MTTC Spanish (028) key terms

The merging of a final vowel sound with the initial vowel of the next word so they count as one syllable, as in "mi amigo" pronounced "mia-mi-go". Essential for counting syllables and metrics in Spanish verse.

A break that keeps two adjacent vowels in separate syllables rather than blending them, as in "po-e-ta" or "dí-a". Occurs with accented weak vowels, identical vowels, or strong-vowel pairs.

A single syllable formed by a weak vowel (i, u) combined with a strong vowel (a, e, o) or by two weak vowels, as in "bue-no" or "ciu-dad". Central to syllable division and accent rules.

The unit used to count verse length after applying sinalefa, hiatus, and stress-based adjustments. A word ending in a stressed vowel adds one syllable to the count; a word stressed on the penultimate syllable subtracts one.

Verse lines of nine or more metric syllables, typical of cultured poetry such as the alejandrino (fourteen syllables). Distinguished from shorter popular meters in literary analysis.

A narrative poem form built from octosyllabic lines with assonant rhyme in the even lines and no rhyme in the odd lines. Common in medieval and Golden Age Spanish literature.

Rhyme in which only the vowel sounds match from the final stressed vowel onward, as in "amor" and "sol". Contrasts with consonant rhyme, where vowels and consonants both match.

Full rhyme in which all sounds, vowels and consonants, match from the final stressed vowel to the end of the word, as in "llanto" and "canto". Typical of sonnets and cultivated verse.

A fourteen-line poem of eleven-syllable lines arranged in two quatrains and two tercets, usually with consonant rhyme. A standard form in Spanish Golden Age and later poetry.

A verse line of eleven metric syllables, the backbone of Italianate Spanish poetry such as the sonnet and silva. Stress usually falls on the sixth and tenth syllables.

The variety of language used in official, academic, or professional settings, marked by complete sentences, precise vocabulary, and avoidance of slang. Candidates must recognize and produce it in writing tasks.

The relaxed variety used with friends and family, featuring contractions, slang, and incomplete structures. Understanding when it is appropriate is a tested pragmatic skill.

An expression characteristic of everyday spoken Spanish, such as "echar una mano" or "estar hecho polvo". Often idiomatic and not literally translatable, so context determines meaning.

A fixed idiomatic expression whose meaning cannot be derived from its individual words, as in "tomar el pelo" (to tease). Knowledge of common idioms supports reading comprehension and vocabulary items.

A traditional saying that expresses folk wisdom, such as "A quien madruga, Dios le ayuda". Often uses rhyme or parallel structure and appears in literary and cultural questions.

The two main second-person address systems in Spanish: informal "tú" for peers and "usted" for formality or respect. Choice depends on social distance, age, and setting.

The use of "vos" instead of "tú" for informal second-person singular, with its own verb forms such as "vos tenés" and "vos sos". Standard in Argentina, Uruguay, and parts of Central America.

Regional differences in pronunciation, vocabulary, and grammar across Spanish-speaking areas, such as "carro", "coche", and "auto" for car. A frequent theme in listening and culture items.

The pronunciation of "z" and soft "c" as [s] rather than [θ], standard in Latin America and parts of southern Spain. Contrasts with distinción, where the two sounds differ.

The merger of the sounds written "ll" and "y" into a single phoneme, widespread in most Spanish-speaking regions. Relevant to phonology and dialectology questions.

The simple past tense used for completed actions viewed as a whole, as in "ayer fui al mercado". Contrasts with the imperfect, which describes ongoing or habitual past situations.

The past tense used for background description, habits, and ongoing states, as in "cuando era niño, jugaba". Its choice versus the preterite is a core grammar distinction.

The grammatical marking of how an action unfolds in time, such as completed versus ongoing. In Spanish it is expressed through tense choice, periphrases like "estar + gerundio", and adverbs.

A verb construction made of an auxiliary plus a non-finite form, such as "ir a + infinitivo" for future or "acabar de + infinitivo" for recent past. Conveys nuance beyond simple tenses.

The verb mood expressing doubt, desire, emotion, or hypothetical situations, as in "espero que vengas". Triggered by specific conjunctions, impersonal expressions, and antecedent patterns.

The verb mood used for statements presented as factual or real, as in "sé que viene". Contrasts with the subjunctive after negated or uncertain expressions.

The matching of tense between a main clause and a subordinate clause, such as past main verb requiring imperfect subjunctive, as in "quería que vinieras". A frequent error area in writing tasks.

The two Spanish copular verbs: "ser" for identity, origin, and inherent traits; "estar" for location, temporary states, and results. Meaning can shift, as in "ser listo" versus "estar listo".

Agreement in gender and number between nouns and adjectives, and in person and number between subject and verb. Errors here are heavily penalized in writing and editing items.

Clitics that replace direct and indirect objects, such as "lo", "la", "le", and "les". Their placement before conjugated verbs and attachment to infinitives and gerunds is tested.

The nonstandard use of "le" as a direct object pronoun for a person, as in "le vi a Juan" instead of "lo vi". Accepted in some registers but flagged in prescriptive grammar questions.

The conventions of Spanish spelling, including accent marks, the rules for b/v and c/s/z, and capitalization. Directly tested in editing and error-correction questions.

An accent mark that distinguishes words spelled alike but with different functions, such as "el" (article) versus "él" (pronoun) or "sí" versus "si". A common orthography item.

The system for placing written accents based on stress position and word ending: agudas, llanas, esdrújulas, and sobresdrújulas. Foundational for spelling and pronunciation questions.

Words and phrases that link ideas and signal logical relations, such as "sin embargo", "por lo tanto", and "además". Key to reading coherence and to writing well-organized essays.

The logical unity of a text, in which ideas follow a clear order and support a central purpose. Judged in composition and in questions asking whether a paragraph fits.

The central point a paragraph or passage develops, often stated in a topic sentence or implied. Identifying it is the most common reading comprehension task.

A conclusion drawn from evidence in a text rather than stated directly, such as a character's attitude or the author's purpose. Requires combining details with background knowledge.