by Clifford Morris

There is an ever-growing body of research suggesting that we do not study in precisely the same way. While this common sense approach towards studying represents a welcomed message for parents and students, many teachers still teach a large number of their pupils one way, more often than not, by using traditional teaching styles that might appear to be successful for the teacher but unsuccessful for a large majority of the youngsters seated in front of them. This is incorrect teaching -- proof that common sense continues to be not all that common within many of today's classrooms.

My following commentary attempts to address this key issue, while at the same time, to offer suggestions for possible classroom improvement. If teachers require their students to receive domain-specific information in a way that does not correspond with their dominant learning modalities, to perform under classroom conditions that interfere with their preferred learning, or to demonstrate learning in such a way that fails them to use their more dominant intelligences, then such teachers create within their students forms of artificial stress, reduced motivation, and repressed performance. Along this same line of thinking, there is a considerable body of research evidence suggesting that many special education students who have been formally categorized, for example, as learning disabled (LD) are, in fact, not LD students per se but assessed and taught incorrectly in terms of their dominant learning style. Perhaps a more positive way of describing their LD is that they simply learn differently!

And now, after painting a negative but realistic image of numerous contemporary classrooms ... the good news, and the good news is indeed promising! An efficient classroom teacher will tend to teach in many different ways in order to reach all of her/his students. Teaching something only one way (such as lecturing to one's auditory learning channel) will miss all the students who do not learn best in that manner. Simply put for this web comment, good teaching is teaching through a variety of learning channels. Most students can learn the same content. But how they best receive and then perceive that content is determined largely by their individual learning styles. Simply defined, a student's studying style is the way a student processes, concentrates, internalizes and retain novel and often difficult bits of domain specific content knowledge, usually for testing and examination purposes. And as is the case with how one best learns information, many of the same elements, emotional, environmental, biological, sociological, and physiological must also be taken into account when studying.

Studying Elements

Emotional
Emotional factors which may influence studying are: motivation, responsibility, and persistence. Through identification and modification, bad study habits can be replaced by more productive habits. Knowing your current levels of these emotional factors, and working to positively reshape them can not only enhance your studying potential but change your outlook toward challenging courses.

Environmental
Environmental factors such as sound, temperature, lighting, and physical arrangement can have a significant impact on your ability to study. Although some of us enjoy loud background music, many prefer a quiet place to study, clear of distractions. Some students crank up the heating system whereas others seem to prefer a cooler studying environment. Some children prefer a low lighting system around them, while others have all the lights in the house on. Others enjoy the traditional chair and desk study approach while still others seem to be able to study all curled up in the middle of a bed. In short, paying close attention to these environmental factors and establishing an environment conducive to studying can increase overall learning.

Biological
In the 1960s, Roger Sperry's Nobel prize winning work suggested that the right and left hand sides of the human brain possessed specialized and different functions: the left being clinical and analytical while the right influenced the more artistic and sensing side of our nature. That is, our left cerebral hemisphere handled, in the main, logical/linear functions and verbal/linguistic skills, and the right half of our brain developed a reputation as the artistic, imaginative, emotional, musical, and holistic side. Today, while that form of cerebral thinking is considered somewhat simplistic, it may have opened up additional avenues to greater exploration into the true nature of cognitive functioning and how all of us acquire, store and employ domain specific knowledge.

That split-brain hypothesis so prevalent at that time represented a challenge to the concept of intellectual quotient (IQ) which, in the main, purported to assess verbal/linguistic and logical/mathematical skills, skills that were once considered to be handled by the left half of the brain. Today, more advanced research suggests that IQ scores actually measure only some of our overall abilities. This fact is evidenced by the realization that good athletes, artists or musicians were once simply (supposedly) talented while those considered good in science and math were considered smart or intelligent. In today's 2009 world, all of them ought to be considered 'intelligent.'

Sociological
Most students are not aware of the sociological factors that positively affect their ability to study effectively. Some prefer studying alone, in pairs, or in teams with adults or any combination thereof. Similarly, some seem to learn best in bright lights while others prefer darker corners. And some seem to learn best while eating or drinking or with loud music on in the background. While it is difficult for a variety of these sociological patters to operate simultaneously within one classroom, their value for efficient learning, especially studying, is of note here. To sum, students benefit from utilizing a variety of different sociological settings, as some serve to enhance initial learning while others act as reinforcement for studying.

Physiological
Physical factors which influence your studying style are those that involve your senses: auditory (ears), visual (eyes), tactile (touch), kinaesthetic (motion), gustatory (taste), and olfactory (smell), the initial three being more predominant. Visual students study best by watching a process, or reading materials. Research suggests that most learning occurs here. Next comes the auditory channel. Here, students study best by listening in class, discussing information in groups, and reciting study notes. Tactile students study best by hands-on activities, manipulating objects or flash cards, working problems or re-typing notes. Kinaesthetic students study best by demonstrating movement in their work, exercising while reading, or walking while reciting their notes. Olfactory students involve their nose to distinguish specific elements. And finally, gustatory students study best by tasting the item under investigation. These latter two factors account for only a minor part of overall learning.

How more auditory learners study
Auditory students tend to learn mainly by hearing classroom information. They seem to learn best through their ears, especially via verbal lectures, discussions, talking things through and listening to the words of others. They interpret the underlying meanings of speech through listening to tone of voice, pitch, speed and other nuances. When they have pages to read for homework, they need to quietly say the words aloud in order to hear the words as they read. Often, written information has little meaning until it is heard. When they are learning concepts such as phonetic sounds, they need to hear the similarities. For example, they may not realize "ph" sounds just like "f" unless they say the sounds out loud. Reading aloud, going over class notes and talking to oneself about the relevant points is important. Before reading, set a purpose and verbalize it, after finished a task, be sure to summarize out loud what was just read.

These learners often benefit from reading text aloud and using a tape recorder. Taping lectures or notes and playing them back to learn the information can be quite an effective way for an auditory student to understand and remember the information. The speaking of ideas into a tape recorder is like having a conversation with someone. If possible, such learners should talk to their friends about the material. Because auditory learners sometimes encounter problems keeping columns aligned, math computations can be completed on graph paper. The extreme left-hand column in Table 1 below lists alternative strategies for the auditory learner.

How more visual learners study
Visual students learn mainly by 'seeing' the material to be learned, that is, when the material is presented graphically, as in charts, tables, illustrated text books, overhead transparencies, videos, flip charts, hand-outs, maps, etc. Such students often prefer sitting at the front of the classroom to avoid irrelevant visual obstructions. When in class, visual people should look at the teachers when they are speaking, participate in class discussions and take detailed notes during lectures. Visual learners enjoy watching the teacher's body language and facial expression. This enables them to better comprehend the content of the classroom subject under discussion. When studying, such students tend to study alone in a quiet place and try to transcribe their material on paper. When possible, make designs, drawings, graphs or tables of complex abstract ideas and work alone.

Students who learn visually often have trouble working while having a dialogue, even if the dialogue directly pertains to the subject matter. Any homework they can complete using diagrams, time lines, charts, or graphs will be better remembered. As they read pages for homework, they need to either take written notes or underline important facts and dates in colors. When they are learning such auditory concepts as phonetic sounds, they must see the letters to learn.

How more kinaesthetic-tactual learners study
Of all the types of classroom students, perhaps the kinaesthetic / tactual learners are the most maligned group; they learn best through a hands-on approach. In other words, these are your touchers and feelers; they like to be physically involved as they find it extremely difficult to sit still. They often get out of their desks, pace around the classroom, want to have music or television playing in the background. In short, they are almost constantly finding themselves distracted.

They need to learn keyboarding skills, because these types of learners work well on computers where they can touch the keys as they type. They learn well when they can do things, such as in a lab. They need to actually use their hands and bodies while learning. Kinaesthetic / tactual learners may need to walk around or pace or hop or whatever while reading. When studying for tests, they need to make flash cards to remember important dates and facts. Unfortunately, they often have a hard time in school because they have to sit still and listen to a teacher. They need to learn to take notes in class in order to have something for their hands to do. The two right-hand columns in Box 1 below contain additional alternative strategies for such learners.

Summary

Before asking you to identify your more dominant studying style, one comment. All of us use the three above studying modalities but often to different degrees. For instance, I seem to study best visually with a pen or highlighter in my hand, with a secondary studying style of kinaesthetic-tactual. If asked to listen to auditory directions, I may understand the first item or two, but then I am lost, in more ways than one. I have to either write down the directions as I hear them, or visualize the oral directions, often requiring the aid of a map. When listening to lectures, I seem to learn best by taking numerous notes and sketching diagrams depicting the content under investigation.

Studying Styles Inventory

Name: ____________________________________ Date: ______________________

Instructions:

Print out and read over the following three (3) lists of statements. Using a highlighter or pen, circle or/and note the numeral to the left of every statement that you feel that best applies to you, at this point in time of your busy life. As we all differ so markedly in how we acquire and retain knowledge and especially, for this note, how we best study, there are no right or wrong statements, only non applicable comments. You may have as much time as you need to complete the three sections, so read over each studying characteristic carefully and, if it applies to you, note it in your own way before you complete the two remaining sections.

Auditory studying style

1. If I hear someone's name, I remember it easily.
2. Rather than reading a book, I prefer to listen to a tape or someone read the book to me.
3. I can pay attention and remember easier when others read out loud to me.
4. I find that songs and jingles help me to remember things.
5. I use oral explanations and ask students to repeat or paraphrase.
6. I use audio recordings whenever possible.
7. I give oral instructions most of the time.
8. I explore and develop information through class discussions.
9. I remember songs after hearing them only a couple of times.
10. I often read and study by repeating information aloud to myself.
11. When taking a class test or term exam, I am easily distracted by background noise.
12. I like to study for tests by having someone quiz me aloud.
13. I like to talk and listen.
14. I work out my math story problems by talking through them aloud.
15. I participate in class discussions/debates.
16. I make speeches and presentations.
17. I use a tape recorder during lectures instead of taking notes.
18. I read text out aloud.
19. I create musical jingles to aid memorization
20. I create mnemonics to aid memorization
21. I discuss my ideas verbally.
22. I dictate to someone while they write down my thoughts.
23. I use verbal analogies, and story telling to demonstrate my point

Visual studying style

1. I prefer to have a clear view of my subject teachers when they are speaking. In this way, I can see their body language and facial expression.
2. I use color to highlight important points in a textbook or in a handout.
3. I take notes and I ask my teachers to provide handouts.
4. I illustrate my ideas as a picture or brainstorming bubble before writing them down.
5. I write a story and illustrate it.
6. I use multi-media (e.g., computers, videos, and filmstrips).
7. I study in a quiet place away from verbal disturbances.
8. I prefer to read illustrated books.
9. I visualize information as a picture to aid memorization.
10. To see if I have spelled a word correctly, I write it out to see if it looks right.
11. I can remember names if I see them written on name tags.
12. I enjoy reading books, looking at the pictures and using visual materials such as pictures, charts, maps, graphs, etc.
13. Before doing a project, I prefer to read the instructions or look at the illustrations.
14. I take down class notes to help me to remember what the teacher says.
15. I usually write down my assignments to help me to remember its contents.
16. I like to use flash cards to practice vocabulary words.
17. My desk and locker is neatly organized.
18. I am able to sit and watch TV or work on the computer / internet for a long time.
19. I understand things better when I read them than when I listen to them.
20. I prefer being given a list of duties to complete rather than being told.
21. I seem to be able to picture things in my mind easily.
22. I learn best via visual aids (e.g., chalkboard notes, visual illustrations, charts, graphs, concept maps, outlines, graphic organizers).
23. I seem to understand knowledge best via video recordings.

Kinaesthetic-tactual studying style

1. I take frequent study breaks.
2. I move around to learn new things (e.g., read while on an exercise bike, mould a piece of clay to learn a new concept).
3. I enjoy working in a standing position.
4. I chew gum while studying.
5. I use bright colors to highlight reading material.
6. I dress up my work space with posters.
7. I listen to music while I study.
8. I skim through reading material to get a rough idea what it is about before settling down to read it in detail.
9. I emphasize and clarify ideas through gesture, facial expression and dramatization.
10. I enjoy active learning and direct experience and experimentation.
11. I prefer completing tasks which imply physical movement.
12. I prefer doing class assignments that involve project work.
13. It is hard for me to pay attention when I must sit still for the entire class period.
14. I enjoy sports and being active.
15. I count on my fingers or with other objects to do math problems.
16. My favourite classes are those where I can move around a lot.
17. I choose to play outside rather than sit inside and read a book or listen to tapes.
18. I have a hard time staying neat and organized.
19. I am good at skills that require precise movements, for example, walking on a balance beam, serving a volleyball, or playing ping-pong.
20. I prefer to learn a new activity by being shown how to do it rather than by reading about it or listening to a tape about it.
21. I would like to act out stories rather than talk about them.
22. I have a good sense of balance and rhythm.

Summary Instructions

Your three above totals may suggest your possible dominant studying style. That is, if your highest total is visual, you likely study best by SEEING, that is, you tend to remember best by using your eyes for studying. If your highest total is auditory, you likely study best by HEARING. In other words, you remember best by using your ears to study. And, if your highest total is kinaesthetic-tactual, you probably study best by DOING things, that is, you remember best by movement or physical activities that involve many parts of your body, in particular, your hands and feet. Box 1 immediately below outlines just some of the many alternative ways of studying.

Box 1: Some Alternative Ways for Students to Study

Some Auditory Alternatives	Some Visual Alternatives	Some Kinaesthetic Alternatives	Some Tactual Alternatives
tape / CD / DVD recordings	advertisements	newspapers	learning circles
speeches	journals / diaries	mock TV shows	crossword puzzles
debates	plays	radio broadcasts	pictures / posters
panel discussions	scripts	videos / DVD's	murals
commentaries	poems	demonstrations	maps / visualizations
discussions	songs	dramatizations	costume making
interviews	stories	role playing	charts / schematas
lectures	letters / reviews	pantomimes	graphs / models
.	editorials	reader theatres	dioramas / games
	news stories	field trips	cartoons / puppetry
	reports	.	box movies / masks
	internet files		coding puzzles
	.		photographs / slides
	.		mobiles paper items
	.		word puzzles
	.

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You’ve decided you want to improve your handwriting and you’re probably hoping a fountain pen will do the trick -- maybe a friend told you it would. Maybe you’re just adventurous and you want to try your hand at calligraphy (or you might, once your handwriting improves). Good for you!

A fountain pen may make your writing look a bit better, but if your writing looks as if frenzied chickens got loose on the page, chances are this won’t be enough. Most likely, you’ll need to retrain your arm and hand.

After coaching handwriting and teaching calligraphy over the years, I’ve learned to see the characteristics of those who’ll be able to pick up the necessary motions quickly from those who’ll have to work a bit harder.

People who inevitably have trouble with handwriting and calligraphy write with their fingers. They "draw" the letters. A finger-writer puts the full weight of his/her hand on the paper, his fingers form the letters, and he picks his hand up repeatedly to move it across the paper as he writes.

People for whom writing comes more easily may rest their hands fairly heavily on the paper, but their forearms and shoulders move as they write. Their writing has a cadence that shows they’re using at least some of the right muscle groups. They don’t draw the letters with their fingers; the fingers serve more as guides.

This exercise may help you determine which category is yours: Sit down and write a paragraph. Doesn’t matter what. Pay attention to the muscles you use to form your letters. Do you draw each letter with your fingers? Pick your hand up repeatedly to move it? Have an unrecognizable scrawl? Does your forearm move? Chances are, if you learned to write after 1955-60 (depending on where you went to grade school), you write with your fingers.

My goal isn’t to make you into a model Palmer-method writer or a 14th Century scribe. If you can compromise between the "right" methods and the way you write now and improve your handwriting so you’re happier with it, then I’m happy, too.

It will take time to re-train muscles and learn new habits. Finger-writing isn’t fatal, but it is slow and often painful (if you have to write much). The first thing you must have (beg, buy, borrow or steal it) is patience and gentleness with yourself. The second requirement is determination.

If you finger-write, that is the first, most important thing you must un-learn: Do not draw your letters! Do not write with your fingers! Put up signs everywhere to remind you. Write it in the butter, on the shaving mirror, stick notes in the cereal boxes. But learn it!

I hesitate to include this, because it sounds much more difficult than it is . . . but . . . let’s look at the most basic things: holding the pen and positioning the hand.

Most of us hold the pen between the thumb and index finger, resting the barrel on the middle finger (fig. 1). This works better than holding it between the thumb and the index and middle fingers, with the whole assembly resting on the ring finger (fig. 2). If you do it the first way, you’re off to a good start. If the second, you’ll be okay. In both, the remaining fingers are curled under the hand.

Pick up your pen and look at your hand. You’ll have better control and a better writing angle if your pen rests over or just forward of the bottom knuckle on your index finger, not between thumb and index finger (see fig. 3). (I hold my fountain pens in the latter position, but when I pick up a calligraphy pen, it drops obediently right over that big knuckle--go figure!)

For handwriting, the pen position is less important than for calligraphy. I recommend working in your familiar position unless it’s really bad. What’s essential is that you be comfortable, the pen feel balanced and you have no tension in your hand. Rest the heel of your hand and the angle of your curled-up little finger on the paper.

Hold the pen lightly; don’t squeeze it. Pretend the barrel is soft rubber and squeezing will get you a big, fat blot. (If you were using a quill, you’d hold it so lightly that the actual act of drawing the quill along the paper would create the proper contact.)

Many books recommend you write with your table at a 45-degree angle, but that’s impractical for most of us. If you can prop up a board or write with one on your lap, that’s a good place to start, but a flat surface is fine. Once you try an angled surface, you’re likely not to want to quit, so be careful-- here goes a whole new budget’s worth of art supplies!

Sit up straight, but not stiffly; don’t sit hunched over or slumped. Don’t worry too much about this position stuff; the important thing is what makes you feel relaxed and comfortable. Your writing arm needs to be free to move, so squished into the La-Z-Boy probably won’t be productive.

Hold your fingers fairly straight and write slightly above and just between your thumb and index finger, right where you’re holding the pen. Don’t curl your hand over and write to the left of your palm; that’s a crampy, miserable position. More lefties do this than righties.

When you’re practicing and you reach the level on the paper at which it becomes uncomfortable to continue to move your hand down the paper to write, move the paper up. Once you recognize your "writing level," the paper should move up at that spot rather than your hand moving down the paper. (This isn’t critical. If you notice it and it bothers you, that’s what you do about it. If it doesn’t bother you, skip it.)

I’ve found only one reference to using the right muscle groups to write, and this is critical. I can’t be the only person who knows this; I’m neither that smart nor that good. Calligraphy instruction books address hand position, desk position, lighting, paper, you name it--but for some reason, not using the right muscles.

As you’ve probably surmised, the "right muscles" are not those in the fingers. You must use the shoulder-girdle and forearm muscles. This muscle group is capable of much more intricate action than you think and tires much less easily than fingers, besides giving a smooth, clean, sweeping look to the finished writing. Though it seems paradoxical, since we’re accustomed to thinking of small muscles having better control, the shoulder-girdle group, once trained, does the job better.

To get a feel for the proper muscles (and start training them correctly), hold your arm out in front of you, elbow bent, and write in the air. Write big. Use your arm and shoulder to shape letters; hold your forearm, wrist and fingers stationary and in writing position. You’ll feel your shoulder, arm, chest and some back muscles doing most of the work. That’s good. That’s what they’re supposed to do. Try to duplicate it each time you practice.

Write in the air until it becomes as natural as breathing. It’ll be awkward and feel silly at first. If you have a little kid around, get him/her to do it with you. You’ll both have fun, you won’t feel so alone, and it’ll be good for the child’s handwriting, too. If you don’t have a kid, tell your co-workers you’re improving your financial karma or hexing your boss.

As you become comfortable, reduce the size of the air-letters you make. If you have access to a chalkboard or a stick and a fence (or even a finger and a wall), write on them. They’ll give you a feel for the muscles you need to use and writing on a vertical surface makes it virtually impossible to finger-write. (If you’re one of the people who can’t write on a blackboard because you keep wanting to shrink the writing down so your fingers can do it, this is really important for you.) If you keep wanting to hunch up close and put your hand on the chalkboard or wall to write, resist the urge! You’ll be indulging those dratted fingers.

Remember: Your fingers should move very little and your wrist even less. Your forearm does most of the guiding, while your shoulder provides the power.

At some point, you’ll want to try this with a pen. Hold it gently. Place it on the paper in an ordinary lined spiral notebook (the lines act as ready-made guidelines for size and spacing). If you can get hold of a first-grader’s Big Chief tablet, which offers big lines with a dotted line between two bold lines, use it. There’s a reason children start out writing big and the letters get smaller as they get older and more skilled—-that’s the easiest way to learn.

Start making Xs and ///s and \\\s and OOOOs and overlapped OOOs and spirals and |||||s. Do not draw these strokes and figures! Use the same shoulder-forearm muscles you’ve been practicing with. Make your lines, loops, circles and spirals freely. Work into a rhythm and make it a habit.

Your goal is smooth, uniform, evenly spaced lines, loops, circles and spirals, without drawing them.

This is where you’re most likely to get discouraged. If you use a spiral notebook for practice, you can leaf back and see your progress. At first, your strokes and lines will be bad—over-running and under-running the lines, too small, too big, crooked, uneven, just ugly. Check your position; check your muscle groups; and try again. And again.

Concentrate on keeping wrist-hand-fingers largely stationary and in proper alignment. Let the big muscles do the work. It will be more tiring at first, because you’re using muscles that aren’t accustomed to that kind of work. It’ll be hard and frustrating, ’cause your body will want to do it the way it’s done it since first grade… even though that way is wrong. It may help to concentrate less on the accuracy of the shapes you’re making than on the muscles making them. Retraining your arm is the goal, not making pretty little circles and lines first time out.

When you start putting the strokes and lines on paper, start out big. Three, four, even more lines in your notebook. (Big Chiefs are handy for this.) This helps ensure that you continue to use the shoulder girdle. Don’t try to make pretty letters at this stage. Do the exercises as much as you can—-shoot for every day. Ten or fifteen minutes a day should show results in a few weeks for most people. And note that both air-writing and paper exercises can be doodledduring meetings and while on holdwaiting for somebody!

Concentrate on that shoulder girdle. Let it do the work. Write big. Write words and sentences at the same time you’re doing strokes and exercises. You need both working together to succeed.

Gradually, as your control increases, make your strokes and letters smaller until they’re the size you normally write. You’ll know when you get there. By this time, you probably won’t have to make extra effort to incorporate this stuff into your writing; it’ll be automatic. And your writing should look much better (and be easier and feel better, to boot).

ADJECTIVES

• as + adjective + as
• comparative + than
• comparatives & superlatives
• comparisons of quantity - showing no difference
• comparisons of quantity - menu
• comparisons of quantity - showing difference
• form - adjectives
• function
• irregular comparatives & superlatives
• main menu
• not as + adjective + as
• order
• the + superlative

ADVERBS

• certainty
• comparative form
• degree - enough,very,too,extremely,almost etc
• form - adverb
• function
• interrogative - why,where,how,when
• main menu
• manner
• menu
• place
• relative adverbs - which,what,whose
• time
• viewpoint, commenting

DETERMINERS

• defining words - which,whose
• demonstratives - this,that,these,those etc
• difference words - other,another
• distributives - all, both, half
• distributives - each, every, either, neither
• distributives - menu
• exceptions to using the definite article
• menu - function and class
• menu - quantifiers
• possessives
• pre-determiners
• quantifiers 1 - determiners,a few,few,a little,little
• quantifiers 2 - many,much,more,most etc.
• quantifiers 3 - how,much,many,few,lot etc.
• quantifiers 4 - numbers
• quantifiers 5 - some and any
• quantifiers 6 - something,somebody,someone etc.
• quantifiers 7 - enough
• question words - which,what,whose
• the definite article
• the indefinite article
• the,a,an

DIRECT AND INDIRECT SPEECH

• changes of time and place reference
• introduction
• reporting hopes and intentions
• reporting orders, requests, suggestions
• reporting questions
• summary of reporting verbs
• tense changes

-ING FORM

• as present participle
• gerund or infinitive?
• gerund/infinitive - difference in meaning
• gerunds
• introduction
• verbs followed by gerund

NOUNS

• compound nouns
• countable & uncountable
• menu - nouns
• nationalities
• noun gender
• plurals
• use of capital letters

PASSIVE

• active/passive equivalents
• form -past
• function
• get/have something done, x needs doing

POSSESSIVE WITH 'S AND '

• possessive

RELATIVE CLAUSES

• defining relative clauses
• introduction
• non-defining relative clauses
• prepositions in relative clauses

THE INFINITIVE

• form, with or without 'to'
• function
• infinitive after question words
• negative infinitive
• other forms of infinitive
• verbs + infinitive with/without noun
• verbs followed by infinitive
• verbs followed by noun + infinitive
• zero infinitive

TO GET

• examples
• get,got,getting

VERBS AND VERB TENSES

• future continuous
• future forms - introduction
• future forms - simple future
• future perfect
• future perfect continuous
• future with 'going to'
• if sentences with conditional perfect continuous
• if sentences with if + past,would,present condtional
• if sentences with if,condtional tenses
• if sentences with if+not,unless,verbs
• if sentences with mixed conditionals
• if sentences with perfect conditional,if + past perfect
• if sentences with wish,would rather,suppose,what if,if only
• if setences with present continuous conditional
• menu / introduction
• other forms of future
• past continuous
• past perfect
• past perfect continuous
• present continuous
• present continuous for future events
• present perfect 1
• present perfect 2
• present perfect 3
• present perfect 4
• present perfect continous
• simple past
• simple present
• simple present for future events
• summary
• type 1 conditional
• zero conditional

Course 1 - Starter Unit 1 - Present Simple "to be" - Subject Pronouns Unit 2 - Present Simple "to be": Negatives and Questions Unit 3 - Present Simple Unit 4 - Present Simple: Negatives and Questions Unit 5 - Contractions Unit 6 - Prepositions of Place Unit 7 - Question Words Unit 8 - Object Pronouns Unit 9 - Countable / Uncountable Nouns Unit 10 - Articles Unit 11 - Plural Nouns Unit 12 - Demonstratives - this / that / these / those

Course 2 - Elementary Unit 13 - Quantifiers: Some / Any Unit 14 - Quantifiers: Much / Many / A Lot of Unit 15 - Quantifiers: A Few / A Little Unit 16 - Possessives Unit 17 - There is / There are Unit 18 - Modal Verbs - Can / Can't Unit 19 - Have / Have got Unit 20 - Conjunctions Unit 21 - Imperatives Unit 22 - Present Continuous Unit 23 - Adverbs of Frequency Unit 24 - Prepositions of Time Unit 25 - Comparatives / Superlatives

The units below are grammar only - we're working on exercises now. Level 3 - Pre-Intermediate Unit 26 - Past Simple - Verb "to be" Unit 27 - Past Simple Unit 28 - Past Continuous Unit 29 - Future - Will / Shall Unit 30 - Future - Going to Unit 31 - Future - Present Simple / Present Continuous Unit 32 - Adjectives and Adverbs Unit 33 - Adjectives: -ed/-ing forms Unit 34 - Adjective Order Unit 35 - Comparatives - as...as Unit 36 - Comparatives - Quantity Unit 37 - Gerunds and Infinitives - Verb + Gerund / Verb + Infinitive Unit 38 - Gerunds and Infinitives - Verb + Gerund or Infinitive 1 Unit 39 - Gerunds and Infinitives - Verb + Gerund or Infinitive 2 Unit 40 - Conditionals - Zero Unit 41 - Conditionals - One Unit 42 - Indefinite Pronouns Unit 43 - Modal Verbs - Must / Have to Unit 44 - Modal Verbs - Should / Ought to Unit 45 - Modal Verbs - Would 1 Unit 46 - Modal Verbs - Would 2 Unit 47 - Preposition and Conjunctions of Time - for / during / while / when

Course 4 - Upper Intermediate Unit 48 - Preposition and Conjunctions of Time - by / from / until Unit 49 - Preposition and Conjunctions of Time 2- before / after / as / as soon as Unit 50 - Adverbs of Degree - enough / too / very Unit 51 - Present Perfect 1 - Form and Usage Unit 52 - Present Perfect 2 - Have you ever...? / ever / never Unit 53 - Present Perfect 3 - for / since Unit 54 - Present Perfect 4 - Past Simple or Present Perfect? Unit 55 - Adverbs of Time - already / just / yet / still / ago / anymore Unit 56 - Determiners: each / every Unit 57 - Questions Tags Unit 58 - Passive Voice Unit 59 - Reported Speech 1 Unit 60 - Used to Unit 61 - Get / Be used to Unit 62 - Wish Unit 63 - Preposition and Conjunctions - like / as Unit 64 - Adverbs - Comparative Unit 65 - Relative Clauses 1 Unit 66 - Indirect Questions Unit 67 - Past Perfect Unit 68 - Future Continuous Unit 69 - Future Perfect Unit 70 - Causative Verbs - get / have / let / make