he had put down.


1. wise *

Agree or Disagree

2. inflexible *

Agree or Disagree

3. fair *

Agree or Disagree

4. open-minded

Agree or Disagree

5. heartless *

Agree orDisagree


8. Directions: Read each item carefully and choose the letter of the best answer from the choices below. Write your answer in the space provided for 1. A flexible tape with different type of measurements essential for taking body measurement. a.ruler b. yardstick c. tape measure d. hem gauge 2. A small hard pitted wom for protection on the finger that pushes the needle while sewing. a thimble b. seam ripper c. sewing gauge d. fabric 3. This is also called "Domestic sewing machine". a Lockstitch sewing machine c. Hi-speed sewing machine b. Double needle sewing machine d. Button hole machine 4.This is essential as a marker for use on materials available in orange of color and removed by brushing. a. Tailor's chalk c. Tracing wheel b.Wax chalk d. Liquid marking pen 5.It holds the straight pins and needles while sewing to prevent accident. a. Pincushion b. hand needle c. thimbles d. fabric 6. This is used in making fancy stitches and making in different kinds of embroidery stitches in fabric for the barong tagalog, pillow cases and other novelty projects. a.embroidery machine b. hi- speed sewing machine c.Button-hole machine d. lockstitch machine. 7. Measure from one nipple to the other nipple. a.Bust to Bust b.upper bust c. lower bust d.waist 8.Circumferential measurement is taken around the body. a true b.false c.maybe 9.It measures from tip of the shoulders the center of the bust. a Hips b.shoulder to bust c.shoulder to neck d.shoulder to shoulder 10.It measures around the shoulder under the armpit. a bicep b. elbow c.sleeve hole d. side seam 11. A change of figures like changing from centimeters to inches or vice versa. a. calculate b. converted c.conversion d. computation 12 How many centimeters are there in one inch. a.1.905 centimeters b. 3.81 centimeters c. 2.54 centimeters d.5.08 centimeter 13.IMC means a. Individual measurement curved c. Individual measurement chart b.Individual measurement cost d. none of the above d. yes​


Answer:

1. c

2. a

3. b

4. a

5. a

6. a

7. a

8. a

9. b

10. c

11. c

12. c

13. d


9. folk song1.si pilemon2.pen pen de sarapin3.leron leron sintalanguage1.cebuano2.tagalog3.tagalogmeter(duple,triple,quadruple)1.2.3.scaled used(pentatonic/diatonic)1.2 .3.tempo(slow, moderate, fast)1.2.3.​


Answer:

meter

1.quadruple

2.duple

3.triple

scaled used

1.diatonic

2.pentatonic

3.diatonic

tempo

1.moderate

2.fast

3.slow

Explanation:

sana makatulong pa brainliest nadin at pa follow thanks


10. 17. It is a traditional Filipino leaf-shaped wafer made from glutinous rice.A. KipingC. VakulB. Pastillas WrapperD. Vest18. A mark drawn by a tool such as a pencil, pen, or paintbrush as it moves across a surface.A. LinesC. FormB. ColorD. Shape19. It is a burial cloth woven by female elders of Mountain Province.A. BakwatC. KadangyanB. CaladoD. Wanes20. It is clothes made by Gaddangs of Nueva Vizcaya, a belt used by mothers after giving birth.A. BakwatC. KadangyanB. CaladoD. Wanes21. A belt with designs composed of continuous zigzag patterns woven in double faced with braided warps thatend as tassels.A. GinaspalawanesC. InabelB. IkatD. Kain22. What arts and crafts in Luzon has a design that are inspired by natural elements which patterns that depictdifferent landforms, the colors of nature and animals?A. GinaspalawanesC. InabelB. IkatD. Kain23. It is a Bontoc's blanket and clothing a fabric used in wanes, lufid and ginaspalawanes.A. IkatC. KainB. InabelD. Siniwsiwan24. Some of their textiles are reserved for use only during special occasions such as birthgiving, weddings, andharvestingA. BontoksC. KalingasB. GaddangsD. Tigguians25. What principle of art that shows the focal point of an image or when one area or thing stands out the mostand gets a special attention?A. ContrastC. PatternB. EmphasisD. Rhythm26. Which of the following is cool colors EXCEPT one?A. BluesC. VioletsB. GreenD. Yellow27. Which of the following countries influenced the people of Angono, Rizal in making huge paper machecalled higantes?A. MalaysiaC. MoldovaB. MexicoD. Mozambique28. What elements of arts that makes objects appear more real because it imitates natural light?A. ColorC. LineB. FormD. Value29. Jericho wears a barong Tagalog made from Lumban, Laguna and was carefully woven by hands orembroidered to perfection. What quality or values is manifested when Filipinos wear barong Tagalog?A. ActivismC. NationalismB. BureaucratismD. Orientalism30. It is a repeated pattern or theme.A. AestheticsC. MotifB. Folk artsD. Textile​


Answer:

17.A

18.A

19.C

20.A

21.A

22.C

23.D

24.D

25.B

26.C

27.C

28.A

29.C

30.C


11. LET ME REMIND YOU ABOUT THE MECHANICS FOR WRITING, Always have margins on your paper. Wider margin on the left hand side and narrower on the right hand side. Always use pen with black ink only. Penmanship should be legible and should be cursive. Erasure are not nice to see or look at. Observe usage of proper punctuations. Observe correct utilization of grammar. Wrong spelling is called wrong spelling because definitely it is wrong.anu tagalog nito ​


Answer:

IPAALAHANAN KO SA ANG TUNGKOL SA MGA MECHANICS PARA SA PAGSULAT, Palaging may mga margin sa iyong papel. Mas malawak na margin sa kaliwang kamay at mas makitid sa kanang bahagi. Palaging gumamit ng panulat na may itim na tinta lamang. Ang Penmanship ay dapat na mabasa at dapat maging sumpa. Ang pagbubura ay hindi magandang tingnan o tingnan. Pagmasdan ang paggamit ng wastong mga bantas. Pagmasdan ang wastong paggamit ng gramatika. Ang maling baybay ay tinatawag na maling baybay sapagkat tiyak na mali.

#PaBrainly


12. 17. The daffodils nodded their yellow heads at the walkers. This sentence is anexample of alan:A. SimileB.metaphor C personification Doxymoron18. Your answers are perfectly wrong. What figure of speech is used?A simileB.mctaphor C.personification D.oxymoron19.I tried a thousand times to text her and get the answers to the testA hyperbole B.synecdoche C personification Doxymoron20. Which of the following is an example of a personification?A. "It's easy to fool the eye but it's hard to fool the heart."B. Alas! It was a tough nut to crackC.Thrilled me filled me with fantastic terrors never felt before.D. Let us fly," said the flea.21. The child with an infinite energy ran to his parents,A apostrophe B.personification C.hyperboleD.metaphor22. Find the synecdoche(s) in the sentence that follows:There were going to be 20 heads at the dinner table that evening.A dinner table B. 20 heads C.eveningD.dinner23.The pen is mightier than a sword as a famous example of alan:А.oxymoron B.paradoxCironyD.metonymy24. An indigenous type of Filipino poem, that is used traditionally in Tagalog which iscomposed of four lines with seven syllables per line.A tanagaC dalitB dionaD tula26. Another Filipino poetic art that uses four lines, each line having eight syllables.A tanagaC dalitB. dionaD tula​


Answer:

17.b

18.c

19.a

20.c

21.a

22.d

23.c

24.d

26.b

Explanation:

#CaryOnLearning..

13. My father is a fox formerThat, he raised silver foxes ,in pens; and in the fall and early winter, when their fur was pre, he killed them skinned them isalin sa tagalog​


Answer:

. pa pchyciatris kasi pwede syang makulong dahil sa ginawa nya as hayop


14. 1. Who are the characters in the story? Describe each._________________________________________________________________________2. What unique identity/traits of the characters are shown in the story?Ka Ponso- _____________ Fathe/Julior- ________________Jose- __________________3. How did Julio show his love to Jose?__________________________________________4. If you are in ka Ponso’s shoes, What will you do? Why and why not?_________________________________________________________________________5. How can you make others happy in your own way?_______________________________The Happiest Boy in the Worldby: NVM GonzalezJulio, who had come from Tables to settle in Barok, was writing a letter to, of all people,ka Ponso, his landlord, one warm June night. It was about his son, Jose, who wanted to goto school in Mansalay that year. Jose was in the fifth grade when Julio and his family had leftTablas the year before and migrated to Mindoro. Because the father had to stop schoolingfor a year. As it was, Julio though himself lucky enough to have ka Ponso to take him astenant. Later when Julio’s wife, Fidela, gave birth to a baby. Ka Ponso, who happened to bevisiting his property then, offered to become its godfather. After that they began to call eachother compadre."Dear Compadre,"Julio started to write in Tagalog bending earnestly over a piece ofpaper which he had torn out of Jose's notebook. It was many months ago when, just as now,he had sat down with a writing implement in his hand. That was when he had gone to themunicipio in Mansalay to file a homestead application, and he had used a pen, and to hisgreat surprise filled in the blank forms neatly. Nothing came of the application and talkedwith the officials concerned. Now, with a pencil instead of a pen to write with, Julio was surethat he could make his letter legible enough for Ka Ponso."It's about my boy Jose, "he wrote on. "I want him to study this June in Mansalay. He'sin the sixth grade now, and since he's quite a poor hand at looking after your carabaos, Ithought it would be best that he goes to school in the town."He sat back and learned against the wall. He had been writing on a low wooden bench,the sole piece of furniture in the one-room house. There he sat in one corner. A little wayacross stood the stove; to his right Fidela and the baby girl, Felipa lay under the hempenmosquito net. Jose, who had been out all afternoon looking for one of Ka Ponso's carabaosthat he had strayed away to the newly planted rice clearings along the other side of the Barokriver, was here too, sprawing beside a sack of palay by the doorway. He snored lightly, likea tired youth; but he was only twelve.The kerosene lamp's yellow flame flickered ceaselessly. The dank smell of food, offish broth particularly, that had been spilled from many a bowl and had dried on the floorseemed to rise from the very texture of the wood itself. The sad truth about their poverty, ifJulio’s nature had been sensitive to it, might have struck him with a hard and sudden blowthen; but as it was, he just looked about the room, even as the smell assailed his nostrils,and stared now at the mosquito net, now at Jose as he lay there by the door. Then hecontinued with his letter."This boy, Jose, compadre,"he went on, "is quite an industrious lad. If you can only lethim stay in your big house. Compadre, you can make him do anything you wish-any work.He can cook rice, and I'm sure he'll do well washing dishes."Julio recalled his last visit to ka Ponso's about three months ago, during the fiesta.he had seen that it was a big house with many servants; the floor was so polished youcould almost see your own image under your feet as you walked; and always there was aservant who followed you about with a piece of rag to wipe away the smudges of dirt whichyour feet had left on the floor."I hope you will not think of his as great bother. "Julio continued, trying his best tophrase these thoughts. He had a vague far that ka Ponso might not favourably regard hisletter. But he wrote on, slowly and steadily, stopping only to read what he had put down.​


Answer:

Dear, User

               

            Thank you  for the póínts you have given me. Pls do not take this seriously, this is just a little prank to kill my boredom. Now then Good Luck scrolling :).

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.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.

.

.

.                                                                                                                                  

.

.                                                                                                                                  

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

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Explanation:


15. penge po example po please tagalog about nung ano naranasan mo ng pandemic​


ANSWER⤵️what I experienced during this pandemic was sadness and at the same time happiness, why sadness? because students are not allowed to go to school and are always at home and some people get sïck and dìè, why am I happy because I can be with my family 24/7 and with some reason we can be always hangout

EXPLANATION ⤵️that's my experience during this pandemic you can copy that I gave my permission, I hope it helps, thank you very much kindly rate it if it's helpful

16. lets play a game kapag naansweran nyo ang mga tanong sa baba i faface revil ko si crash with 30 points1.anong tagalog ng Pen?2. anong tagalog ng note book?​


Explanation:

1.lapis

2.papel

geez I hope it's correct


17. PERFORMANCE TASK 1(Due date: 12/4/2021)A. Write (I) polynomial function in factored form. Sketch the graph in a short bond paper enough to occupy the space. Emphasize using points their x and y intercepts.(Use different colors of pen in sketching your graph if possible)B. Choice 1 of the following quotations that used some terms in the topic polynomial function. Expound through writing your chosen quote using your bond paper with graph. (Hand written or type written)1. " A living thing is distinguished from a dead thing by the multiplicity of the changes at any moment taking place in it.“ (Herbert Spencer).2." Don't think too much about your problems in life. They are just test papers given by God to see how much you have learned from his subject called life.“ ( Anonymous)TAGALOG PERFORMANCE TASK 1:Hahanap po kayo ng polynomial function na problem tapos igagraph nyo po iyon (gumamit ng lapis). Pagkatapos, pumili ng isa sa mga kasabihan na nasa itaas at ipaliwanag ito. Gawing background design ang inyong graph sa magiging sagot nyo sa kasabihang napili ninyo. Ipasa sa messenger classroom kung ito ay natapos nyo na. ​


Answer:

(Due date: 12/4/2021)

A. Write (I) polynomial function in factored form. Sketch the graph in a short bond paper enough to occupy the space. Emphasize using points their x and y intercepts.(Use different colors of pen in sketching your graph if possible)

B. Choice 1 of the following quotations that used some terms in the topic polynomial function.

Expound through writing your chosen quote using your bond paper with graph. (Hand written or type written)

1. " A living thing is distinguished from a dead thing by the multiplicity of the changes at any moment taking place in it.“ (Herbert Spencer).

2." Don't think too much about your problems in life. They are just test papers given by God to see how much you have learned from his subject called life.“ ( Anonymous)

TAGALOG

PERFORMANCE TASK 1:

Hahanap po kayo ng polynomial function na problem tapos igagraph nyo po iyon (gumamit ng lapis). Pagkatapos, pumili ng isa sa mga kasabihan na nasa itaas at ipaliwanag ito. Gawing background design ang inyong graph sa magiging sagot nyo sa kasabihang napili ninyo. Ipasa sa messenger classroom kung ito ay natapos nyo na

Step-by-step explanation:

Bubu ako eu

18. performance task ( TAGALOG )punmunta kmi sa Bahay ng pinsan ko tapos nag picture kmi 20-30 pics tapos.yung umalis na kmi punmunta Naman kami sa Bahay ng classmate ko para I-abotYung binigay NILA saken na pencil at pang color Bali 20 pieces Yun tapos dumaan pa kami Kay clara.tapos binigyan nya. kmi ng 12na mangga kulay green Ang Tanong Ilan lahat ng mga yon sa mg apinuntahan Namin ng mga kaibigan at pinsan ko? ( ENGLISH )we are going to my cousin house and then we are caught to have 20-30 pics and then we say goodbye to my cousin.and then we are next to my classmate to give back her pen and color pen.color pen have in box 20 pieces of colors .and then we walk to Clara's garden she give us 12 pieces of mango then we walk out with my cousin and friendsQUESTIONhow many pieces we have when we back home?sorry medyo mahaba at saka WLA akong picture ehpero thankyou sa mag bibigay ng sagot3>​


82 po ang sagot

Step-by-step explanation:

it hopes help :D


19. A - Panahon ng Katutubo B - Panahon ng Espanyol C - Panahon ng Propaganda D- Panahon ng Amerikano E - Panahon ng Hapon F - Panahon ng 1987 - Kasalukuyan 11. Nailimbag ang kauna-unahang aklat sa Pilipinas. 12. Alpabetong Romano ang ginamit na pamamaraan sa pagbasa at pagsulat. 13. Naging guro ang mga sundalo at kanilang ipinatupad ang monolinggualismo. 14. Ang Baybayin na may 17 na letra ang naging paraan ng pagsulat at pagbasa. 15. Sa panahong ito, opisyal na naging Filipino ang pambansang wika ng Pilipinas. 16. Gumamit ang manunulat ng pen name upang itago ang kanilang pagkakakilanlan. 17. Naipalaganap ang marubdob na pananampalataya sa Diyos sa tulong ng Doctrina Cristiana. 18. Ginawang wikang opisyal ang Tagalog sa panahong ito subalit hindi bilang wikang Pambansa. 19. Kinikilalang ang pagkakaroon raw ng wika ay sanhi ng wave migration ng tatlong pangkat ng tao - Negrito, Indones, at Malay. 20. Pinag-aralan sa panahong ito ang iba't ibang artifacts na nahuhukay at siyang ginagawang katibayan ng mga siyentipiko sa pagpapatunay sa pinagmulan ng wika..​


The continued destruction of the earth's forest mantle as a result of human activities is another desperate concern. By 2025, some 3 billion people will live in land-short countries and another 2 billion will be living in urban areas with high levels of air pollution.Tap on a clip to paste it in the text box.Welcome to Gboard clipboard, any text you copy will be saved here.Tap on a clip to paste it in the text box.Welcome to Gboard clipboard, any text you copy will be saved here.Touch and hold a clip to pin it. Unpinned clips will be deleted after 1 hour.Use the edit icon to pin, add or delete clips.

Answer:

9ccgiufufuyerftrhyrfy


20. 11. Inatasan kayo ng iyong mga kagrupo na maglahad sa klase tungkol sa "Batas ng Kalikasan." Ano ang maaari ninyong gamitin upang maging mas epektibo ang paglalahad nito? A. Gamit ang chalk at pisara B. Gamit ang manila paper at pentel penC. gamit ang bondpaper at ballpen D.gamit ang powerpoint presentation 12. Bahagi ka ng SK sa inyong lugar. Naatasan kang gumawa ng brochure batay sa batas ng NDRRMC ukol sa "Batas sa kaligtasan." Ano ang aplikasyon maaari mong gamitin upang magawa ito? A. Microsoft Word B.Microsoft Publisher C. Microsoft Excel D. Microsoft OneNote 13. Isa ka sa mga campus journalist ng inyong paaralan. Ikaw ang gagawa ng ulat ukol sa pag-iwas sa dengue na naaayon sa "Batas sa kalusugan." Anong aplikasyon ang maaari mong gamitin upang makagawa ng ulat? A. Microsft Word B. Microsoft Publisher C. Microsoft Excel D. Microsoft OneNote 14. May pa-contest para sa paggawa ng poster para sa kapayapaan at kaayusan sa Zamboanga na ayon sa "Batas sa Kapayapaan." Anong maaari ninyong gamitin upang maging maganda ang inyong poster? A. cartolina at pangkulay B. Microsoft Excel C. Adobe Photoshop D. Wondershare Filmora 15. Gumagawa ng grado si Mrs. Tagalog, Anong aplikasyon ang maaari niyang gamitin upang mas mapadali pa ang paggawa niya ng grado? A. scientific calculator B. Microsoft Excel C. Microsoft Powerpoint D. Notepad++NOTE:☑️no nonsense please​


Answer:

11.A

12.C

13.B

14.D

15.D


21. Group the following folk songs according to its local origins. Naraniag a Bulan, Doredo Dungdungwen, Kanto Ano daw itong sa Gogon?, Y Mariang Malagu, Pen Pen de Sarapen, Paru-Parong Bukid Cadena de Amor ,Bicolano, Ilocano, Kapampangan, Tagalog,​patulong po please


bicolano-doredo,naraniag a bulan

ilocano-mariqng malagudungdungwen kanto

kapampangan-ano daw itongsa gogon?,cadena de amor

tagalog-penpendesarapen,paru parong bukid

Explanation:

pa brienliest na lang po

hope it hepls


22. They had moved here to the island of Mindoro about a year ago because Julio had been unable to find any land of his own to farm. As it was, he thought himself lucky when Ka Ponso agreed to take him on as a tenant. “Dear Compadre,” he started writing. A while before, his wife had given birth to a baby. Ka Ponso had happened to be in the neighborhood and offered to be the baby’s godfather. After that they had begun to call each other compadre. Julio was writing in Tagalog, bending earnestly over a piece of paper torn out of his son’s school notebook. It was many months since he had had a writing implement in his hand. That was when he had gone to the municipal office in Mansalay to file a homestead application. Then he had used a pen and, to his surprise, he had been able to fill in the blank form neatly. Nothing had come of the application, although Ka Ponso had assured him he had looked into the matter and talked with the officials concerned. Now, using a pencil instead of a pen, Julio was sure he could make his letter legible enough for Ka Ponso. Answer the following questions based on the text. 1. Who had moved to the island of Mindoro? 2. Why did they move to the island? 3. How did Ka Ponso help him? 4. How are Ka Ponso and Julio related to each other? 5. What was it that Julio was happy about? 6. What positive characteristics did Julio show in the story? Did you admire him for that? Why, explain your answer.


Answer:

1.Julio 2.because Julio had been unable to find any land of his own to farm 3.?4.compadre 5.yes 6.he show her kindness . yes,because he do everything for Ka Ponso


23. In this asuvky, you will analyze the pen w folk song by completing the table, DIALBOT (Tagalog, locano, eto) MELODY major, minor scale, DYNAMICS leonines or loudness of sound), TEMPO, TEXTURE, METER buple, triple, quadruple), Mood thappy, ead, et) THEME (love, religoue, work, the youtube Unke are provided for your referense of the song samples wanane way Days bapu //youtu.b /2W5UJWPS ye €/napshing Baper WY BONO /OSOBIGUP Tapalon Kapampangan DIATEC METER MOOD MELODY DYNAMICS TEMPO TEXTURE​


Answer:

pamulinawin

Explanation:

is a popular ilocano folk song


Video Terkait

Kategori english