Puntos (Student Edition) Anne Becher

Visit to download the full and correct content document:

https://ebookmass.com/product/puntos-student-edition-anne-becher/
 Puntos
Thalia Dorwick
Ana M.
Pérez-Gironés

partida
WESLEYAN UNIVERSITY

Anne Becher
UNIVERSITY OF
COLORADO, BOULDER
de
PUNTOS DE PARTIDA, TENTH EDITION

Published by McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121. Copyright © 2017 by McGraw-Hill Education. All
rights reserved. Printed in the United States of America. Previous editions © 2012, 2009, and 2005. No part of this publication
may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior
written consent of McGraw-Hill Education, including, but not limited to, in any network or other electronic storage or
transmission, or broadcast for distance learning.

Some ancillaries, including electronic and print components, may not be available to customers outside the United States.

This book is printed on acid-free paper.

1 2 3 4 5 6 7 8 9 0 DOW/DOW 1 0 9 8 7 6

Student Edition Instructor’s Edition (not for resale)

ISBN 978-0-07-353449-7 ISBN 978-1-259-62276-2

MHID 0-07-353449-8 MHID 1-259-62276-2

Senior Vice President, Products & Markets: Kurt L. Strand
Vice President, General Manager, Products & Markets:
Michael Ryan
Vice President, Content Design & Delivery: Kimberly
Meriwether David
Managing Director: Katie Stevens
Senior Brand Manager: Kim Sallee
Director, Product Development: Meghan Campbell
Product Developers: Jessica Becker / Sadie Ray
Director, Marketing: Craig Gill
Senior Faculty Development Manager: Jorge Arbujas
Marketing Managers: Mike Ambrosino / Chris Brown
Executive Market Development Manger: Helen Greenlea
Lead Subject Matter Expert: Allen Bernier
Editorial Coordinator: Sean Costello
Senior Director of Digital Content: Janet Banhidi
Senior Digital Product Analyst: Sarah Carey
Senior Digital Product Developer: Laura Ciporen
Director, Content Design & Delivery: Terri Schiesl
Program Manager: Kelly Heinrichs
Content Project Managers: Erin Melloy / Amber Bettcher
Buyer: Susan K. Culbertson
Design: Matt Backhaus
Content Licensing Specialists: Shawntel Schmitt / Beth Thole
Compositor: Lumina Datamatics, Inc.
Printer: R. R. Donnelley

All credits appearing on page or at the end of the book are considered to be an extension of the copyright page.

Library of Congress Cataloging-in-Publication Data

Dorwick, Thalia, 1944- author.

Puntos de Partida : an invitation to Spanish / Thalia Dorwick; Ana M.Pirez-Gironis,Wesleyan University; Anne Becher,
University of Colorado, Boulder. — Tenth Edition.
pages cm
Includes index.
Previous ed.: 2012.
ISBN 978-0-07-353449-7 (student edition : alk. paper) — ISBN 978-1-259-62276-2 (instructor’s edition : alk. paper)
1. Spanish language—Textbooks for foreign speakers—English. I. Pirez-Gironis, Ana Marma, author. II. Becher, Anne. III. Title.
PC4129.E5P86 2016
468.2’421—dc23
2015029086

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a website does not indicate an
endorsement by the authors or McGraw-Hill Education, and McGraw-Hill Education does not guarantee the accuracy of the
information presented at these sites.

www.mhhe.com
It’s more than a text. It’s a program.
Success in the language classroom requires so much more than
just a text. In any language-learning setting, students require
numerous and various opportunities to read, write, hear, and
speak. Puntos de partida sets the standard for Spanish-language
teaching. An innovative program that has been continuously
refined for today’s classroom, Puntos delivers proven pedagogy
with clear and effective presentations, comprehensive teaching
resources, and powerfully adaptive digital tools.

Now in its anniversary Tenth Edition, Puntos builds on the holistic,

five-skills approach it pioneered. It’s the Puntos you know. It’s the
Puntos of today.
 Proven Approach

Puntos has been the starting point for over a million students beginning to
learn Spanish. The best-selling program combines digital innovations with
the program’s solid foundation and proven approach.

This is what Puntos offers that continues to set the standard for Introductory
Spanish programs:

• Comprehensive scope and sequence

Puntos’ hallmark approach to vocabulary and grammar focuses on the
acquisition of vocabulary during the early stages of language learning
(Capítulo 1: Ante todo) and then at the start of each chapter throughout
the text. Grammar is introduced in thorough explanations, with careful
attention given to skill development rather than grammatical knowledge
alone.

To this end, the overall organization carefully progresses

from formulaic expressions to vocabulary and grammar
relevant to daily life and personal interests (studies, family,
home, leisure activities), then goes on to prepare students
for survival situations (ordering a meal, traveling), and
finally branches out to broader themes (current events,
social and environment issues). This forward progress is
reinforced by a cyclical structure where vocabulary,
grammar, and language functions are continuously
reviewed and recycled.

• Clear and effective vocabulary and grammar

presentations
The thorough, effective grammar explanations in Puntos are
in keeping with the extensive changes made in the ninth edition. These
explanations are now even more accessible to students, featuring
conversational language, increased clarity, additional examples, and
organization of complex, dense explanations into manageable chunks of
concise grammar summary. Students will find the grammar explanations to
be clear and comprehensible, and particular care has been taken to
bolster those grammar points that traditionally prove difficult.

iv
• Integrated four-skills approach with
scaffolded activities that move
students from input to o ­ pen-ended
communication
One of the hallmark features of Puntos is its
careful sequencing of activities, moving
students from controlled to free-form tasks. In
the tenth edition, this scaffolding is improved
and introduced at the individual activity level.
Starting with the very first activity following
the grammar explanation, additional Pasos
have been added to give students the
opportunity to use the new grammar in a
controlled but more personalized way,
facilitating practice and communication with
their peers as soon as new concepts are
introduced. The activities following each
vocabulary topic and grammar point also
build up to one or more free- expression activities in which students
communicate more independently and creatively.

• Inclusion of all Spanish-speaking countries

The tenth edition of Puntos highlights the
proven concept that introducing students to
the Spanish-speaking world goes beyond
asking them to simply absorb information
about each country. Instead, a few key
cultural insights, appearing at various
moments throughout each chapter, serve to
spark students’ interest and, by closing with
a question that asks students to reflect on
cultural comparisons, encourage them to
create personal connections with the cultures
of the Spanish-speaking world.

 v
 Comprehensive Teaching
Resources to Create a
Successful Face-to-Face,
Hybrid, or Online Class
Puntos de partida was designed to provide novice and experienced instructors
alike with the tools needed to walk into the classroom—be it face-to-face or
online—well-prepared to teach an engaging class. As a comprehensive
program, Puntos offers a wide array of resources and supporting materials, so
it functions as a flexible framework that can be tailored to individual teaching
situations and goals. Whether you’re using the program for your face-to-face,
hybrid, or online class, the wealth of resources sets up both instructors and
students for success.

• New and enhanced instructor’s annotations

The program’s user-friendliness and solid teaching support are strengthened in
this edition with extensively rewritten annotations in the Instructor’s Edition. With
improved and added notes, instructors will now find teaching suggestions for
each and every grammar presentation and practice activity in the text, with
point-by-point suggestions for presenting the material in class, in addition to a
wealth of helpful facts and resources, variations on and supplements to the
existing material, and suggestions for follow-up and extension. Taking into
account that Introductory Spanish classrooms typically contain a mix of true
beginners, false beginners, and even heritage speakers, a new streamlined
organization and a designated space for expanded suggestions for heritage
speakers makes it even easier to meet the needs of students with varying
levels of language proficiency.

vi
• Brand-new digital and print testing program
A key part of the instructor resources available with Puntos is the comprehensive
testing program, now completely rewritten and available in both print and digital
formats. Whether you use the testing program as a model to customize your own
tests, or you want to quickly and easily assign existing exams or poolable
questions to your students, the new testing program offers multiple versions for
each chapter from which instructors can draw.

• Updated supplemental activities manual

The tenth edition can be accompanied by the updated Supplementary Materials
to Accompany Puntos de partida, by Sharon Foerster. The supplementary
materials are an updated teacher’s guide to Puntos and consist of worksheets,
short pronunciation practice, listening exercises, grammar worksheets, integrative
communication-building activities, comprehensive chapter reviews, and language
games.

• In-class grammar and culture presentations on Connect under

the Library tab
Connect houses other important resources to support instruction. In addition to the
Instructor’s Manual and an Instructor’s Guide for Connect, you will find a digital
Image Bank to support your classroom
presentations and activities, as well as
updated cultural and grammar content for
in-class use. With engaging images and
cultural facts about the countries of focus, the
updated Cultural PowerPoint Presentations
offer students additional contact with culture,
and offer the instructor detailed notes and
suggestions for how to present these in class.
To build on the grammar presentations in the
text, Grammar PowerPoint Presentations
provide an additional way for students to
absorb grammatical knowledge, which is
especially useful for hard-to-grasp concepts
where students often benefit from multiple
and varied modes of presentation.

 vii
 Engaging and Immersive
Digital Tools

Connect is the most powerful and flexible course management system available.
Rooted in research on effective student learning practices, the platform integrates
adaptive learning tools with dynamic, engaging language practice activities. The
result is better student learning of the Spanish language.

• A personalized and adaptive learning and teaching experience

No two students learn a language the same way or at the same rate. Students
enter the Introductory Spanish course with a wide range of knowledge and
experience, from true beginners to heritage speakers. So how do you know what
to teach and to whom?

McGraw-Hill’s LearnSmart provides each student with a personalized and adaptive

learning experience based on individual needs. As the student works through a series
of probes around the vocabulary and grammar presented in each chapter, LearnSmart
identifies what the student knows and doesn’t know, and continuously adapts the
subsequent probes to focus on those areas where the student needs the most help.
Each student learns and masters core vocabulary and grammar at his or her own pace
and comes to class better prepared to communicate in the target language.

And just as no two students learn a language the same way, no two Spanish
courses are taught the same way. Connect provides the instructor with both the
ability and flexibility to pull from the robust set of content available in the platform
and craft a unique learning path based on the goals of the course. Be it in a face-
to-face, hybrid, or fully online course, Connect can adapt to you and to your
students to create the ideal learning environment.

• Student-centered
Students learn best when they are involved and interested in the material being
taught. Practice Spanish: Study Abroad, the market’s first 3-D immersive language
game designed exclusively by McGraw-Hill Education, brings the language to the
students in a fun, engaging, and immersive gaming experience. Students “study
abroad” virtually in Colombia where they will create their very own avatar, live with
a host family, make new friends, and navigate a variety of real-world scenarios
using their quickly developing Spanish language skills. Students earn points and
rewards for successfully accomplishing these tasks via their smartphones, tablets,
and computers, and instructors have the ability to assign specific tasks, monitor
student achievement, and incorporate the game into the classroom experience.
Practice Spanish: Study Abroad is available upon request. Your Learning
viii Technology Representative can provide more information.
• Robust data
Instructors and students alike want to know how students are performing in the
course and where they can improve. The powerful reporting tools in Connect
surface actionable data to both instructors and students so steps can be taken by
both groups to ensure student success.

The first and only analytics tool of its kind, Connect Insight is a series of visual
data displays—each framed by an intuitive question—to provide instructors at-a-
glance information regarding how your class is doing. Connect Insight provides
analysis on five key insights, available at a moment’s notice from your Connect
course.

LearnSmart provides powerful reports to view student progress by module and

detail with completion breakdown, along with class performance data, frequency of
missed questions, and a view into the most challenging learning objectives.
Metacognitive reports allow instructors to view statistics on how knowledgeable
their students are about their own comprehension and learning. What’s more,
LearnSmart provides students their own progress reports so they can take full
responsibility for their own learning.

 ix
WHAT’S NEW

Functional design
and easy reference
• Identifiable goals: Each
chapter opener details
what students can hope to
accomplish.
• Significance of color:
Updated color patterns
allow for easy navigation
and concept identification.
• Visually fresh: Many new
photos, realia, and updated
drawings.

Solidifying
grammar
and vocabulary
• Clarity: Grammar explanations are simpler and more straightforward, with particular care given to points that
are often challenging for students.
• Grammar summaries: Short summaries now appear at the end of all grammar explanations.
• More input: More models in the target language to guide students through activities.
• Seamless progression: Práctica and Conversación are now a single section, Práctica y comunicación, for
seamless transition from controlled to free-form activities, while maintaining careful sequencing. Each initial
activity in Práctica y comunicación incorporates an Autoprueba for students to check their comprehension and
builds up to personalized and communicative grammar practice.
• Self-checks: En resumen now includes a chapter-ending checklist for students to assess their progress toward
attaining the goals stated at the beginning of the chapter.

New opportunities for communicative practice

• Chapter opener: New personal chapter
opener questions and answers from native
speakers from various parts of the Spanish-
speaking world get students listening and
talking in the target language from the very
first page of each chapter.
• Communicative grammar practice:
Grammar activity sections are scaffolded
to carefully move students into free-form
practice activities after each grammar point.
• Producción personal: This new chapter-ending section guides students to create a capstone portfolio of writing,
speaking, and filming activities.
• Information gap activities: New activities designed for every chapter.

x
Integrated culture
• Culturally based activities: More grammar and vocabulary exercises center on
cultural context.
• Algo sobre… : Appearing three to four times per chapter, these new windows
into the countries of focus weave culture into the linguistic workflow.
• A leer: Readings are simplified and include more interactive activities (Y ahora, Uds.).
• Un poco de todo: Each section starts with a Lengua y cultura activity to practice
newly acquired and recycled grammar and vocabulary.

Video integration:
• In each chapter, the Salu2 (formerly
Telepuntos) video is divided into two shorter
segments, one that is integrated into the
vocabulary presentation, providing the
opportunity for additional practice, and one
that remains at the end of the chapter to
reinforce a variety of skills.

Digital tools
• Embedded audio: Audio recordings
throughout the ebook; students hear new
vocabulary as it is introduced.
• LearnSmart: Grammar modules for every grammar topic and updated
vocabulary modules.
• Practice Spanish: Study Abroad: This interactive 3D game, accessible on
computers and mobile devices, immerses students in a virtual study abroad
experience in Colombia. Practice Spanish facilitates real-world application that
integrates culture, grammar, and vocabulary.
• English grammar guides: Assignable explanations and practice with basic
grammar concepts in English.

Instructor resources
• Even more comprehensive instructor annotations: Strengthened and
reorganized annotations have consistent suggestions for expansion, oral
practice, and grammar explanations.
• Well-organized: Easy-to-navigate Annotated Instructor’s Edition with a
dedicated area for heritage speakers.
• Testing program: Completely revised in both digital and print forms.

 xi
ABOUT THE AUTHORS
Thalia Dorwick retired as McGraw-Hill’s Editor-
in-Chief for Humanities, Social Sciences, and Languages.
For many years she was also in charge of McGraw-Hill’s
World Languages college list in Spanish, French, Italian,
German, Japanese, and Russian. She has taught at
Allegheny College, California State University
(Sacramento), and Case Western Reserve University,
where she received her Ph.D. in Spanish in 1973. She
was recognized as an Outstanding Foreign Language
Teacher by the California Foreign Language Teachers
Association in 1978. Dr. Dorwick is the coauthor of
several textbooks and the author of several articles on
language teaching issues. She is a frequent guest
speaker on topics related to language learning, and she
was also an invited speaker at the II Congreso
Internacional de la Lengua Española, in Valladolid, Spain,
in October 2001. In retirement, she consults for McGraw-
Hill, especially in the area of world languages, which is of
personal interest to her. She is a Vice President of the
Board of Trustees of Case Western Reserve University
and a past President of the Board of Directors of
Berkeley Repertory Theatre.
Ana María Pérez-Gironés is an Adjunct
Associate Professor of Spanish at Wesleyan University,
Middletown, Connecticut, where she teaches and
coordinates Spanish language courses. She received a
xii
Licenciatura en Filología Anglogermánica from the
Universidad de Sevilla in 1985, and her M.A. in General
Linguistics from Cornell University in 1988. Professor
Pérez-Gironés’ professional interests include second
language acquisition and the use of technology in
language learning. She is a coauthor of A otro nivel,
Puntos en breve, Second Edition, and ¿Qué tal?, Seventh
Edition. She is also a coauthor of the Student Manuals
for Intermediate Grammar Review and Intensive and
High Beginner Courses that accompany Nuevos
Destinos.
Anne Becher received her M.A. in Hispanic
Linguistics in 1992 from the University of Colorado—
Boulder, and now coordinates the Beginning Spanish
One course and teaches pedagogy and methods
courses for the Department of Spanish and Portuguese
there. She has taught beginning through advanced levels
of Spanish since 1996, including several years teaching
Modified Spanish classes for students with difficulty
learning languages. She has published several reviews in
Hispania, presents frequently at the Colorado Congress
of Foreign Language Teachers (CCFLT) conferences, and
has served on the boards of CCFLT and the Colorado
chapter of American Association of Teachers of Spanish
and Portuguese. She co-edited the bilingual literary
journal La selva subterranea from 1987–1996.
ACKNOWLEDGMENTS

We would like to thank the overwhelming number of friends and colleagues who served on boards of advisors or
as consultants, completed reviews or surveys, and attended symposia or focus groups. Their feedback was indis-
pensible in creating the Puntos program. The appearance of their names in the following lists does not necessarily
constitute their endorsement of the program or its methodology.

Practice Spanish: Study Abroad Board of Advisors

James Abraham Patricia Harrigan David Neville
Glendale Community College Community College of Baltimore County Elon University
Kalynn Aguirre Felix Kronenberg Michelle Ocasio
Florida Atlantic University Rhodes College Valdosta State University
Adam Ballart Melissa Logue Aaron Salinger
Ball State University Columbus State Community College Mount San Antonio College
Kelly Conroy Leticia McGrath Jacquelyn Sandone
Western Kentucky University Georgia Southern University University of Missouri
Ari Gutman
Auburn University

Practice Spanish: Study Abroad Colombia Consultants

Lourdes Arevalo Martiza Nemoga Amy Uribe
University of California, Los Angeles University of Pittsburgh Lone Star College
Jorge Cubillos Beatriz Potter Juan Villa
University of Delaware Valdosta State University University of Rhode Island
Fabio Espitia Chayree Santiago Thomas
Grand Valley State University Rowan-Cabarrus Community College

Practice Spanish: Study Abroad Student Board of Advisors

Kaitlin Anderson Brandi Glenn Isaac Reeves
Illinois State University Georgia Southern University Ben Davis University
Jasmine Arias Michael R. Herrera Gulya Tlegenova
University of Illinois, Urbana-Champaign University of Cincinnati San Diego Mesa College
Joyce Bolivar Tricia Hogan Kari Uhle
University of Rhode Island University of Rhode Island Indiana University
Mike Churvis Abigael Mandenberg Victoria Vanderaa
Georgia Perimeter College, Dunwoody University of Illinois, Urbana-Champaign Illinois State University
Julian Colonia Jen McGunigal Juan Villa
University of Rhode Island University of Rhode Island University of Rhode Island
Brian de la Cruz Johan Molina Kayla Warren
University of Rhode Island University of Rhode Island Georgia Southern University
Katherine Foss Deandra Moorman
University of Rhode Island University of Cincinnati

 xiii
Practice Spanish: Study Abroad Student Ambassadors
Daniel Carroll Colin McCullough Vanessa Wismeier
Northern Virginia Community College Ohio University Loras College
Marie-Claire Levy Emily Ousterhout Matt Wolf
Florida State University Mississippi State University Kansas State University
Tuyen Lieu Paige Tabler
Central Piedmont Community College California State University, Chico
Matt Lozano Maggie Wilson
Clarke University George Mason University

Practice Spanish: Study Abroad Pilots and Beta Testers

James Abraham Muriel Gallego Leticia McGrath
Glendale Community College Ohio University Georgia Southern University
Julie Alwehieby Audrey R. Gertz Peggy McNeil
Coastline Community College Indiana University-Purdue Louisiana State University
Melba Amador University Indianapolis Marco Mena
Western Kentucky University Scott Gibby Mass Bay Community College
Jeanette Banashak Austin Community College Wendy Mendez-Hasselman
Grand Valley State University Adrienne Gonzalez Palm Beach State College
Tulio Cedillo University of Denver Jerome Mwinyelle
Lynchburg College Michael Harrison East Tennessee State University
Daren Crasto San Diego Mesa College Danae Orlins
Houston Community College Claudia Jaramillo University of Cincinnati
Paul Cristofaro Purdue University Calumet Hector Iglesias Pascual
Minot State University Ryan LaBrozzi Ohio University
Luis Delgado Bridgewater State University Erika M Southerland
Olive Harvey College Jude Thomas Manzo Muhlenberg College
Mark A. Dowell Saint Phillip’s College Amber Workman
Randolph Community College California Lutheran University

ACTFL 2014 Workshop Participants

Susana Solera Adoboe Jude Thomas Manzo Samuel Sommerville
Southern Methodist University Saint Phillip’s College Johnson County Community College
Berta Chópite Leticia McDoniel Gloria Yampey-Jorge
Earlham College Southern Methodist University Houston Community College
Abby Dings Javier Morin
Southwestern University Del Mar College

Symposia
Atlanta, GA
Juan Alcarría
Georgia College & State University
Barbara A. Bateman
Georgia Perimeter College
María Elena Bermudez
Georgia State University
María Guadalupe Calatayud
University of North Georgia
Aurora Castillo-Scott
Georgia College & State University
Jose A. Cortés
Georgia Perimeter College
Lisa Davie
Georgia Perimeter College
Janan Fallon
Georgia Perimeter College
Carolina Ganem-Cameron
Georgia Perimeter College
Gael Guzmán Medrano
University of West Georgia
Kristi Hislope
University of North Georgia
Nicolas Hu
University of North Georgia
Melissa Logue
Columbus State Community College
Leda Lozier
The University of Georgia
Raúl Llorente
Georgia State University
Rosaria Meek
University of North Georgia
Oscar H. Morena
Georgia State University
Sharon Nuruddin
Clark Atlanta University
Teresa Pérez-Gamboa
The University of Georgia

xiv
Rick Robinson Elizabeth Z. Solis Alvaro Torres Calderón
Georgia Perimeter College University of West Georgia University of North Georgia
Daniel Sanchez Mariana Stone Ami L. Travillian-Vonesh
The University of Georgia University of North Georgia University of North Georgia
Pamela Simpson Sherry von Klitzing
Georgia Perimeter College Kennesaw State University

Napa, CA
Tanya Chroman Deborah Holmberg Marcelo Paz
California Polytechnic State University Azusa Pacific University California State University, East Bay
Laurie de González Keith Johnson Beatriz Robinson
University of Oregon California State University, Fresno University of Nevada, Reno
Mari Carmen García Anne Kelly-Glasoe Judy Rodríguez
Sacramento City College South Puget Sound Community College California State University, Sacramento
Ana Hartig-Ferrer Milagros Ojermark Julio Torres
California Polytechnic State University Diablo Valley College University of California, Irvine

Chicago, IL
Maxi Armas Ronald Gest David Migaj
Triton College Milwaukee Area Technical College Wilbur Wright College
An Chung Cheng Ileana Hester Octavian Stinga
University of Toledo Governors State University City Colleges of Chicago
Chyi Chung Alfonso Illingworth-Rico Lucero Tonkinson
Northwestern University Eastern Michigan University City Colleges of Chicago
Luis Delgado Franklin Inojosa
Olive-Harvey College City Colleges of Chicago

Los Angeles, CA
Ashlee Balena Christopher DiCapua Maria Manni
University of North Carolina at Community College of Philadelphia University of Maryland, Baltimore County
Wilmington Concepción Domenech Anne-Marie Martin
Tracy Bishop University of Wyoming Portland Community College
University of Arkansas Mandy Faretta-Stutenberg Juan Carlos Moraga
Aymara Boggiano Northern Illinois University Folsom Lake College
Rice University Erin Finzer Christine Núñez
Oscar Cabrera University of Arkansas at Little Rock Kutztown University of Pennsylvania
Community College of Philadelphia Anna Kalminskaia Eva Núñez
Sara Casler University of Nevada, Reno Portland State University
Sierra College David Leavell Norma Rivera-Hernández
Christine Cotton College of S. Nevada Millersville University of Pennsylvania
University of Arkansas at Little Rock

Baton Rouge, LA
Gina Breen Amy George-Hirons Sulagna Mishra
Louisiana State University Tulane University Louisiana State University
Brigitte Delzell Melissa Guerry John Patin
Louisiana State University Louisiana State University Louisiana State University
Dorian Dorado Sheldon Lotten Alfonso Quinones
Louisiana State University Louisiana State University Louisiana State University
Ann Francois Cathy Luquette Mariela Sanchez
Louisiana State University Louisiana State University Southeastern Louisiana University
Stephanie Gaillard Peggy McNeil Jack Yeager
Louisiana State University Louisiana State University Louisiana State University

 xv
Miami, FL
Emmanuel Alvarado Trenton Hoy Alyse Schoenfeldt
Palm Beach State College Broward College Central Palm Beach State College, Eissey
Elisabeth D’Antoni Wendy Mendez-Hasselman Alina Vega-Franco
Broward College Central Palm Beach State College, Lake Worth Broward College Central
Domenica Diraviam Sandy Oakley Justin White
Broward College Central Palm Beach State College, Eissey Florida Atlantic University, Boca
Mónica Durán Celia Roberts Raton
University of Miami, Coral Gables Broward College Central

Amelia Island, FL
Flavia Belpoliti María Elizabeth Mahaffey Carmen Sotolongo
University of Houston University of North Carolina, Charlotte El Camino College
Sarah Bentley Leticia McGrath Edda Temoche-Weldele
Portland Community College Georgia Southern University Grossmont College
Sara Casler Catherine Ortiz Amy Uribe
Sierra College University of Texas at Arlington Lone Star College
Jorge Cubillos Yanira Paz Karen Zetrouer
University of Delaware University of Kentucky Santa Fe Community College
Paul Larson Carlos Ramírez
Baylor University University of Pittsburgh

Key West, FL
Michelle Cipriano Melissa Logue Beatriz Potter
Wright State University Columbus State Community College Valdosta State University
Edward Erazo Germán Negrón Latasha Russell
Broward College–Central University of Nevada, Las Vegas Florida State College, South Campus
Cindy Espinosa Sylvia Nikopoulos Nancy Stucker
Central Michigan University Central Piedmont Community Cabrillo College
Vanessa Lazo-Wilson College Lucero Tenorio
Austin Community College–Round Isabel Parra Oklahoma State University, Stillwater
Rock University of Cincinnati, Batavia Lilia Vidal
Kathy Leonard Carlos Pedroza Miracosta College
University of Nevada, Reno Palomar College

Practice Spanish: Study Abroad - Hollywood, FL

Kelly Conroy Luz Font Alejandro Muñoz
Western Kentucky University Florida State College, South Campus Garces Coastal Carolina University
Darren Crasto Muriel Gallego Aaron Roggia
Houston Community College, Ohio University, Athens Oklahoma State University
Northwest College Scott Gibby Aaron Salinger
Richard Curry Austin Community College, Mt. San Antonio College
Texas A & M University Northridge Jacquelyn Sandone
Dorian Dorado Ryan LaBrozzi University of Missouri, Columbia
Louisiana State University, Baton Rouge Bridgewater State University Michael Vrooman
Leah Fonder-Solano Melissa Logue Grand Valley State University
University of Southern Mississippi Columbus State Community College

xvi
Reviewers
Dean Allbritton Indira Dortolina Roberto Jimenez-Arroyo
Colby College Lone Star College, Univeristy Park University of South Florida
Tim Altanero Denise Egidio Sarasota-Manatee
Austin Community College Guilford Technical Community College Julie Kleinhans-Urrutia
Virginia Arreola Hector Fabio Espitia Austin Community College
Hiram College Grand Valley State University Chris Kneifl
Silvia Arroyo Abra Figueroa University of Oklahoma
Mississippi State University Oklahoma City Community College Dr Jeremy Larochelle
Barbara Avila-Shah Sarah Finley University of Mary Washington
University at Buffalo, State University University of Kentucky Luis E Latoja
of New York Timothy Foxsmith Columbus State Community College
Wanda Baumgartel Univeristy of Texas, Arlington Rachele Lawton
Snead State Community College Ellen Lorraine Friedrich The Community College of
Anne Becher Valdosta State University Baltimore County
University of Colorado at Boulder Daniel Fulmer Vanessa Lazo-Wilson
Brian Beeles Snead State Community College Austin Community College
Arizona Western College Javier A. Galvan Peter Lebron
Clare Bennett Santa Ana College Moberly Area Community College
University of Alaska Southeast, Luis Garcia-Torvisco Kathleen Leonard
Ketchikan Gonzaga University University of Nevada, Reno
Donna Binkowski Alejandro Garza Talia Loaiza
Southern Methodist University Tarrant County College, Northwest Austin Community College
Diane Birginal Campus Rosemary LoDato
Gonzaga University Scott Gibby Houston Community College
Joseph Brockway Austin Community College Southwest
Mountain View College Debbie Gill Kathy Lopez
Francis Canedo Penn State University, DuBois Saginaw Valley State University
Northeast State Community College Elena Grajeda Kimberly Louie
Beth Cardon Pima Community College Southeast Missouri State University
Georgia Perimeter College Ileana Gross Monica Malamud
Gabriela Carrion University of Colorado Denver Canada College
Regis University Sergio A. Guzmán Jude Thomas Manzo
Mayra Cortes-Torres College of Southern Nevada Saint Philip’s College
Pima Community College Karen Hall Zetrouer Sandra M. Manzon - Omundson
Laurence Covington Santa Fe College Anoka Ramsey Community College
University of the District of Columbia Patricia Harrigan Ornella Mazzuca
Community College Community College of Baltimore Dutchess Community College
Darren Crasto County Peggy McNeil
Houston Community College Haydn Louisiana State University
Betsy Dahms Campbell University Marco Mena
University of West Georgia Lynn Healy Massbay Community College
Kit Decker Grand Valley State University Wendy Mendez-Hasselman
Piedmont Virginia Community College Laurie Huffman Palm Beach State College
Heriberto Del Porto Los Medanos College Jise L. Mendoza
Westminster College, MO Elena Iglesias-Villamel The University of San Diego
David Detwiler Hiram College Joseph Menig
MiraCosta College Kelsey Ihinger Valencia College
John Deveny University of Wisconsin, Madison Lizette Moon
Oklahoma State University, Stillwater Casilde Isabelli Houston Community College
Dorian Dorado University of Nevada, Reno Northwest
Louisiana State University

 xvii
Patricia Moore-Martinez Francisco Salgado Giovanna Urdangarain
Temple University The College of Staten Island Pacific Lutheran University
Sandra J. Mulryan Francisco Salgado-Robles Amy Uribe
Community College of Baltimore County University of Kentucky LoneStar College CyFair
Heather Nylen Bethany Sanio Vangie Vélez-Cobb
University of Hawaii at Manoa University of Nebraska at Lincoln Palo Alto College
Dale Omundson Roman Santos Hilde Votaw
Anoka-Ramsey Community College Mohawk Valley Community College University of Oklahoma
Ann Ortiz David Schultz Michael Vrooman
Campbell University College of Southern Nevada Grand Valley State University
Catherine Ortiz Dr. Dennis Seager Natalie S. Wagener
University of Texas at Arlington Oklahoma State University University of Texas, Arlington
Patricia Orozco Watrel Georgia Seminet Sara Walker
University of Mary Washington St. Edward’s University Holy Family University
Philip Pack Louis Silvers Tina Ware-Walters
Connors State College Monroe Community College Oklahoma Christian University
Elizabeth Petree Natalie Sobalvarro Sandra Watts
Joliet Junior College Merced College University of North Carolina,
Maria Portal Samuel Sommerville Charlotte
Hamilton College Johnson County Community College Susan Wehling
Tim Robbins Stacy Southerland Valdosta State University
Drury University University of Central Oklahoma Christopher Weimer
Silvia Roca-Martinez Clay Tanner Oklahoma State University
The Citadel The University of Memphis Joseph Wieczorek
Angelo J. Rodriguez Joe Terantino College of Baltimore
Kutztown University of Pennsylvania Kennesaw State University Karen Zetrouer
Margarita Rodriguez Rosa Tezanos-Pinto Santa Fe College
Lone Star College System Indiana University-Purdue University
Ulises Rodriguez Indianapolis
Mountain View College

xviii
The authors wish to thank the following friends and
professional colleagues. Their feedback, support, and
Contributors
contributions are greatly appreciated. Kalynn Aguirre, Sarah Alem, Allen Bernier, Denise
Nicole Casnettie, Eileen Fancher, Lorena Gómez
• Arni C. Álvarez , Rodrigo Figueroa, Nathan Gordon, ­Mostajo, Danielle Havens, Shelly Hubman, Emilia Illana
Melissa Logue, Christina D. Miller, and Mark Pleiss Mahiques, Constance Kihyet, Christopher LaFond, Lily
for their work as user diarists, and Anne Becher Martínez, Leticia McGrath, Wendy Mendez-Hasselman,
and Jeanette Sánchez Naranjo for helping us Louise Neary, Ron Nelms, Pennie Nichols, Jodi Parrett,
identify many members of this fine team Maritza Salgueiro-Carlisle, John Underwood, Annie
• The Teaching Assistants and colleagues of Anne ­Rutter Wendel, Sam Sommerville, Nina Tunac-Basey,
Becher at the University of Colorado, Boulder, Amy Uribe, Alina Vega Franco
whose thought-provoking conversations and
annotations truly shaped the revision of the Product Team
grammar, vocabulary, and activities. “Their work was
Editorial and Marketing: Mike Ambrosino, Jorge
perhaps the single most important kind of input that
Arbujas, Allen J. Bernier, Susan Blatty, Chris Brown,
I received for this edition.”—Thalia Dorwick
Laura Ciporen, Craig Gill, Helen Greenlea, Misha
• The colleagues of Ana Pérez-Gironés at Wesleyan Maclaird, Pennie Nichols, Sadie Ray, Kimberley Sallee,
University Katie Stevens, Alina Vega Franco
• Dora Y. Marrón Romero and Claudia Sahagún
Art, Design, and Production: Matt Backhaus, Amber
(Broward Community College), for their helpful
Bettcher, Francine Cronshaw, Kelly Heinrichs, Patti Isaacs,
comments about culture
Lynne Lemley, Erin Melloy DeHeck, Sylvie Pittet, Margaret
• Alejandro Lee (Central Washington University), for Potter, Terri Schiesl, Emily Tietz, Beth Thole, Shawntel
the many comments and suggestions on the eighth Schmitt
edition
• Laura Chastain, for her meticulous work on the
Media Partners: Aptara, BBC Motion Gallery, Eastern
Sky Studios, Hurix, Klic Video Productions, Inc.,
language and linguistic accuracy of the manuscript,
Laserwords, Latinallure Voiceover, LearningMate
over many editions but especially this one
Finally, the authors would like to thank their families
and close personal friends for all of their love, support,
and patience throughout the creation of this edition.
¡Los queremos mucho!

 xix
CONTENTS
VOCABULARY AND
GRAMMAR
Capítulo PRONUCIATION

1
Primera parte Primera parte
Ante todo 2 Saludos y expresiones de ¿Cómo es usted? (Part 1) 9
cortesía 4 Segunda parte
Nota comunicativa Más Los números del 0 al 30; Hay 13
expresiones de cortesía 5 Nota comunicativa El género y los números 13
El alfabeto español 8 Los gustos y preferencias (Part 1) 15
Nota comunicativa Los ¿Qué hora es? 17
cognados 9
Segunda parte
Nota comunicativa Cómo
expresar la hora 17
Pronunciación Las vocales:
a, e, i, o, u 7

2
En el salón de clase 28
En la 1 Naming People, Places, Things, and Ideas (Part 1) •
universidad 26 Las materias 30 Singular Nouns: Gender and Articles 35
Nota comunicativa Más palabras 2 Naming People, Places, Things, and Ideas (Part 2) •
interrogativas 32 Nouns and Articles: Plural Forms 38
Pronunciación Diphthongs and 3 Expressing Actions • Subject Pronouns (Part 1) •
Linking 34 Present Tense of -ar Verbs; Negation 41
Nota comunicativa Cómo expresar las partes
del día 46
Nota comunicativa El verbo estar 47
4 Getting Information (Part 1) • Asking Yes/No
Los Estados Unidos de
América
Questions 48

3
La familia y los parientes 62
La familia 60 Los números del 31 al 100 64
Nota comunicativa Cómo
expresar la edad: tener… años 65
Los adjetivos 66
Pronunciación Stress and
Written Accent Marks (Part 1) 68
México
5 Describing • Adjectives: Gender, Number, and
Position 69
Nota comunicativa Otras nacionalidades 73
6 Expressing to be • Present Tense of ser; Summary
of Uses (Part 2) 75
Nota comunicativa Cómo dar explicaciones : Porque y
para + infinitive 78
7 Expressing Possession • Unstressed Possessive
Adjectives (Part 1) 80
8 Expressing Actions • Present Tense of -er and -ir
Verbs; Subject Pronouns (Part 2) 83
Nota comunicativa Cómo expresar la frecuencia de
las acciones 87

xx
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 Primera parte

desde Los NOTA CULTURAL Los saludos en el mundo hispano 5
Ángeles 20 ¡Aquí se habla español! 11
Segunda parte
A LEER
Una lección de geografía 22

SALU 2 NOTA CULTURAL Las universidades más antiguas del mundo hispano 30
¡Qué bacán! Algo sobre…
Segmento 1 33 • la universidad 29
Segmento 2 53 • los Departamentos de Estudios Latinos en las universidades de los
Estados Unidos 50
A ESCUCHAR UN POCO DE TODO Lengua y cultura: Dos universidades fabulosas… y
Un anuncio para los cursos de verano de la diferentes 51
Universidad Internacional 56
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: Los Estados Unidos
A escribir: Un ensayo sobre este semestre/ La presencia latina en las universidades norteamericanas 54
trimestre 57 En otros países hispanos (En todo el mundo hispanohablante;
En el Ecuador) 54
Un símbolo latino en los Estados Unidos: Los murales y el arte
urbano 54
Del mundo hispano
Lectura: Un anuncio de Inglés USA 55

SALU 2 NOTA CULTURAL El sistema hispano de apellidos 64

Padres modernos Algo sobre…
Segmento 1 67 • los estados mexicanos 65
Segmento 2 91 • una pintora mexicana 72
• la comida de México 85
A ESCUCHAR • una gran ciudad mexicana 88
La familia de Lucía Jiménez Flores 94 • ¿América? 89
UN POCO DE TODO Lengua y cultura: Las familias 89
PRODUCCIÓN PERSONAL
A escribir: Un ensayo sobre la familia 95 A LEER
Lectura cultural: México
La institución de la familia en México 92
En otros países hispanos (En todo el mundo hispanohablante) 92
Un símbolo mexicano: Los centros arqueológicos 92
Del mundo hispano
Lectura: Un parto excepcional en la República Dominicana 93
 xxi
 VOCABULARY AND
PRONUCIATION GRAMMAR

4 De De compras: La ropa 100 9 Pointing Out People and Things • Demonstrative

compras 98 Nota comunicativa Preguntas
coletilla (tag) 102
Los colores: ¿De qué color
es? 103
Los números a partir del 100 105
Pronunciación Stress and
Written Accent Marks (Part 2) 108
Adjectives (Part 2) and Pronouns 110
10 Expressing Actions and States • Tener, venir, poder,
preferir, querer; Some Idioms with tener 114
Nota comunicativa Mucho y poco 117
11 Expressing Destination and Future Actions • Ir; The
Contraction al; Ir + a + Infinitive 119

Guatemala Honduras

5
Los muebles, los cuartos y otras
partes de la casa 132
En casa 130
¿Qué día es hoy? 134
Nota comunicativa Cómo
expresar on con los días de la
semana 135
¿Cuándo?: Las preposiciones
(Part 1) 136
12 Expressing Actions • Hacer, oír, poner, salir, traer,
ver 139
13 Expressing Actions • Present Tense of Stem-
changing Verbs (Part 2) 145
14 Expressing -self/-selves • Reflexive Pronouns
(Part 1) 150
Nota comunicativa Cómo expresar una secuencia de
acciones 153

El Salvador Nicaragua

6
¿Qué tiempo hace hoy? 166
Las estaciones
y el tiempo 164 Nota comunicativa Otras
expresiones con tener 167
Los meses y las estaciones
del año 168
¿Dónde está?: Las preposiciones
(Part 2) 170
15 ¿Qué están haciendo? • Present Progressive:
Estar + -ndo 173
Nota comunicativa El gerundio con otros verbos 177
16 ¿Ser o estar? • Summary of the Uses of ser and
estar 178
Nota comunicativa El uso de adjetivos + por 181
17 Describing • Comparisons 185

Costa Rica

xxii
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 NOTA CULTURAL La ropa tradicional en el mundo hispano 104

¡Moda, moda, Algo sobre…
moda! • un artista guatemalteco 103
Segmento 1 107 • Tikal 117
Segmento 2 123 • las compras en Guatemala y Honduras 121
UN POCO DE TODO Lengua y cultura: Pero, ¿no se puede
A ESCUCHAR regatear? 121
Los planes de Lidia y Cristina para ir de
compras 126 A LEER
Lectura cultural: Guatemala y Honduras
PRODUCCIÓN PERSONAL Los mercados 124
A escribir: Un ensayo sobre los estilos en el En otros países hispanos (En todo el mundo hispanohablante;
campus 127 En los países andinos) 124
Un símbolo guatemalteco y hondureño: El Popol Vuh 124
Del mundo hispano
Lectura: Un artículo sobre la ropa 125

SALU 2 NOTA CULTURAL Las casas en el mundo hispano 134

Vivir con la familia Algo sobre…
Segmento 1 138 • los lagos de Nicaragua 143
Segmento 2 157 • las casas tradicionales centroamericanas 144
• la costa centroamericana 152
A ESCUCHAR UN POCO DE TODO Lengua y cultura: Una tradición extendida —El
Ernesto y Víctor necesitan muchos Día de la Cruz 155
muebles 160
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: El Salvador y Nicaragua
A escribir: Un ensayo sobre una semana típica La vivienda 158
de los estudiantes universitarios 161 En otros países hispanos (En todo el mundo
hispanohablante) 158
Un símbolo de El Salvador y Nicaragua: los volcanes 158
Del mundo hispano
Lectura: Anuncios de bienes raíces 159

SALU 2 NOTA CULTURAL El clima en el mundo hispano 169

En la Mitad del Algo sobre…
Mundo • los valores de los costarricenses 175
Segmento 1 172 • la democracia en Costa Rica 180
Segmento 2 193 • San José y Buenos Aires 185
UN POCO DE TODO Lengua y cultura: Dos hemisferios 191
A ESCUCHAR
El pronóstico del tiempo en la Argentina 196 A LEER
Lectura cultural: Costa Rica
PRODUCCIÓN PERSONAL El clima de Costa Rica 194
A escribir: Un ensayo sobre sus preferencias En otros países hispanos (En Chile; En España) 194
climáticas 197
Un símbolo costarricense: La carreta 194
Del mundo hispano
Lectura: Un calendario especial 195

 xxiii
 VOCABULARY AND
PRONUCIATION GRAMMAR

7
La comida y las comidas 202
¡A comer! 200 Nota comunicativa Más
vocabulario para hablar de la
comida 203
¿Qué sabe Ud. y a quién
conoce? 205
18 Expressing what or who(m) • Direct Objects: The
Personal a; Direct Object Pronouns 209
Nota comunicativa Cómo expresar una acción muy
reciente: acabar + de + infinitivo 213
19 Expressing Negation • Indefinite and Negative
Words 215
20 Influencing Others • Commands (Part 1): Formal
Commands 219

Panamá

8
De viaje 234
De viaje 232 De vacaciones 236
Nota comunicativa Otro uso de
la palabra se: para expresar
acciones impersonales 238
21 Expressing to who(m) or for who(m) • Indirect
Object Pronouns; Dar and decir 241
22 Expressing Likes and Dislikes • Gustar (Part 2) 246
Nota comunicativa Otras maneras de expresar los
gustos y preferencias 250
23 Talking About the Past (Part 1) • Preterite of Regular
Verbs and of dar, hacer, ir, and ser 251

La República
Dominicana

9
Una fiesta de cumpleaños para 24 Talking About the Past (Part 2) • Irregular
Los días Preterites 274
Javier 268
festivos 266
Las emociones y los estados 25 Talking About the Past (Part 3) • Preterite of
afectivos 271 Stem-changing Verbs 278
Nota comunicativa Cómo 26 Avoiding Repetition • Expressing Direct and Indirect
enfatizar: -ísimo 272 Object Pronouns Together 282

Cuba

xxiv
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 NOTA CULTURAL La comida del mundo hispano 204

¡Qué rico! Algo sobre…
Segmento 1 208 • Rubén Blades 206
Segmento 2 225 • la Ciudad de Panamá 213
• los emberás 218
A ESCUCHAR
UN POCO DE TODO Lengua y cultura: La cocina panameña 223
Los señores Robles piden la cena 228
A LEER
PRODUCCIÓN PERSONAL
Lectura cultural: Panamá
A escribir: La comida de las cafeterías de esta
universidad 229 La comida panameña 226
En otros países hispanos (En todo el mundo hispanohablante;
En los Estados Unidos) 226
Un símbolo panameño: En canal de Panamá 226
Del mundo hispano
Lectura: Una receta 227

SALU 2 NOTA CULTURAL Tipos de turismo en el mundo hispano 237

¡De viaje! Algo sobre…
Segmento 1 240 • el colmado dominicano 238
Segmento 2 259 • el casabe 245
• las hermanas Mirabal 255
A ESCUCHAR
UN POCO DE TODO Lengua y cultura: Mi abuela dominicana 257
Las actividades de Arturo y David, de ayer y
hoy 262 A LEER
PRODUCCIÓN PERSONAL Lectura cultural: La República Dominicana
A escribir: Un ensayo sobre el verano El turismo en la República Dominicana 260
pasado 263 En otros países hispanos (En todo el mundo hispanohablante;
En España; En los Estados Unidos) 260
Un símbolo dominicano: El merengue 260
Del mundo hispano
Lectura: I love viajes 261

SALU 2 NOTA CULTURAL Los días festivos importantes del mundo

De fiesta en fiesta hispano 270
Segmento 1 273 Algo sobre…
Segmento 2 287 • las parrandas cubanas 269
• José Martí   280
A ESCUCHAR • el son cubano 285
El mensaje telefónico de Pilar 290
UN POCO DE TODO Lengua y cultura: La Virgen de Guadalupe,
PRODUCCIÓN PERSONAL quince siglos de historia 285
A escribir: Un ensayo sobre una celebración A LEER
memorable 291 Lectura cultural: Cuba
Dos días festivos cubanos 288
En otros países hispanos (En todo el mundo
hispanohablante) 288
Un símbolo cubano: La palma 288
Del mundo hispano
Lectura: Una declaración de propósitos 289

 xxv
 VOCABULARY AND
PRONUCIATION GRAMMAR

10 El tiempo Los pasatiempos, diversiones y
aficiones 296
libre 294
Los quehaceres domésticos 298
Nota comunicativa Cómo
expresar la obligación 300
27 Talking About the Past (Part 4) • Descriptions and
Habitual Actions in the Past: Imperfect of Regular
and Irregular Verbs 302
Nota comunicativa El progresivo en el pasado 305
28 Getting Information (Part 2) • Summary of
Interrogative Words 308
29 Expressing Extremes • Superlatives 310

Puerto Rico

11
La salud y el bienestar 324
En el consultorio del médico 326
La salud 322
Nota comunicativa Cómo
expresar una cualidad general:
lo + adjetivo 328
30 Talking About the Past (Part 5) • Using the Preterite
and the Imperfect 330
Nota comunicativa Algunas palabras y expresiones
asociadas con el pretérito y el imperfecto 333
31 Recognizing que, quien(es), lo que • Relative
Pronouns 338
32 Expressing each other (Part 2) • Reciprocal Actions
with Reflexive Pronouns 341

Venezuela

12
La ciudad y el barrio 354 33 Influencing Others (Part 2) • Tú (Informal)
¡Conectad@s! Commands 360
352 La tecnología 356
Nota comunicativa Verbos derivados de poner, tener y
venir 363
34 Expressing Subjective Actions or States • Present
Subjunctive (Part 1): An Introduction 365
35 Expressing Desires and Requests • Use of the
Subjunctive (Part 2): Influence 371

Colombia

xxvi
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 NOTA CULTURAL Los deportes más populares del mundo

Deportes que hispano 297
mueven masas Algo sobre…
Segmento 1 301 • el coquí 299
Segmento 2 315 • Borinquen 307
• la bomba y la plena 313
A ESCUCHAR UN POCO DE TODO Lengua y cultura: Un poco de la historia de
Unos compañeros hablan de «un desastre» 318 Puerto Rico 313
PRODUCCIÓN PERSONAL A LEER
A escribir: Un ensayo sobre los pasatiempos Lectura cultural: Puerto Rico
y diversiones 319 El tiempo libre en Puerto Rico 316
En otros países hispanos (En todo el mundo hispanohablante;
En la Argentina) 316
Un símbolo puertorriqueño: El Viejo San Juan 316
Del mundo hispano
Lectura: Los teléfonos celulares 317

SALU 2 NOTA CULTURAL El cuidado médico en el mundo hispano 327

Remedios para Algo sobre…
todos • la harina de maíz blanco 325
Segmento 1 329 • Simón Bolívar 333
Segmento 2 345 • el lago de Maracaibo 337
UN POCO DE TODO Lengua y cultura: La leyenda del lago de
A ESCUCHAR Maracaibo 343
Campaña de vacunación contra la gripe 348
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: Venezuela
A escribir: La historia de una enfermedad 349 El seguro médico en Venezuela 346
En otros países hispanos (En Latinoamérica; En España) 346
Un símbolo venezolano: «La rumba» 346
Del mundo hispano
Lectura: «Epitafio», de Nicanor Parra 347

SALU 2 NOTA CULTURAL El español y la tecnología 358

¡No sin mi celular! Algo sobre…
Segmento 1 359 • la cumbia 357
Segmento 2 377 • Gabriel García Márquez 373
• la orquídea colombiana 374
A ESCUCHAR UN POCO DE TODO Lengua y cultura: La ciudad de Cartagena,
Un doctor habla de un proyecto Colombia 375
tecnológico 380
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: Colombia
A escribir: La educación universitaria: Los barrios colombianos 378
¿presencial o a distancia? 381 En otros países hispanos (En todo el mundo hispanohablante;
En México y la Argentina) 378
Un símbolo colombiano: El café 378
Del mundo hispano
Lectura: «Cuadrados y ángulos», de Alfonsina Storni 379

 xxvii
 VOCABULARY AND
PRONUCIATION GRAMMAR

13 El arte y la Las artes 386 36 Expressing Feelings • Use of the Subjunctive

cultura 384 Nota comunicativa Más sobre
los gustos y preferencias 387
Los ordinales 390
(Part 3): Emotion 392
Nota comunicativa Cómo expresar los deseos con
ojalá 395
37 Expressing Uncertainty • Use of the Subjunctive
(Part 4): Doubt and Denial 397
Nota comunicativa Verbos que requieren
preposiciones 400
38 Expressing Influence, Emotion, Doubt, and Denial •
The Subjunctive (Part 5): A Summary 401

El Ecuador Bolivia

14 Las presiones Las presiones de la vida 39 Telling How Long Something Has Been Happening
académica 416 or How Long Ago Something Happened • Hace…
de la vida que: Another Use of hacer 423
moderna 414 ¡Qué mala suerte! 419
40 Expressing Unplanned or Unexpected Events •
Nota comunicativa Más sobre
Another Use of se 426
los adverbios: adjetivo +
-mente 421 41 ¿Por o para? • A Summary of Their Uses 430

El Perú

15 La naturaleza La ciudad y el campo 446 42 Más descripciones • Past Participle Used as an

Adjective 454
y el medio Los vehículos 450
43 ¿Qué has hecho? • Perfect Forms: Present Perfect
ambiente 444 Nota comunicativa Frases para
Indicative and Present Perfect Subjunctive 458
indicar cómo llegar a un
lugar 452 Nota comunicativa El pluscuamperfecto: había +
participio pasado 462

La Argentina El Uruguay

xxviii
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 NOTA CULTURAL La arquitectura en el mundo hispano 388

Arte angelino Algo sobre…
Segmento 1 391 • Oswaldo Guayasimín 389
Segmento 2 407 • la Amazonia y los Andes 396
• el Lago Titicaca 400
A ESCUCHAR • las Islas Galápagos 401
Una reseña de la película La vida de Susana UN POCO DE TODO Lengua y cultura: En un museo, contemplando
Jiménez 410 una obra de Fernando Botero 405

PRODUCCIÓN PERSONAL A LEER

A escribir: Un ensayo sobre la expresión Lectura cultural: El Ecuador y Bolivia
artística en las escuelas 411 Las artes 408
En otros países hispanos (En España y México; En los Estados
Unidos) 408
Un símbolo ecuatoriano y boliviano: La diversidad étnica y
lingüística 408
Del mundo hispano
Lectura: «La oportunidad de Salomón Bobadilla», de Tito
Matamala 409

SALU 2 NOTA CULTURAL Megalópolis estresantes… y pueblitos

«¡Ay, qué estrés!» relajantes 420
Segmento 1 422 Algo sobre…
Segmento 2 437 • la marinera 425
• el cajón 429
A ESCUCHAR • Mario Vargas Llosa 434
La depresión entre los adolescentes 440 UN POCO DE TODO Lengua y cultura: De turismo por el Perú 435
PRODUCCIÓN PERSONAL A LEER
A escribir: Un ensayo sobre las presiones de la Lectura cultural: El Perú
vida estudiantil 441 Las preocupaciones de los peruanos 438
En otros países hispanos (En todo el mundo
hispanohablante) 438
Un símbolo peruano: La herencia indígena 438
Del mundo hispano
Lectura: «OH», de Mario Benedetti 439

SALU 2 NOTA CULTURAL Programas medioambientales 447

«EcoSalu2» Algo sobre…
Segmento 1 453 • la Pampa 449
Segmento 2 465 • el mate 456
• el tango 461
A ESCUCHAR UN POCO DE TODO Lengua y cultura: El Parque Nacional los
Una campañaº para Greenpeace en la Glaciares 463
radio 468
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: La Argentina y el Uruguay
A escribir: Un ensayo sobre los efectos del Dos países con gran belleza natural 466
cambio climático 469 En otros países hispanos (En Costa Rica, Colombia, el Ecuador,
México, el Perú y Venezuela; En España) 466
Un símbolo argentino y uruguayo: El Río de la Plata 466
Del mundo hispano
Lectura: «Apocalipsis, I», de Marco Denevi 467

 xxix
 VOCABULARY AND
PRONUCIATION GRAMMAR

16 La vida social Las relaciones sentimentales 474
y afectiva 472 Nota comunicativa Cómo
expresar los mandatos con el
infinitivo 476
Las etapas de la vida 476
44 ¿Hay alguien que… ? ¿Hay un lugar donde… ? • The
Subjunctive (Part 6): The Subjunctive After
Nonexisting and Indefinite Antecedents 479
45 Lo hago para que tú… • The Subjunctive (Part 7):
The Subjunctive After Conjunctions of Purpose and
Contingency 483
Nota comunicativa ¿Para qué? / para (que)… and ¿por
qué? / porque… 485

El Paraguay

17 ¿Trabajar para Las profesiones y los oficios 498
vivir o vivir para El mundo laboral 500
trabajar? 496
Una cuestión de dinero 501
Nota comunicativa Más
pronombres posesivos 503
46 Talking About the Future • Future Verb Forms 505
Nota comunicativa Cómo expresar probabilidad con el
futuro 509
47 Expressing Future or Pending Actions • The
Subjunctive (Part 8): The Subjunctive and Indicative
After Conjunctions of Time 511

Chile

18
Las noticias 526 48 Queríamos que todo el mundo votara • The
La Subjunctive (Part 9): The Past Subjunctive 532
actualidad 524 El gobierno y la responsabilidad
cívica 528 Nota comunicativa Cómo expresar deseos
imposibles 538
49 Expressing What You Would Do • Conditional Verb
Forms 539
Nota comunicativa Cláusulas con si 542

Lectura cultural final

España El español en el resto del
mundo 554
• La Guinea Ecuatorial
• Las Islas Filipinas
• El Canadá

xxx
VIDEO, LISTENING,
AND WRITING READING AND CULTURE

SALU 2 NOTA CULTURAL Expresiones familiares de cariño 475

«Cosas del amor» Algo sobre…
Segmento 1 478 • el Gran Chaco 477
Segmento 2 489 • La represa de Itaipú 482
• el té paraguayo 485
A ESCUCHAR UN POCO DE TODO Lengua y cultura: ¿Cómo se divierten los
Un anuncio para Naranjas, un servicio hispanos? 487
online 492
A LEER
PRODUCCIÓN PERSONAL Lectura cultural: El Paraguay
A escribir: Consejos sentimentales 493 El concepto de noviazgo 490
En otros países hispanos (En todo el mundo hispanohablante;
En España y otros países) 490
Un símbolo paraguayo: La cultura guaraní 490
Del mundo hispano
Lectura: «Amor cibernauta», de Diego Muñoz Valenzuela 491

SALU 2 NOTA CULTURAL Nuevas tendencias del español para evitar el

«Los hispanos que sexismo lingüístico 499
admiramos» Algo sobre…
Segmento 1 504 • la Isla de Pascua 507
Segmento 2 517 • «Gracias a la vida» 509
• los mapuches 514
A ESCUCHAR UN POCO DE TODO Lengua y cultura: Trabajos para estudiantes
Mundo laboral 520 universitarios 515
PRODUCCIÓN PERSONAL A LEER
A escribir: Un trabajo ideal 521 Lectura cultural: Chile
El mundo del trabajo en Chile 518
En otros países hispanos (En algunos países hispanohablantes:
En España) 518
Un símbolo chileno: Los Andes 518
Del mundo hispano
Lectura: «Sale caro ser poeta», de Gloria Fuertes 519

SALU 2 NOTA CULTURAL El panorama social y político en el mundo

«¡Noticias!» hispano 529
Segmento 1 531 Algo sobre…
Segmento 2 547 • el flamenco 537
• las tapas 541
A ESCUCHAR • la diversidad lingüística de España 545
Una breve historia de España 550 UN POCO DE TODO Lengua y cultura: Maneras de practicar el
español fuera de clase 545
PRODUCCIÓN PERSONAL
A escribir: Un ensayo sobre la mayoría de A LEER
edad 551 Lectura cultural: España
La diversidad española 548
En todo el mundo hispanos (En muchos los países americanos
hispanohablantes; En la Argentina, el Paraguay y el Uruguay) 548
Un símbolo español: Don Quijote de la Mancha y Sancho
Panza 548
Del mundo hispano
Lectura: «Celebración de la voz humana/2», de Eduardo
Galeano 549
 xxxi
This page intentionally left blank
 An Invitation to

Puntos
Puntos de partida
means points of departure
in Spanish. This program
will be your point of

partida
departure for learning
Spanish and for learning
about Hispanic cultures.
With Puntos de partida, you
will get ready to
de
communicate with Spanish
speakers in this country
and in other parts of the
Spanish-speaking world.
To speak a language means
much more than just learning
its grammar and vocabulary.
To know a language is to
know the people who speak
it. For this reason, Puntos de
partida will provide you with
cultural information to help
you understand and
appreciate the traditions and
values of Spanish-speaking
people all over the world.
Get ready for the adventure
of learning Spanish!
 1 Ante todo°
En este capítulo°
Ante… First of all

En… In this chapter

VOCABULARY
Greetings and courtesy 4
www.connectspanish.com Describing yourself 9
Numbers 0–30 13
Likes and dislikes 15
Telling time 17
CULTURAL FOCUS
The Spanish-speaking world

Zócalo (Main Plaza),

México, D.F., México

Parque Güell, Barcelona, España

 EL MUNDO
HISPANOHABLANTEa
• El español es la lengua que más se
hablab en el mundoc después deld
mandarín. Más dee 500 (quinientas)
millones de personas hablan español.
• Es la lengua oficial de 20 (veinte)
naciones y de Puerto Rico.
a
El…The Spanish-speaking world bla… the
language spoken most cworld ddespués…
after eMás… More than

• ¡Hola! ¿Cómo está usted? a

• ¿Cómo se llama? b

• ¿De dónde es? c

• ¿Cómo es usted? d

a
¡Hola!… Hello! How are you? b¿Cómo… What’s your name?
c
¿De… Where are you from? d¿Cómo… What are you like?

ALEJANDRA HERNÁNDEZ SOTO

CONTESTA LAS PREGUNTAS.a
• ¡Hola! Estoy muy bien. ¿Y usted?
b c

• Me llamo Alejandra Hernández Soto.

• Soy de Guanajuato, México.
d

• ¿Cómo e
soy? Optimista, responsable, sentimental y muy
independiente. ¿Y cómo es usted?
a
contesta… answers the questions bI am c¿Y… And (how are) you?
d
Soy… I’m from e¿Cómo… What am I like?
PRIMERA° PARTE First

Saludos° y expresiones de cortesía Greetings

Here are some words, phrases, and expressions for meeting and greeting others in
Spanish. Can you tell the difference between those that are formal and those that
are more informal or familiar (as on a first-name basis)?

Situaciones formales
1. ELISA VELASCO: Buenas tardes, señor Gómez.
MARTÍN GÓMEZ: Muy buenas, señora Velasco. ¿Cómo está?
ELISA VELASCO: Bien, gracias. ¿Y usted?
MARTÍN GÓMEZ: Muy bien, gracias. Hasta luego.
ELISA VELASCO: Adiós.
2. LUPE: Buenos días, profesor.
MARTÍN GÓMEZ: Buenos días. ¿Cómo se llama usted, señorita?
LUPE: Me llamo Lupe Carrasco.
MARTÍN GÓMEZ: Mucho gusto, Lupe.
LUPE: Igualmente.

Situaciones informales
3. JOSÉ: ¡Hola, Carmen!
CARMEN: ¿Qué tal, José? ¿Cómo estás?
JOSÉ: Muy bien. ¿Y tú?
CARMEN: Regular. Nos vemos mañana, ¿eh?
JOSÉ: Bien. Hasta mañana.
4. MIGUEL RENÉ:  ola. Me llamo Miguel René. ¿Y tú?
H
¿Cómo te llamas?
KARINA: Me llamo Karina. Mucho gusto.
MIGUEL RENÉ: Encantado, Karina. Y, ¿de dónde eres?
KARINA: Soy de Venezuela. ¿Y tú?
MIGUEL RENÉ: Yo soy de México.

Translations of short dialogues like the ones on this

page will always be at the foot of the page, but you
should try to read them without the translations first!

1. ev: Good afternoon, Mr. Gómez. mg: Afternoon, Mrs. Velasco. How are you? ev: Fine, thank you. And
you? mg: Very well, thanks. See you later. ev: Bye.
2. l: Good morning, professor. mg: Good morning. What’s your name, miss? l: My name is Lupe
Carrasco. mg: Nice to meet you, Lupe. l: Likewise.
3. J: Hi, Carmen! c: How’s it going, José? How are you? J: Very well. And you? c: OK. See you
tomorrow, OK? J: Fine. Until tomorrow.
4. mr: Hello. My name is Miguel René. And you? What’s your name? k: My name is Karina. Nice to
meet you. mr: Nice to meet you, Karina. And where are you from? k: I’m from Venezuela. And you? mr:
I’m from Mexico.

4 cuatro Capítulo 1 Ante todo

 Note the use of red to highlight aspects
of Spanish that you should pay special
formal attention to. informal
títulos señor (Sr.) Mr.
¡OJO!* señora (Sra.) Mrs., ma’am
señorita (Srta.) Miss
There is no Spanish
profesor ( for a man)
equivalent for Ms.;
profesora ( for a woman)
use Sra. or Srta., as
appropriate.
saludos buenos días good morning hola hi
buenas tardes good afternoon/evening
buenas noches good evening/night
¡OJO! (muy) buenas good day (any time)
Note the accent
marks on Spanish preguntas ¿Cómo está? How are you? ¿Cómo estás? ⎫ How are
words that ask (questions) ¿Qué tal? ⎬ you?
¿Y usted? And you? ⎭
questions. ¿Y tú? And you?
—¿Cómo se llama (usted)? —¿Cómo te llamas (tú)?
—Me llamo… —Me llamo…
“What’s your name?” “What’s your name?”
“My name is . . . ” “My name is . . . ”
—¿De dónde es (usted)? —¿De dónde eres (tú)?
—(Yo) Soy de… —(Yo) Soy de…
“Where are you from?” “Where are you from?”
“I’m from . . . ” “I’m from . . . ”

Nota cultural Así se dice (That’s how it’s said)

introduces optional vocabulary
from the Spanish-speaking world.
Los saludos en el mundo° hispano world
Hispanics all over the world hug and kiss when they are
greeting each other a lot more frequently than do non- Así se dice
Hispanics in this country. Younger people especially greet
in this way, even when they have just met. Two men will The following greetings
typically hug or pat each other on the back, and if they are express What’s up?, What’s
happening?, or How’s it going?
family, they will sometimes give a kiss on the cheek and
embrace, just like women do. ¿Qué pasa, hombre? (What’s ¿Qué hay? ¿Qué pasa?
up, man?) ¿Qué hubo? ¿Qué onda?
(Mexico)
How do you greet your friends? Your relatives?
The phrase por nada is an
alternative to de nada.

Nota comunicativa
More
Más° expresiones de cortesía
—Encantado. (for a man) ⎫ por favor please (also used to get someone’s
⎪ attention)
—Encantada. (for a woman) ⎬ “Nice to meet you.”
—Mucho gusto.
⎪ perdón pardon me, excuse me (to ask
⎭
—Igualmente. “Likewise.” forgiveness or to get
someone’s attention)
Gracias. Thanks. Thank you. (con) permiso pardon me, excuse me (to request
Muchas gracias. Thank you very much. permission to pass by or
De nada. / No hay de qué. You’re welcome. through a group of people)

You will use these expressions in Comunicación.

*¡OJO! means Watch out! or Pay attention! in Spanish.

Primera parte cinco  5

 Comunicación
A. Expresiones de cortesía. How many different ways can you respond to the fol-
lowing greetings and phrases?
1. Buenas tardes. 7. Muchas gracias.
2. Adiós. 8. Hasta mañana.
3. ¿Qué tal? 9. ¿Cómo se llama usted?
4. Hola 10. Mucho gusto.
5. ¿Cómo está? 11. ¿De dónde eres?
6. Buenas noches. 12. Buenos días.
B. Situaciones. If the following people met or passed each other at the times given,
what might they say to each other? Role-play the situations with a classmate.
1. Mr. Santana and Miss Pérez, at 5:00 p.m.
2. Mrs. Ortega and Pablo, at 10:00 a.m.
3. Ms. Hernández and Olivia, at 11:00 p.m.
4. you and a classmate, just before your Spanish class
C. Situaciones. What would you say in Spanish in the following situations?
1. Your classmate passes you a handout from the professor.
2. You need to be excused from class to go to the restroom.
3. You just dropped your drink on a friend’s book.
4. Your professor thanks you for opening the door for her.
5. You need your professor’s attention.

D. Más (More) situaciones.

3 Are the people in this
1 drawing saying por favor,
con permiso, or perdón?
¡OJO! More than one
response is possible for
2 some items.

E. Entrevista (Interview)
Paso (Step) 1. Turn to a person sitting next to you and do the following.
• Greet him or her appropriately, that is, with informal forms.
• Ask how he or she is.
• Find out his or her name.
• Ask where he or she is from.
• Conclude the exchange.
Paso 2. Now have a similar conversation with your instructor, using the appropri-
ate formal or familiar forms, according to your instructor’s request.

6 seis Capítulo 1 Ante todo

Pronunciación: Las vocales:° a, e, i, o, u vowels
There is a very close relationship between the way Spanish is written and the way
it is pronounced. This makes it relatively easy to learn the basics of Spanish spelling
and pronunciation.
Many Spanish sounds, however, do not have an exact equivalent in English, so
you can’t always trust English to be your guide to Spanish pronunciation. Even words
that are spelled the same in both languages are usually pronounced quite differently.
English vowels can have many different pronunciations or may be silent.
Spanish vowels are always pronounced, and they are almost always pronounced in
the same way. They are always short and tense. They are never drawn out with a u
or i glide as in English: lo ≠ low; de ≠ day.

a: pronounced like the a in father, but short and tense

e: pronounced like the e in they, but without the i glide ¡OJO!
i: pronounced like the i in machine, but short and tense* The uh sound or schwa
o: pronounced like the o in home, but without the u glide (which is how most
u: pronounced like the u in rule, but short and tense unstressed vowels are
pronounced in English:
canal, waited, atom)
Práctica does not exist in
A. Palabras (Words). Repeat the following words after your instructor. Spanish.
1. hasta tal nada mañana natural normal fascinante
2. me qué Pérez Elena rebelde excelente elegante
3. sí señorita permiso terrible imposible tímido Ibiza
4. yo con como noches profesor señor generoso
5. uno usted tú mucho Perú Lupe Úrsula
B. Nombres. Here is a table of the 10 Spanish names most frequently given to
Hispanic babies (male and female) in the U.S. in 2012 (dos mil doce).

Los 10 nombres de bebé preferidos por los hispanos en el 2012

Niño Niña
Santiago Sofía
Matías Isabella
Sebastián Valentina
Mateo Camila
Nicolás Valeria
Alejandro Luciana
Samuel Ximena/Jimena
Diego Mariana
Daniel María José
Benjamín Victoria
From Fox News Latino

Paso 1. Can you find the Spanish word for boy? for girl? for the phrase preferred
by Hispanics?
Paso 2. Working in pairs, try to give the English version of some of these
names. Say the Spanish names aloud and, as you do, focus on the different
pronunciation and spelling as compared to English. ¡OJO! One name in the list
is not really Spanish. After studying El alfabeto español on page 8, you will
know which one it is.
Paso 3. In pairs, make a list of other Hispanic first names you know and say
them out loud, trying to pronounce them in Spanish.
*The word y (and) is also pronounced like the letter i, as is the letter y at the end of a word: ¡ay!

Primera parte siete  7


¡OJO!
The rr combination
occurs frequently in
Spanish, but it is not a
separate letter.
El alfabeto español
The Spanish alphabet (el alfabeto or el abecedario) is slightly different from the
English alphabet.
• It has 27 letters (not 26).
• The extra letter is ñ.
• The letters k and w appear only in words borrowed from other languages.

Letters Names of Letters Examples Pronunciation

a a Antonio Ana la Argentina
b be Benito Blanca Bolivia like Spanish v
c ce Carlos Cecilia Cáceres c + a/o/u = like English k; c + e/i = like
English s (in Spain, a th sound)
d de Domingo Dolores Durango
e e Eduardo Elena el Ecuador
f efe Felipe Francisca Florida
g ge Gerardo Gloria Guatemala g + e/i = like hard English h; g + a/o/u
and gue/gui = like English g in got
h hache Héctor Hortensia Honduras silent; in ch combination = like English
cheese
i i Ignacio Inés Ibiza
j jota José Juana Jalisco like hard English h; similar to g + e/i
k ca (ka) (Karl) (Karina) (Kansas) like English k
l ele Luis Lola Lima like English l; when doubled (ll), like y
in English yes
m eme Manuel María México
n ene Nicolás Nati Nicaragua
ñ eñe Íñigo Begoña España like ny in English canyon
o o Octavio Olivia Oviedo
p pe Pablo Pilar Panamá
q cu Enrique Raquel Quito
r ere Álvaro Rosa Monterrey like tt in English butter; trilled at
beginning of a word or as rr
s ese Salvador Sara San Juan
t te Tomás Teresa Toledo
u u Agustín Úrsula el Uruguay
v uve Víctor Victoria Venezuela like Spanish b
w doble uve (Oswaldo) (Wilma) (Washington) like English w
x equis Xavier Ximena Extremadura like English x; at beginning of a word and
in México, mexicano, x = Spanish j
y ye Pelayo Yolanda el Paraguay like i in English machine
z ceta (zeta) Gonzalo Zoila Zaragoza like English s (in Spain, a th sound);
never like English z

Práctica
A. Pronunciación. Match the Spanish letters with their equivalent pronunciation and pronounce the example words.
examples/spelling pronunciation
1. mucho: ch a. like the g in English garden
2. Geraldo: ge (also: gi); Jiménez: j b. similar to tt of butter when pronounced very quickly
3. hola: h c. like ch in English cheese
4. gusto: gu (also: ga, go) d. like Spanish b
5. me llamo: ll e. similar to a “strong” English h
6. señor: ñ f. like y in English yes
7. profesora: r g. a trilled sound, several Spanish r’s in a row
8. Ramón: r (to start a word); burro: rr h. like the ny sound in canyon
9. nos vemos: v i. never pronounced

8 ocho Capítulo 1 Ante todo

B. ¿Cómo se escribe… ? (How do you write … ?)
Paso 1. Pronounce these U.S. place names in Spanish. Then spell the names
aloud in Spanish. All of them are of Hispanic origin: Toledo, Los Ángeles,
Montana, Colorado, El Paso, Florida, Las Vegas, Amarillo, San Francisco.
Paso 2. Spell your own name aloud in Spanish, and listen as your classmates
spell their names. Try to remember as many of their names as you can.
MODELO: Me llamo María: M (eme) a (a) r (ere) í (i con acento) a (a).

Nota comunicativa
Los cognados
As you study Spanish, note that many Spanish and English words are similar or identical in
form and meaning. These related words are called cognates (los cognados). It’s useful to
begin recognizing and using cognates immediately; they will help you enrich your Spanish
vocabulary and develop language proficiency more quickly. Here are some examples.
TO DESCRIBE PEOPLE TO NAME PLACES AND THINGS

cruel optimista banco hotel

elegante paciente bar museo
idealista pesimista café oficina
importante responsable clase parque
independiente sentimental diccionario teatro
inteligente terrible estudiante teléfono
interesante tolerante examen televisión
You will practice this vocabulary throughout this chapter.

¿Cómo es usted? (Part 1)

Ángela Suárez del Pino Ismael Figueroa García

1. —¿Quién es usted y cómo es? 2. —¿Quién eres tú?

— Soy Ángela Suárez del Pino. — Me llamo Ismael Figueroa García
Soy optimista y tolerante. y soy estudiante de universidad.
—Ismael, ¿cómo eres?
— Soy inteligente, romántico y
Remember to watch for the words in red.
Check the translation at the bottom of the
­responsable.
page only if you need to.

1. “Who are you and what are you like? “I’m Ángela Suárez del Pino. I’m optimistic and tolerant.”
2. “Who are you?” “My name is Ismael Figueroa García, and I’m a university (college) student.” “Ismael, what are you like?”
“I’m intelligent, romantic, and responsible.”

Primera parte nueve  9

 Use the following verb forms to describe yourself or another person.
a verb / un verbo = a
word that describes an
Subject Pronouns / ser (to be):†
action or a state of
Pronombres personales* Formas singulares
being
yo soy I am
tú eres you (familiar) are
¡OJO! usted es you (formal) are
In Spanish, subject él es he is
pronouns are not always
ella es she is
used because the verb
form indicates the
person. See how this
works in the dialogues Comunicación
on page 9.
A. ¿Cómo es usted? Indique todas las palabras apropiadas (appropriate words).
(Yo) Soy…
diligente pesimista independiente
idealista materialista estudiante
impaciente normal diferente
extravagante profesor profesora
elegante importante ¿?

B. ¿Quién es… ?
Paso 1. With a classmate, take turns asking and answering questions.
MODELO: arrogante →
ESTUDIANTE 1: ¿Quién es arrogante?
ESTUDIANTE 2: Enrique Iglesias es arrogante.
Personas
Enrique Iglesias Selena Gómez Penélope Cruz ¿?
1. arrogante 4. materialista 7. elegante
2. independiente 5. impresionante 8. terrible
3. paciente 6. interesante 9. fascinante
Paso 2. Now describe the people in negative terms, using no in front of the verb.
MODELO: Enrique Iglesias no es arrogante.
C. Una encuesta (A poll)
Paso 1. Use cognates from Nota comunicativa (page 9) and others you have
heard or seen to describe the following people and things.
MODELO: Jennifer López → Jennifer López es independiente.
1. Jennifer López 3. (programa de televisión)
2. este país (this country) 4. (una persona famosa)
Paso 2. Now poll 2 classmates about the same 4 items. Write their answers in
the chart.
MODELO: To ask: ESTUDIANTE 1: En tu opinión, ¿cómo es Jennifer López?
To answer: ESTUDIANTE 2:  s independiente.
E

Estudiantes Jennifer (programa

(nombre) López este país de televisión) (persona famosa)

*You will learn more about subject pronouns in Gramática 3 (Capítulo 2) and Gramática 8 (Capítulo 3).
†
You will learn more about ser in Gramática 6 (Capítulo 3).

10 diez Capítulo 1 Ante todo

¡Aquí se habla español!
If you sometimes have the feeling that Spanish is everywhere, that’s because it’s
true, and it may become even more so during your lifetime. Here are some
interesting facts.
• Spanish is spoken as a first or second language
by about 450 million people. This makes Spanish
the second most widely spoken language in the
world. (Chinese is the most widely spoken.) Some
Spanish speakers also speak an indigenous
­language, like náhuatl in Mexico, mapuche in
Chile, or catalán in Spain.
• Spanish is an official language of 20 countries.
• Over 40 million people in the United States speak
Spanish, making it the fourth largest Spanish-
speaking country in the world.
• Spanish is the official language (along with
English) of Puerto Rico, an Estado Libre (Free
State) associated with the United States.
• Spanish is present in Equatorial Guinea (where it La Misión Basílica San Diego de Alcalá, cerca de (near) San Diego,
is an official language) and in the Philippines as California
a heritage from the not so distant past when the
islands were colonies of Spain.
• Spanish is second only to English in terms of the number of people studying it
worldwide.
Knowing a second language has many personal and professional advantages.
If you live in a country like the United States, there is no need to explain to you
why it’s a good thing to study Spanish. The language and its culture are part of
the country’s historical and cultural past. And, from an economic standpoint,
Spanish speakers provide a huge market of consumers of all kinds of goods
and services, including the entertainment industry and the world of art.
Spanish is also a great asset for traveling for business or pleasure, within this
country or abroad. Like all languages spoken by a large number of people,
modern Spanish varies from region to region. The
Spanish of Madrid is different from that spoken in
Mexico City, Buenos Aires, or Los Angeles. Although Comparing Origins of U.S. Hispanic Population
these differences are most noticeable in pronunciation Total Hispanic Population
2010 Estimate*
(“accent”), they are also found in vocabulary and
50.5 Million
special expressions used in different areas of the
world. But the majority of structures and vocabulary is
common to the many varieties of Spanish.
Knowing Spanish also opens the door to a Other
fascinating culture. Actually, cultures, plural, would be Guatemalan Hispanics
more accurate. Spanish was the language of one of 2.0% 16.4%
the most impressive intersections of culture and Dominican
civilization the world has ever known, when a small 2.8%
Salvadoran
group of Spaniards landed on an island in the 3.2%
Caribbean over 500 years ago. No two of the Spanish- Cuban
speaking American countries that arose from that 3.6% Puerto Rican Mexican
fusion of European and indigenous cultures (including 9.1% 63.0%
those of Africans, brought to work as slaves) are alike.
They offer a rich and diverse cultural panorama, one
that you will learn about in every chapter of Puntos de
partida.
So . . . welcome to the Spanish-speaking world!
Actually, you know, you’re already in it.
* Source: 2010 U.S. Census

Primera parte once  11

 (Alaska)
ESTADOS
UNIDOS

CANADÁ

ESPAÑA

ESTADOS
UNIDOS*

(Hawaii)
ESTADOS
UNIDOS REPÚBLICA
MÉXICO CUBA
DOMINICANA
PUERTO RICO
GUATEMALA HONDURAS
EL SALVADOR VENEZUELA
NICARAGUA
COSTA RICA
PANAMÁ COLOMBIA
ISLAS
FILIPINAS GUINEA
ECUADOR ECUATORIAL
PERÚ

BOLIVIA
PARAGUAY

CHILE

URUGUAY
ARGENTINA

*The United States is generally expressed as los Estados Unidos in Spanish. The phrase is abbreviated in a number of ways:
E.U., EE. UU. (the double vowels indicate plurality), EEUU (without the periods), USA, and U.S.A. (the latter pronounced as
one word). U.S.A. is not recommended usage. Los Estados Unidos de América (E.U.A.) is also used.

12 doce Capítulo 1 Ante todo

Another random document with
no related content on Scribd:
 Hindu Rags

The Hindu songs presided over by special gods were called rags,
but of course, the name has no relationship whatever to our ragtime.
It seems that religious feeling has dominated everything in the
Orient; for this reason every idea connected with music has a
corresponding idea in Hindu mythology. The rags were all named
after the gods who brought music down from heaven to comfort
man. The character of each god or goddess was supposed to be
reflected in the rag, and it was not the result of scientific study as
were, for instance, the scales of the Chinese. Our knowledge of the
rag has come down to us from what Sanskrit writers on Indian music
have said, and what is practised today by the modern Hindu. No
doubt Arabia and Persia once had a music system very much like this
one of the Hindus.
Rags, ragas, or raginis were neither airs nor modes in our sense
of the words, but something like the modes of the Arab songs, they
were melodic forms, or themes, on which musicians either
improvised or composed new songs, by using them in rhythms of
endless variety.
There were many many rags, and they were under the guidance of
the gods of the rainy season, the cold season, the mild, the hot, etc.,
and could only be sung during their special seasons. It was thought
that these songs sung at the wrong time would bring down calamity.
Again, as with the American Indian (Chapter II), we find tribes who
are most careful to sing certain music at certain times.
It is told that a Hindu nobleman, long ago, tried to sing a night
song in the daytime and darkness covered all things within the sound
of his voice!
As important as was the song from the earliest time, instrumental
music held almost an equal place.
 Orchestra

The Hindu orchestra is sometimes large and sometimes small. Its

dances are lively and vigorous, and very seldom slow and romantic.
Nevertheless they have many kinds of songs, some lively and some
not, such as: songs in honor of Krishna (one of their principal gods),
official odes, war hymns, love songs, evening songs, wedding songs,
cradle and patriotic songs. In some, the Arab seems to have
influenced the Hindu music, because they have the lively rhythm and
the variety of the Arab music, yet it is difficult to know which one
influenced the other. The Arab music has the variety and luxurious
soft beauty in popular dances equal to anything our modern
musicians or poets have composed.
The playing of instruments, accompanying songs with Sanskrit
texts, was supposed to give energy, develop heroism, make a peaceful
heart, and drive away harm and impurity.
The members of the different castes or sects had and still have
meetings held sometimes in private houses and sometimes in the
temples, when they sang religious hymns. Among the higher classes,
they went to the expense of having good musicians and of giving
artistic performances, but among the common people, their idea was
that the greater the noise the more they showed their devotion, so
they sang, beat drums and blew whistles without any regard for time
or melody, and you can imagine the effect was pandemonium.
 Notation

It is impossible to write the Hindu music in European notation,

because instead of dividing the scale into semi-tones or half-steps,
they use quarter tones.
Margaret Glyn, in her book, Evolution of Musical Form, writes:
“In the East notation is in an elementary condition, the staff being
unknown. The Hindus, Chinese, and Abyssinians have ancient note-
signs, consisting of a kind of letter to which some indication of time
is added, but in this respect the Chinese system is wanting, having
practically no time-notation. Probably note-signs existed in Persia
and Arabia, but these do not appear to have survived. The modern
Arabic notation is but three hundred years old, and is said to have
been invented by one Demetrius de Cantemir who adapted the letters
of the Turkish alphabet for the purpose. This has eighteen tones to
the octave (we have twelve), and is used in Turkey and other
countries of the near East.”
The Hindus seem to like both triple (3 beats) and duple (2 or 4
beats) rhythm. The scheme changes according to the poetry of the
song, and the pitch and the length of tones are shown by Sanskrit
characters and special signs or words.
 Instruments

The Hindus have spent much time in studying music and the
instruments of which they have many kinds. There are the strings,
there are skins sounded by beating, instruments struck together in
pairs, and those that are blown. They like the strings best. The
characteristic instrument is the vina, usually of wood or bamboo
strengthened by one to three gourds as sounding boards, and having
five or seven wire strings played something like the zither, but
sometimes with a bow. (Figure 16.) There are many varieties of the
sitar, an instrument like a lute, and many viols of which the sarinda
sarunja is typical and is played with a bow. (Figure 17.)
Among the percussion instruments are tambourines, castanets and
cymbals; they had wind instruments such as flutes (seldom
transverse or blown in from the side, and often played by blowing on
them through the nostrils), trumpets, horns, bagpipes and oboes.
Certain instruments were used only by the priests, others by beggars,
and others by dancing girls. Imagine how weird a story could be told
in music if a modern symphony orchestra played a piece of music
telling of life among the Hindus. Maybe some of the readers of this
book will get an idea for a Hindu tone poem, who knows?
Courtesy of the Metropolitan Museum of
Art, New York City.

Hindu Instruments.

Fig. 15.—Tabla—
drum.

Fig. 16.—Kinnari—
Vina, a stringed
instrument.
 Fig. 17.

Sitar (Strings) Trumpet.

Fig. 18.

Hindu Instruments.
Childhood of Music
 CHAPTER VII
What Church Music Imported from Greece

During the centuries when the Eastern nations were powerful the
European continent was inhabited by primitive men, who had
gradually formed tribes. They had rude songs, dances, and crude
instruments. They used their music in religious ceremonies, to
celebrate war victories and successful hunting expeditions, to sing to
their sweethearts, and to accompany their work in the fields and
homes, much as the American Indian did. Many manners and
customs of the Anglo-Saxon (English), Teutonic (German), Norse
(Danish, Swedish and Norwegian), Celtic (Irish) and Gallic (French)
races may be traced back to these barbaric days, and even the
beginning of national schools of music may be found.
Although a thousand years passed between the Greek musical era
and the “Golden Age” of Christian Church music, much that
happened in that time is hidden in darkness. The nations and tribes
were fighting for existence and were developing into the nations
which we know today.
Islam or the Mohammedan religion, and not Christianity, was the
great influence.
Julius Cæsar (100–44 B.C.), the great Roman General, conquered
Gallia (France), then invaded the land of the Teutons (Germany) and
even reached England. In parts of northern Europe, one still sees the
remains of great roadways, aqueducts or water works, and bridges,
that the Romans built during their invasions.
In the Cluny Museum in Paris is a great hall built as a bath by the
Romans. In Bath, England, the city was named for the ancient
Roman baths still existing, and you can see the pipe lines which
carried the water.
 Dark Ages

The world at that time was not a happy place in which to live.
There was constant warfare between the once powerful Roman
Empire and these barbaric tribes. The poorest people were oppressed
and many were slaves, bought and sold by the rich land owners and
army leaders.
Into such a world was the child, Jesus, born—a world with little
love for humanity, little unselfishness, little sympathy for the down-
trodden and unhappy, few kind words for the poor or the sick, little
justice and less mercy. No wonder that His teachings brought new
life and gave hope to the people!
For several centuries following the birth of Christ, the world went
through a period called the Dark Ages. Rome, the city of glorious
victories and brilliant culture became the prey of the barbaric tribes
—Huns, Goths, Visigoths, Vandals, Franks, Saxons, and Slavs,—until
it seemed that civilization would be wiped out and people would
become primitive again.
Music was saved during the Dark Ages through a small band of
faithful followers of Jesus Christ, who founded a church in His name.
That their music should have been made up of existing tunes and
words is very natural. Jesus, himself, brought up in the religion of
the Hebrews, often sang the Psalms of David. The beautiful
traditional music of the Jewish synagogues found its way into the
services of the early Christian Church, because many of the believers
were Hebrews. Soon the Hebrew Bible texts were translated into
Latin—the everyday language of the Romans, and as most of these
early Christians lived in Rome, they followed the rules of music the
Romans learned from the Greeks. So, our Church music was
influenced both by the Hebrews and Greeks.
For about three hundred years the early Christians had to hold
their services in secret, as they were punished even by death when
caught, for not worshipping Jupiter and the Roman gods. They were
not rich and influential, but just humble folk to whom the teachings
of Jesus came as a joyous comfort. They had no beautiful palaces
where they could hold services, and at the same time hide from the
Roman centurions, so they worshipped in dark and secret places and
could not have much music as it would have attracted the attention
of their enemies. The early Christians shunned music, too, because it
had been used for the wild dances and festivals of their pagan
oppressors. As they were poor and uneducated, they had had little
training and lacked money to buy instruments, so all in all music had
a hard time to keep alive.
From what we can gather, they chanted their Psalms much as did
the Hebrews and had responses which sounded like soft and
monotonous droning.
As time went on emperors like Constantine, began to take away the
death penalty from those believing in Christ and gradually as the
Romans saw the beauty of His teachings they became Christians in
increasing numbers. Many of these Romans came from the upper
classes, and as Greek was the language of culture they had had a
thorough Greek education and owned many instruments, so they
brought their Greek musical inheritance to the growing band.
Thus, the chants composed in Rome for the kithara were the direct
ancestors of our Christian hymns. These early hymns were also a
bridge between the single melody line of the Orient and Greece and
Rome, and the many melody lines, called polyphonic music, of
Europe.
In 325 A.D., Emperor Constantine made Christianity the national
religion of Rome. He also founded the Christian Church in
Byzantium, later called Constantinople, and all through the Dark
Ages, in many parts of Europe, the cathedrals and church schools
were the only gleam of learning in a time of darkness and struggle.
After the Roman Empire reached its greatest height, in the 2nd
century, it gradually grew weaker and during the 4th and 5th
centuries, the Goths, Vandals and Huns drove the government from
Rome to Constantinople. In the 7th century Mohammedanism rose
and swept over Syria, Egypt and North Africa, and reached Spain in
the 8th century.
 Answering Music

It is related that St. Ignatius (49–107 A.D.) one of the early

Christian fathers, had a vision in which he heard the Heavenly choirs
praising the Holy Trinity, in alternating chants, and he was so
impressed by it, that he introduced into the Church the idea of two
choirs of singers answering each other.
In singing the Psalms of David, the Hebrews used this idea of
antiphonal music. (Anti—against, phonal—sounding: antiphonal—
sounding against each other.) We see it too in the Greek choruses, in
the Roman kitharoedic chants (chants accompanied by the kithara),
and now in the early Christian hymns. From this antiphonal music to
the later polyphony (poly—many, phony—sounds: many voices or
parts) is a natural step. Here again is an instance of the influence of
one nation on another.
 The Patron Saint of Music

Among the martyrs to the cause of the Christian faith, was St.
Cecilia, a member of a noble Roman family, who was put to death for
becoming a Christian about 177 A.D. She is believed to be buried in
the Roman catacombs (underground burial chambers) and is the
patron saint of music, and she is supposed to have invented the
organ.
It was St. Ambrose (333–397 A.D.) who worked out the first system
for church music and put it on a foundation that lasted for two
hundred years.
 Greek Modes as Models

St. Ambrose built scales modeled on the old Greek modes and they
were given Greek names, but somehow the names became mixed so
that the mode called by Ambrose, Dorian (from D to D on the white
keys of the piano) was the Greek Phrygian; and the Phrygian (E to E)
of Ambrose was called Dorian by the Greeks; F to F is the Lydian
mode; G to G, the Mixolydian. These were the four authentic
Ecclesiastical or Church Modes.
St. Ambrose felt it his duty to make over the church music because
popular street songs had crept in with the Hebrew Psalms and Greek
and Roman chants! It was much the same effect as if you entered a
church and heard the organ and choir performing “Yes, We Have No
Bananas.” This is a funny comparison because it is said that a part of
“Yes, We Have No Bananas” is stolen from Handel’s great
“Hallelujah” Chorus from the oratorio The Messiah.
About this time, schools were formed to train singers in these new
hymns and church services, and a way to write down the music
composed by St. Ambrose and his followers was needed. The Greek
letters had been used in Rome, but now a new system called neumes
appeared; this word comes from the Greek and means “breath” and
the neumes simply marked where one should breathe in chanting the
hymns. There were eight signs with Latin names which gave full
directions when to raise and lower the voice.
The system of Neumes notation looks like our present day
shorthand and was a help, though, should we use it now we would
think it anything but a help.
While the Neumes writing showed how to mark the time, it had a
serious shortcoming, because it did not outline the melody exactly. It
indicated whether the melody rose or fell, but just how much was a
question not definitely shown. An unfamiliar chant could not be sung
until the notation had been worked out. It took five years for a choir
singer to be able to sing the music!
When the singers sang solos, they ornamented the songs and sang
anything they pleased! This made variety but it must also have
caused much confusion! The people may have learned this
ornamental singing of the Arab, from The Gloss. (Page 59.)
The next step was the Gregorian chant which even today is sung in
the Roman Catholic Churches.
To the four authentic scales of St. Ambrose, St. Gregory who was
Pope from 590 to 604 added four more called plagal. He did not
invent these scales but based them on the old Greek and Ambrosian
modes. To each authentic scale, he added a plagal scale starting four
tones below it, and to the name of the authentic mode is added the
prefix hypo.
Each authentic mode and its hypo are related.
Here is a table of these related modes, and their names:
After a painting by
Garofalo, National
Gallery at Rome.

Saint Cecilia—Patron Saint of Music.

(Holding a portative organ.)
After a painting by
Maxence, in Paris.

Book of Peace.
 Authentic Scales or Modes Plagal Scales or Modes
(St. Ambrose’s Scales) (St. Gregory’s Scales)

I. Dorian: II. Hypo-Dorian:

d ef͡ g a bc͡ d a bc͡ d ef͡ g a
III. Phrygian: IV. Hypo-Phrygian:
ef͡ g a bc͡ d e bc͡ d ef͡ g a b
V. Lydian: VI. Hypo-Lydian:
f g a bc͡ d ef͡ c d ef͡ g a bc͡
VII. Mixo-Lydian: VIII. Hypo-Mixo-Lydian:
g a bc͡ d ef͡ g d ef͡ g a bc͡ d

We have marked the half-steps bc͡ and ef͡ , and in every mode they
fall on different degrees of the scale. This shifting of the half-steps
tells us the name of the mode.
In order to try to give you a definite idea of how the church modes
worked, we have written the familiar national hymn America in each
mode (see page 74). Play them, and you will see how one differs from
the other.
Katherine Ruth Heyman has used a similar idea in her little book
The Relation of Ultramodern to Archaic Music in explaining Greek
Modes.
It took many years to establish this music and it was not until the
time of Charlemagne (742–814) that it became a real system called
Plain Chant or Plain-song (from the Latin, cantus planus).
Pope Gregory founded the Schola Cantorum, school of singers, at
Rome, and with these trained people he tried to establish for all
Christian churches, a way to sing systematically and well. They
studied nine years, and everything had to be memorized, for only the
leader had a song book. Books were written by hand and were hard
to get. The teacher had a monochord, the instrument invented by
Pythagoras, to give the pitch, for all the singing was done without
accompaniment. The singing must have improved greatly after
Gregory became Pope, for before his reform, music had become a
stunt with no solemnity, and people in the churches waved
handkerchiefs if the stunt pleased them!
America