GRADE 9 – 3RD QUARTER - MUSIC OF ROMANTIC

MUSIC OF THE ROMANTIC PERIOD

 Romantic period is described as a cultural movement that stressed emotion, imagination, individualism, and freedom of
expression.
 Nationalism was also incorporated in the music of the Romantic period. Nationalism is the devotion to the interests or culture
of one’s nation. It is one of the main features of this era. This is evidently shown in some compositions made by Romantic
composers. One of which is the Polonaise of Frederic Chopin, a dance composition for piano which is famous in Poland until
today.
 Ludwig Van Beethoven bridged the music from classical to Romantic era by expressing his passion and emotions through
music.

 There are some facts about Romantic musical period that everybody should know.
 The piano music is in free form such as fantasy, rhapsody, ballad and nocturne.
 program music was expressed in tone poems and Symphony Fantastique. The music was
used to tell stories and express ideas.
 Most of the composers were proud of their country’s music and often use folk songs in
their works.

VIOLIN AND STRINGS MUSIC:

NICCOLO PAGANINI
 He was born in October 27, 1782 in Genoa, Italy in a family of six children. His musical skills
started with playing the mandolin at the age of five. He eventually transferred his training to the
violin at the age of seven with different renowned violin professors in Italy.
 Paganini became the most famous violin virtuoso in the world. However, together with his fame
came the rumors that said that his amazing violin skills were a gift from the devil and that he sold
his soul in exchange for those skills. He was also rumored to have a problem with women and
gambling.
 His compositions inspired a lot of other composers such as Franz Liszt, Frederic Chopin and Robert Schumann to name a
few.
Some Works of Niccolo Paganini:
 “La Campanella”
 24 Caprices for Solo Violin, Op. 1
 Concerto No. 1 in Eb , Op. 6
 15 Quartets for Guitar and Strings Trio
 The Carnival of Venice

PIANO MUSIC:
1. FREDERIC CHOPIN
 Frederic Chopin was known as the “Poet of the Piano”. Born on March 1, 1810, in Zelazowa,
Poland, he was considered as world renowned pianist and composer. He was known for his
originality regarding piano.
 Chopin composed almost primarily for the piano and some of his most well- known
compositions are Fantaisie in F minor, Op. 49, Revolutionary Etude, Op. 10, No. 12 and 24
Preludes, Op. 28
 In the latter part of Chopin’s life, his health began to decline and was diagnosed with
pulmonary tuberculosis. Chopin died on October 17th, 1849, in Paris. Chopin’s music is recognized worldwide for its beauty
and complexity and his works on the piano are staples in the piano repertoire.
 Some of his music is characterized through its beautiful tone, rhythmic flexibility, graceful and elegant. Some of his
composition like mazurkas and polonaise express his love for Poland and most of his composition did not attach any literary
titles or programs to his pieces.

Piano works of Frederic Chopin

 BALLADE- A verse form usually consisting of three stanzas of eight or ten lines each along with a brief envoy, with all three
stanzas and the envoy ending in the same one-line refrain.
 ETUDE – Apiece composed for the development of a specific point of technique.
 MAZURKA- A Polish dance resembling the polka, frequently adopted as a ballet form usually in triple time signature.
 NOCTURNE - An instrumental composition of a pensive, dreamy mood, especially one for the piano
 POLONAISE - A stately, march like Polish dance, primarily a promenade by couples.
 PRELUDE - An introductory performance, event, or action preceding a more important one.
 WALTZ - A piece of music for this dance
 IMPROMTU - A short composition, especially for the piano, performed in an offhand or extemporized style.
 SCHERZO - a musical movement of playful character, typically in aba form
  SONATA - composition for one or more solo instruments, one of which is usually a keyboard instrument, usually consisting of
three or four independent movements varying in key, mood, and tempo.

2. FRANZ LISZT

 The best word that describes the works of Franz Liszt is “virtuosity”. He was known as the virtuoso
pianist and composer and the busiest musician during the romantic era.
 Liszt was born in the village Doborjan, Hungary. He displayed remarkable talent at young age
and easily understands sight reading through the effort of his father as the first teacher at age six.
A turning point came when, in his early twenties, Liszt heard the virtuoso violinist Niccolo Paganini
performs so he decided to dedicate himself doing piano music as what Paganini has done for the
violin.
 He was known as the musical architect through his symphonic poem by attempting to translate
the greatest works of literature into musical terms as shown in some of his composition.

Piano Works Of Franz Liszt

 Grand Etudes after Paganini
 12 Transcendental Etudes
 Sonata in B Minor
 Years of Pilgrimage (3 Volumes)
 Operatic Fantasies (after Bellini, Mozart, Verdi and Wagner, among others)
 Arrangements of the 9 Beethoven Symphonies
 Transcriptions of Lieder by Schubert
 Liszt's "Hungarian Rhapsodies" were originally written for solo piano, but many were arranged for orchestra or other
combinations of instruments.The Hungarian Rhapsody No.2 is the most popular and was the basis for the Tom & Jerry
cartoon called the Cat Concerto
Liszt’s Works For Piano And Orchestra
 2 Concertos (Eband A Major)
 Totentanz (Dance of Death) which adapts a Gregorian chant known as the Dies Irae (or Day of Wrath)
 Malediction for Piano and Strings
Orchestral Composition
 Symphonic Poems (Hamlet, Les Preludes)
 Faust Symphony
 Dante Symphony

3. ROBERT SCHUMANN
 He was a composer, music critic and considered himself as the heir to the original creative tradition of Beethoven and
Shubert.
 Robert Alexander Schumann was born in 1810 in Zwickau. His father wants his son to study law and in 1821 Schumann went
to Leipzig study law but he spent most of his time in Leipzig's understanding and enjoying musical and literary circles thru the
effort of Friedrich Wieck who took some time to teach Schumann to play piano. It was also this time when he wrote some of
his first piano compositions.
 He eventually convinced his family that he should put aside law in favor of a performing career. In 1830 Schumann went to
live with Wieck in Leipzig. He soon developed a problem with his hands, effectively ending his dreams as pianist.
 It was in 1834 when Schumann founded the music journal NeueZeitschrift fur Musik wherein he edited and wrote music
criticism for his publication. He wrote numerous works young composer and one of which was the performance of Frederic
Chopin in Paris, France. In his journal Schumann often wrote under two pseudonyms - Eusebius (his sensitive, lyrical side)
and Florestan (his fiery, stormy side).

Piano Music
 "Abegg Variations," Opus 1(1830)
 "Davidsbundlertanze" ("Dances of the Band of David"), Opus 6 (1837)
 "Carnaval," Opus 9 (1835) - a portrait of a masked ball attended by his allies and his beloved Clara
 "Phantasiestucke," Opus 12 (1837) - a series of mood pieces
 Kreisleriana," Opus 16 (1838) - a fantasy on the mad Kapellmeister
 "Kinderszenen," Opus 15 (1838) - a poetic series of evocations of a child's world
Art songs
 "Frauenliebe und Leben" ("A Woman's Love and Life")
 "Dichterliebe" ("A Poet's Love")
Orchestral music
 "Piano Concerto in A Minor," Opus 54
 "Overture, Scherzo
 “Finale," Opus 52 (a mini symphony)
 "Konzertstuck in F Major for Four Horns and Orchestra," Opus 86
PROGRAM MUSIC
It is an instrumental music that conveys image or scenes, music that tells a short story without text or lyrics and imaginative
ideas.

COMPOSERS OF PROGRAM MUSIC:

1. HECTOR BERLIOZ
 French romantic composer born on December 3, 1803
 One of his famous musical compositions is a five-movement symphony called “Symphonie
Fantastique”
 In most of his compositions, he made tone color as the basic part of his musical language.
Sequence of Symphonie Fantastique
MOVEMENT TITLE TEMPO FORM
1 movement
st
Reveries/Passion Largo, Allegro agitato e
appasionado assai,
2nd movement A Ball allegro non troppo ABA form
3rd Scene in the country Adagio waltz ABA Coda form
4th
March to the scaffold Allegretto non troppo Composed of two different
themes
5th Dream of a Witches Sabbath Larghetto allegro Most fantastic of the
movement

2. PETER ILYICH TCHAIKOVSKY

 Born on May 7, 1840, in Votkinsk, Russia, was known for his ballet music.
 As a big fan of Mozart, Tchaikovsky studied composition with Anton Rubinstein and moved to
Moscow and started teaching at the new conservatory.
 He continued his career in New York despite having marital problems and become famous after
composing the musical poem “Fatum” and “Romeo and Juliet”.
Tchaikovsky’s Famous Compositions:
 Swan Lake
 Sleeping Beauty
 The Nutcracker
 Romeo & Juliet
 1812 Overture
1. CAMILLE SAINT-SAENS
 Born in Paris on October 9, 1835
 He was considered as a composer who creates elegant music, neat, clean, polished, and never
excessive.
 As an organist and one of the best pianists of his time, he sat very still at the
piano and played gracefully and cool.
Some of the facts during the peak of his career in musician and composer, many beautiful building,
churches and instruments were being built in France which includes the famous Eiffel Tower
Best known music of Camille Saint-Saëns:
 Carnival of the Animals
 Danse Macabre and his SymphonyNo. 3
 The Swan
Over 300 works, unusually in all genres, including
 3 operas (Samson and Delilah the only one remembered)
 5 Symphonies (best known No3 the Organ Symphony )
 3 concertos for violin and orchestra
 5 concertos for piano and orchestra
 2 concertos for cello and orchestra
 organ music
 numerous pieces for the piano
 approximately 100 songs
 chamber music
 sacred music including a Requiem
 Symphony No. 2
 Symphony No. 6 “Pathetique”
 Piano Concerto No. 1
GRADE 9 – ARTS 3ND QUARTER - NEOCLASSIC AND ROMANTIC
PERIODS
Lesson #1 The art Production of Neoclassic and Romantic Periods
Read Me!
Neoclassicism and Romanticism were the movements that spread in Western Europe and the United States during the
Rococo era, lasting roughly from the late 18th to the 19th centuries.
Neoclassicism, 1780-1840
In decorative and visual arts, the Western trend that became popular from 1780 to 1840 was called Neoclassicism. It also
refers to literature, theater, music and architecture which were inspired by Ancient Greece and Rome’s classical art and
culture. This is also known as the Age of Enlightenment.
Romanticism, 1800-1810s
Romanticism was a trend that emphasized both the delicate and stormy
presentation of sentiments or emotions and individualism.

Landscape painting was also made more popular because of the romantic
adoration of nature by the inhabitants. Neoclassical and Romantic styles differ greatly from one another.

Lesson #2: Artist from Neoclassical and Romantic Periods

Neoclassic Period 1780 – 1840

Jacques-Louis David (1748 – 1825) - An influential French painter and considered to be the pre-eminent painter of the era -
His subject of painting were more on history.
Artwork/Artform: The Death of Marat / Painting, Napoleon Crossing the Alps / Painting, Oath of the Horatii / Painting

Jean-Auguste Dominique Ingres (1780 – 1867) - He was a pupil of Jacques-Louis David, and regarded as one of the great
examplers of academic art and one of the finest Old Masters of his era. - His paintings were usually nudes, portraits, and
mythological theme.
Artwork/Artform: Portrait of Napoleon on the Imperial Throne / Painting, The Apotheosis of Homer / Painting

Antonio Canova (1757 – 1822) - A prolific Italian artist & sculptor who became famous for his marble sculptures that delicately
rendered nude flesh.
Artwork/Artform: Psyche Awakened by Cupid’s Kiss / Sculpture, Washington / Sculpture
Bertel Thorvaldsen (1789 – 1838) - He was the first internationally acclaimed Danish artist. - He executed sculptures of
mythological and religious theme characters.
Artwork/Artform: Christ / Sculpture, Christ / Sculpture

Robert Adam (1728 – 1792) - A Palladian architect of the Neoclassic period

Artwork/Artform: White House / Architecture, United States Capitol / Architecture
Henri Labrousete - Artwork/Artform: ibrary of SaintGennevieve / Architecture
Charles Garnier - Artwork/Artform: Palais Garnier / Architecture

Romantic Period,

Jean louis Theodore Gericault (1791 – 1824) France - He was the first French master and the leader of the French realistic
school. - His masterpiece were energetic, powerful, brilliantly colored and tightly composed
Artwork/Artform: The Raft of the Medusa / Painting, Charging Chasseur / Painting, Insane Woman / Painting

Eugene Delacroix (1798 – 1863) France - He was considered the greatest and most influential French Romantic painter.
Artwork/Artform: Liberty Leading the People / Painting

Francisco Goya (1746 – 1828) Spain - He was a commissioned Romantic painter by the King of Spain. - He was also a
printmaker regarded both as the last of the “Old Masters” and the first of the “Moderns”
Artwork/Artform: The Third of May / Painting, Saturn Devouring His Son / Painting, The Burial of Sardine / Painting

Theodore Rousseau - Artwork/Artform: Der kleine Fischer / Painting, Landscape with a Plowman / Painting

Jean-Baptiste-Camille Corot - The Church of Marissel, near Beauvais / Painting, Le repos sous les saules / Painting

Francois Rude (1784 – 1855) France - He was best known for his social art which aimed to inspire and capture the interest of
a broad public.
Artwork/Artform: Departure of the Volunteers / Sculpture, JEANNE d’Arc / Sculpture

Antoine-Louis Barye (1796 – 1875) France - He was the most famous animal sculptor of all time.
Artwork/Artform: Hercules Sitting on a Bull / Sculpture, Theseus Slaying the Minotaur / Sculpture

Elements of Arts.
Color, Line, Shape, Texture, Space, Value, Form

Module 2
Lesson 1: Elements and Principles of Arts in Neoclassical and Romantic Periods

Artwork’s functions are classified into (2) two:

Motivated and Non-motivated. Motivated Function of art (functional) refers to artworks that are made intentionally for
use in conscious actions of the creator or artist. It illustrates another discipline that people could take advantage of or make
use of the artwork, utilizing to make their lives comfortable. Examples are Architecture, Furniture, weaving, etc.
Non-motivated Function of art (non-functional) refers to artworks that are integral to being a human. It transcends the
individual or does not fulfill a specific external purpose, but for internal use that somehow balances harmony as an aspect of
being human beyond utility. Examples are Painting, Sculpture, Literature, Music, and Theater Arts

6 common function we considered an art:

Physical, Social, Personal, Spiritual, Educational, and Political
1. Physical Function – to serve as tools and containers. These are objects which function to make physically comfortable.
Examples are Spoon, building, chair, vase, etc.
2. Social Function – reinforcing and enhancing the sense of identity as family, community, or civilization awareness.
3. Personal Function – to express personal feelings.
4. Spiritual Function – to express spiritual beliefs about what they believed in or the destiny of life controlled by the force of
higher power
5. Educational Function – reinforcing education value through symbols and signs to illustrate knowledge not given in the
words but for discovery.
6. Political Function – to reinforce and enhance a sense of identity and ideological connection to specific political views,
issues, and opinions that people should be wary of.

Module 3
NEOCLASSICAL ARCHITECTURE
Neoclassical architectural styles started in the mid-18th century. It turned
away from the grandeur of Rococo style and the Late Baroque. In its purest form,
Neoclassical architecture was a style principally derived from the architecture of
Classical Greece and Rome and the architectural designs of the Italian architect
Andrea Palladio.

Types of Neoclassical Architecture: Temple Style

1. Palladian Styles - Palladian buildings were based on Andrea Palladio’s style of villa construction. Some of the buildings feature a
balustrade which is a railing with vertical supports along the edge of the roof.
2. Classical Block Style - The building features a rectangular or square plan, with a flat roof and an exterior rich in classical detail.

Sculpture
Sculpture is an art form showing the three-dimensional representation of an image. It is free standing and can be
seen from different angles. There are two sculptural processes, namely additive and subtractive.

Additive method is when materials are put up together to form the image. This method is done through modelling,
constructing, and assembling to build the form.

Subtractive method is when a solid block or mass of material is cut, chiseled, chipped or scraped away to reveal the
remaining form.

NEOCLASSICISM and ROMANTICISM in the Philippines

FAMOUS PHILIPPINE ARTWORKS:
1. THE CHRISTIAN VIRGINS BEING EXPOSED TO THE POPULACE by Felix Hidalgo
2. Spolarium by Juan Luna
3. Oblation by Guillermo Tolentino
4. Pangbansang Bantayog ni Adres Bonifacio by Guillermo Tolentino
5. Siyam na Diwata ng Sining by Napoleon Abueva

PHYSICAL EDUCATION 3RD QUARTER - FESTIVAL DANCES

Festival dances are cultural dances performed to the strong beats of percussion instruments by a community of
people sharing the same culture usually done in honor of a Patron Saint or in thanksgiving of a bountiful harvest. Festival
dances may be religious or secular in nature. But the best thing about festivals is that they add to the merry-making and
festivities where they are celebrated, the reason why they are called festival dances after all. Festival dances draw the
people’s culture by portraying the people’s ways of life through movements, costumes and implements inherent to their place
of origin.
Some of the famous festivals in the country include Sinulog of Cebu, Dinagyang of Iloilo, Ati-atihan of Kalibo, Aklan,
Buyogan and Lingayan of Leyte, Bangus of Dagupan, T’nalak of South Cotabato, Masskara of Bacolod City, Bambanti of
Isabela, and Kadayawan of Davao. Many others, especially from Luzon, are now paving their way to join the country’s festival
of festivals, the Aliwan Fiesta which is done in the month of April.
Filipinos do festivals primarily to celebrate. There are a multitude of reasons for this reason. We celebrate our unity
amidst the diversity of cultures and we celebrate our industry bringing about a bountiful harvest. Festivals have been a
consistent crowd-producing activity leading to upliftment of a community’s economy due to its tourism and entertainment
value. Basically, festivals are a form of entertainment that attracts foreign and domestic tourists to visit a place eventually
leading to the elevation of the Filipino’s quality of life.
Whatever festival we celebrate, be it done to honor a religious icon or celebrate our industry. Festival dances are a
reflection of the unity of the Filipino community that despite the economic, social, environmental, cultural and political
challenges we face every day, there can be no other race more resilient than ours.
Religious and Secular Festivals
As mentioned earlier, festivals may either be religious, in honor of a certain religious icon or secular or non-religious,
in thanksgiving or celebration of peoples industry and bountiful harvest. The following are some of the said festivals:
RELIGIOUS FESTIVALS
Name of Festival Place of Origin Religious Figure Month of
Honored Celebration
Sinulog Festival Cebu City Sto. Niňo January
 Dinagyang Festival Iloilo City Sto. Niňo January
Ati-atihan Festival Kalibo, Aklan Sto. Niňo January
Peňafrancia Bicol Virgin Mary September
Higantes Festival Angono, Rizal Saint Clement November
Longganisa Festival Vigan City, Ilocos Sur Saint Paul January
Kinabayo Festival Dapitan City James The Great July
Pintados de Passi Pintados City, Iloilo Sto. Niňo March
Pattarradday Santiago City Seňor San Tiago May
Sangyaw Festival Tacloban City Sto. Niňo July

NON-RELIGIOUS FESTIVALS
Name of Festival Place of Origin Industry Month of
Celebration
Bangus Festival Dagupan, Pangasinan Milkfish April to May
Industry
Bambanti Festival Isabela Scarecrow (Farming) January
Mammangui Festival City of Ilagan Corn Industry May
Mango Festival Iba, Zambales Mango Industry April
Panagbenga Festival Baguio City Flower Industry February
Ibon Ebon Festival Pampanga Migratory Birds February
Egg Industry
Masskara Bacolod City Mask (Sugar Industry) October
T’nalak Koronadal, Cotabato Colorful Abaca January
Ammungan Festival Nueva Vizcaya Gathering of Tribal May
Industries
Binatbatan Festival Vigan, Ilocos Sur Weaving Industry May
Locomotor Movements
These are movements that allow the body to move from one point in space to another. It
is canned from two words, “locos” which means place and “motor” which means movement.
They include the following:
Preparatory movement:
Step
-
This is the basis of all locomotor movements. It prepares you to move in
any direction you wish to go. It is defined as transfer of weight from one foot to the other. Try
one! Stand with your weight equally distributed to both of your feet. Now, let your right foot
carry it all. You got it! That’s what you call a step.

Walk
-
Series of steps executed by both of your feet alternately in any direction.
In executing a walk, observe that there’s this moment when both feet are in contact with the
ground while one foot supports the weight and transfers it to the other.

Run
-
Series of walks executed quickly in any direction wherein only one foot
stays on the ground while the other is off the ground.

Jump
-
This movement is simply described by having both feet lose its contact
with the ground. There five ways to do it:
 Take off from one foot and land on the same;
 Take off from one foot and land on the other;
 Take off from one foot and land on both feet;
 Take off from both feet and land on one foot; and
 Take off from both feet and land on both.
Non-Locomotor movements
These are movements that are done in one point in space without transferring to another
point. They don’t allow you to move from one place to the other. These movements include:
Flexion
- It is the act of decreasing the angle of a joint. Another term for flexion is
to bend. If you bend a joint, like your elbow or knee, you are performing
flexion.
Extension
- This is the opposite of flexion. You are extending if you are increasing
the angle of a joint. Stretching is another word for extension.
Contraction - A muscle movement done when it shortens, narrows and tightens using
sufficient amount of energy in the execution.
Release
- A muscle movement opposite to contraction done when it let goes or let
looses of being held into a shortening movement.
Collapse
- To deliberately drop the exertion of energy into a body segment.
Recover
- The opposite of collapse. This is to regain the energy exerted into a body
segment.
Rotation
- To rotate is to move a body segment allowing it to complete a circle with
its motion. It’s not only limited to circumduction which is done in ball and
socket joints. Rotation can also be done in wrists, waist, knees and
ankles.
Twist
- To move a body segment from an axis halfway front or back or quarter to
the right or left as in the twisting of the neck allowing the head to face
right or left and the like.
Pivot
- To change the position of the feet or any body part that carries the body’s
weight allowing the body to face in a less than 360 degrees turn.
Turn
- To move in a turning movement with a base of support, usually a pointed
foot, the other raised, while equilibrium is maintained until the completion

HEALTH EDUCATION 9 - QUARTER 3 - FIRST AID

FIRST AID
 is an immediate care given to a person who has been injured or suddenly taken ill
 it includes self-help and home care if medical assistance is not available or delayed
Goals of First Aid
1. Alleviate Suffering
 be able to help reduce or totally alleviate the suffering
2. Prevent Further Injury or Danger
 to prevent condition from worsening, or danger of further injury
3. Prolong Life
 to preserve and sustain life
 to save the victim from imminent danger

Characteristics of a Good First Aider
1. Gentle
 should not cause or inflict pain as much as possible
2. Observant
  should notice all signs
 aware of what is happening and what may happen
3. Resourceful
 makes the best use of things at hand/ using available materials
4. Emphatic
 should be comforting
5. Respectable
 maintains a professional and caring attitude
6. Tactful
 Handling the victim with utmost care and in calm manner
A speedy response and immediate action are crucial in life-threatening emergencies to prevent the situation from
getting worse by maintaining vital functions and reassuring the patient.
Paramedics
 conduct the initial and secondary survey when come across a casualty
 act quickly, precisely, and accurately to save life-threatening situation
Cardiopulmonary Resuscitation
 is a life-t technique which is vital in different emergencies including heart attack or near is a lifesaving technique
which is vital in different emergencies including heart attack or near drowning in which someone’s breathing or
heartbeat has stopped
Before starting CPR, you must check the following:
1. Is the environment safe for the person?
2. Is the person conscious or unconscious?
3. If the person appears to be unconscious, tap or shake his or her shoulder and ask loudly, “Are you okay?”
4. If the person doesn’t respond and two people are available, have one call 911 or the local emergency number. Get
the AED if it is available and have the other person begin the CPR. AED is an automated external defibrillator. It is a
lightweight, portable device that delivers an electric shock through the chest to the heart.
5. If you are alone and have an immediate access to a telephone, call 911 or your local emergency number before
beginning CPR. Get the AED, if it is available.
6. As soon as an AED is available, deliver one shock if instructed by the device, then begin CPR.
Primary Survey of the Victim
1. Danger. Assure that the area is safe before giving assistance to the injured person.
2. Response. Check if the person is conscious. See if you can get a response by talking to them, squeezing their
hands, or tapping their shoulders.
3. Send for Help. Ask for help or call an ambulance.
4. Airway. Make sure that the airway is clear of obstructions. Open the airway by tilting the head back with a chin lift.
5. Breathing. Look, listen, and feel to see if the patient is breathing normally.
6. CPR. If the patient is not responsive and not breathing (or not breathing normally), immediate start cardiopulmonary
resuscitation by doing 30 compressions followed by two rescue breaths at a rate of 100-120/ minute, or about
two/second.
7. Defibrillation. Apply defibrillator as soon as possible to the patient and follow the voice prompts. The shock can
potentially stop an irregular heartbeat and allow a normal rhythm to restore from a sudden cardiac arrest (SCA). SCA
occurs when the heart malfunctions and stop beating unexpectedly. If not treated within minutes, it quickly leads to
death.
Secondary Survey of the Victim
A. Visual Assessment
1. Head and Face. Inspect for bleeding or obvious deformity. Check the ears for blood, fluid, or bruising. Check the
eyes for reactivity to light and equal size pupils. Check the nose for bleeding or deformity. Check the mouth for
missing teeth, clench their teeth (to see if the top meets the bottom), and anything blocking the airway. Listen to
them speaking for any hoarseness or other abnormalities. Palpate the skull, feeling for any soft marshy areas.
 2. Neck. Inspect of any bruising, bleeding, or deformity. If you are trained, palpate for carotid pulse.
3. Shoulders. See fractures, dislocation, cuts or bruises. Examine the normal palpitation of chest and heart sound.
Feel for tenderness and crepitus. Crepitus is the strange popping sound or crunchy feeling in the bones, joints, or
tissue.
4. Abdomen. Inspect for cuts, bruises, bleeds, penetrations and impaled objects. Gently palpate for any
tenderness, rigidity or pain.
5. Pelvis. Inspect for possible injuries or fractures. Feel for tenderness along the bone, but DO NOT SPRING THE
PELVIS. Pushing down on both sides of the pelvis will make the situation worse if they have a pelvis fracture.
6. Arms and Legs. Examine for deformities, swellings, bleedings and dislocations. Check for joint movements,
stability and muscular power.
7. Back. Feel for tenderness, deformity and other signs of injury. Inspect the spine and the lower back.
B. Pain Assessment

1. Onset. How has the pain started? What was the patient doing? Was the patient active or sitting down? Did
he/she have an argument, or going through a stressful event? Find out whether the pain has come on suddenly,
gradually, or has been part of a long-term chronic illness/condition?
2. Provocation. Ask the patient what makes it worse-movement, palpation, positioning or if it’s like that when at
rest. You can also ask if there is anything that makes it better-position, movement, rest.
3. Radiation. Ask the patient to pointy where the pain originates from. You can then ask the patient if the pain
radiates anywhere.
4. Severity. Ask the patient to describe the pain on a scale of zero to ten, with zero pain being no pain at all,
through ten being the worst possible pain. You can ask the patient to compare it to the previous injuries or be
imaginative. For kids, it’s hard to determine, so you can use the Wong-Baker faces scale as an indicator.
5. Timing. Ask the patient how long it has been going on, if it has changed since the onset (better, worse,
new/different symptoms), if he/she had this before.
6. Treatment. This is good time to ask if the patient has taken any medication himself/herself or have done anything
to help himself/herself with the pain.
Assessing Emergency Situations and Responding Well
What should a first aider do in giving assistance to emergency situations?
1. Assess the Situation
Who are at the emergency scene and what are they doing? If anyone is in danger or hurt, you should immediately
take charge of the situation. In high stress situations, people tend to panic if they or someone they know has been
injured. If you feel you are able to help, take steps to lead and delegate those around the emergency scene. Lead
them by giving direct instructions.
2. Get Help
Direct orders to people – “GO GET HELP.CALL 911.”Keep it simple so they can follow directions easily and snap out
of any shock they may be feeling and don’t be afraid of raising your voice. You can focus on the tricky task of
assessing what can be done until the emergency vehicles get there.

3. Survey the Environment

Be aware of your surroundings and your options for making it safe, both for you and anyone else in the vicinity. Do
not move the victim from the position you found him/her unless there is danger that will cause serious injuries like fire,
danger of explosion, live wire, and risk of stroke. Be on the lookout for the following:
 Locate and shut off the source of smoke or gases if possible and move the casualty to fresh/open air.
 In case of fire and you’re trying to help out, remove the casualty from the scene as quickly as possible. A
human life is important than any building or material possession.
 In case of motor accidents, turn off the ignition if at all possible. Carefully carry the injured away from the
wreckage if it is possible. Leaking gas tanks and shorted wires are sometimes deadly combination.
 In case of electrical accidents, try to separate and/or break contact between the injured individual and the
electrical source.
 If there are live wires on the ground use a non-conductive material to move them out of the way (broom,
stick, wood or branch would be ideal if you can get your hands on any of these things.
 4. Check the Injured
Focus on the individuals that need immediate medical assistance. Check the consciousness, major bleeds, and
asphyxiation, and deal accordingly from the most and least injured. You don’t have to heal the victims but to keep
many of them alive as possible until the paramedics arrive. Never forget that.

5. Know Your Limits

Don’t take extreme risks. In periods of high pressure, it can be tempting to go beyond your knowledge or expertise for
the sake of helping. But unless you are 100% sure that you need to do something incredibly risky, do not take the risk
in doing it yourself and instead wait for professional assistance.
When they finally get there, keep out of their way, courteously explain to them what you’ve been doing, and assist
them if only they ask your help. Once there hands on the casualties, you job is done. Take a step back and let them
handle the situation,
Principles of Wound Dressing
In doing the secondary survey, you need to check the victim from head to toe if there are injuries. You might see
wounds that need to apply first aid. To do this, you must know the basic principles and techniques of dressing or bandaging
for unintentional injuries. The pictures below are examples of bandages to treat wounds or injuries.

Triangular Bandage Roller Bandage Cravat Bandage

Sterile Gauze Bandage Compress Adhesive Compress

In giving first aid, we commonly use self-adhesive dressings or gauze dressings.

Adhesive Dressings
 are used mainly for small wounds. They come in many different sizes, including specific types for placement on
fingertips.
Gauze Dressings
 are thick cotton pads used to cover larger wounds. They are held in place with a tape or by wrapping with gauze strip
(bandage).
Dressing or Bandaging
Dressing or bandaging are very important in giving first aid treatment, especially the victims of accidents. Dressing is any
material that is apply to a wound to control bleeding and prevent possible infection. Dressings must be sterile but in
emergency situations where sterile dressings are not available, any clean, soft non-fluffy cloth may be used as substitute for
dressing.
When the victim experiences severe bleeding, use dressing to help the blood-clotting process. The pressure it exerts on
wound helps to stop bleeding. Always remember why we use dressing. These are:
1. To stop bleeding
2. To absorb blood and wound secretion
3. To clean wounds and to prevent infection
4. To allow healing
Rule in Using Dressing
When applying a dressing, there are rules to follow. These will enable us to apply dressing properly and will protect the
victim from infection. You will also be protected from contracting infection in treating an open wound.
1. Wear disposable gloves whenever available before handling any dressing other than adhesive plaster.
2. A dressing should be large enough to totally cover the wound, with a safety margin of about 2.5 centimetres on all
sides beyond the wound.
3. Keep your fingers away from the area that will be in contact with the wound. Hold the dressing at the edges.
4. Directly place the dressing on the top of the wound.
5. Remove or replace any dressing that slips out of position.
6. If blood seeps through the dressing, do not remove it, instead apply another dressing over the top. If the blood still
seeps through the second dressing, remove both completely and apply a fresh dressing over the bleeding point.
7. After treating a wound, dispose all used dressings, soiled items in gloves in a plastic bags.
Remember that wound should treated properly to prevent infections or further complications.
Bandaging Techniques for Unintentional Injuries
Bandaging
There are number of different first aid uses for bandages such as the following:
1. To secure the dressing in place
2. To control bleeding
3. To support and immobilized limbs
4. To reduce swelling of an injured part
Rules of Applying Bandage
1. Reassure the victim and explain clearly what you are going to do
2. Make sure that the victim is comfortable whether sitting or lying down
3. Always work in front of the victim and from the injured side if possible
4. If the victim is lying down, pass the bandage under the body’s natural hollows such as the ankles, knees, waists, and
neck. Slides the bandages into position by easing them back and forth under the body.
5. Use the right size of bandage because different parts of the body need different width of bandage.
6. Apply bandages firmly but not too tight that it will interfere with circulation to the area beyond the bandage.
7. Leave the fingers or toes of a bandaged limb exposed.
8. Keep the injured part of the body supported in the position it will be in when the bandage is on.
9. Use square knots to tie the bandages. Be sure that the knots do not cause discomfort. Do not tie the knot over a bony
area. Tuck loose ends under a knot.
10. As soon as the bandage is on, check the circulation by pressing on the fingernail or a piece of skin until it turns pale.
If the color does not return right away, the bandage may be too tight so loosen it. The limbs may swell so check the
circulation every ten minutes after putting the bandage on.
Square Knot Tie Instructions
1. Tie two overhand knots. First, right over left and twist. Then left over right and twist.
2. Make sure both parts of the roof exit the knot together.

Improvised Slings
 If bandages are not available to support an injured arm of a victim, you can use an item of the victim’s clothing such
as jacket, belt, and pair of tights, tie, and long-sleeved shirt. Look at the pictures below.

The pictures above are some ideas you can do to improvise a sling for injured arm/hand.
Hand/Foot Bandage
1. Place the hand/foot in the middle of the triangular bandage with the wrist/heel well forward of the base (a).
2. Ensure that the fingers/toes are separated with absorbent material to prevent chafing and irritation of the skin.
3. Place the apex over the top of the hand/foot and tuck any excess material into the pleats on each side (b).
4. Cross the ends on top of the hand/foot, take them around the wrist/ankle, and tie at the front of the wrist/ankle (c, d,
and e).
5. Tie it using a square not.
Hand Bandaging Foot Bandaging

a b a b

d d
e
c e c

Head Bandage
1. Turn the base (longest side) of the bandage up and center its base on center of the forehead, letting the point (apex)
fall on the back of the neck.
2. Take the ends behind the head and cross the ends over the apex.
3. If short, tie at base of neck, or take them over the forehead and tie.
4. Tuck the apex behind the crossed part of the bandage and/or secure it with a safety pin.

Jaw/Cheek/Top/Back/Forehead Bandage
1. Place the bandage under the chin and carry its ends upward. Adjust the bandage to make one end longer than the
other.
2. Take the longer end over the top of the head to meet the short end at the temple and cross the ends over.
3. Take the ends in opposite directions to the other side of the head and tie them over the part of the bandage that was
applied first.