Inglés, PAU 2026 de Cataluña: el examen de junio (serie 1) resuelto

El examen de junio (serie 1) de Inglés de la PAU de Cataluña de 2026, entero: los tres ejercicios tal como salieron. En la comprensión oral, el audio oficial y la opción correcta de cada pregunta con su explicación; en la lectura, una respuesta modelo de cada pregunta abierta con lo que acepta la pauta; y en la redacción, una redacción modelo por cada opción, con los cuatro criterios explicados. En el ejercicio 3 se elegía una de las dos preguntas, la 3.1 o la 3.2: las tienes resueltas todas.

Examen (PDF)Pauta de corrección (PDF)Reutilizado según el aviso legal de la Generalitat

Explicaciones y respuestas modelo de EducaIA. La pauta de 2026 da la opción correcta de las 8 preguntas de la comprensión oral y la transcripción completa del audio, varias formulaciones válidas de cada pregunta abierta de la lectura y el reparto de los 4 puntos de la redacción en cuatro criterios (gramática, vocabulario y ortografía, cohesión, adecuación y coherencia); no da ninguna redacción modelo.

Qué entraba, en puntos

Los puntos de cada apartado, sumados por el tema que pregunta. Lo que se elegía dentro del ejercicio 3 va aparte, rayado.

Instrucciones del examen The exam consists of THREE mandatory parts. In the first part, listening comprehension is assessed through 8 multiple choice questions. It is worth 3 points. In the second part, reading comprehension is assessed through 6 open-ended questions. It is worth 3 points. In the third part, written expression is assessed. Here, you may choose ONE of the two given options. It is worth 4 points.

Los ejercicios del examen

2026Convocatoria ordinaria · Serie 1 · Ejercicio 1Part 1: Listening comprehension, an interview with the musician Gotcha

3 puntosCoincide con la pautaTemas: Comprensión oral
Enunciado oficial
Enunciado oficialEste examen solo se publicó en inglés.

AN INTERVIEW WITH GOTCHA, THE MUSICAL FORCE

In this podcast you are going to hear some new words. Read and listen to them. Make sure you know what they mean.

to quote: citar textualment / citar textualmente
prone: propens / propenso
bouts: períodes / períodos
harp: arpa

Ready?
Now read the questions on the following page. Read them carefully before listening to the podcast.

[Now listen to the interview.]

QUESTIONS

Choose the best answer according to the recording. Only ONE answer is correct.

[3 points: 0.375 points for each correct answer. Wrong answers will be penalized by deducting 0.125 points. There is no penalty for unanswered questions.]

1.1 When Gotcha explains what inspired “Turning a Blind Eye”, what does she say is behind the feeling of defeat?

[0.375 points]

1.2 Gotcha finds it difficult to change her environmental habits because

[0.375 points]

1.3 How does Gotcha describe the way she sees the future?

[0.375 points]

1.4 What does touring make Gotcha aware of?

[0.375 points]

1.5 How does Gotcha feel about her growing success?

[0.375 points]

1.6 What challenges does Gotcha mention regarding communication on social media as her audience grows?

[0.375 points]

1.7 What happens when Gotcha records an acoustic instrument note by note?

[0.375 points]

1.8 Gotcha enjoys experimenting with unusual objects to create sounds because

[0.375 points]

Audio oficial

Audio oficial de la comprensión oral: Generalitat de Catalunya, Eureka, biblioteca digital (registro 994). Licencia CC BY-NC-SA 4.0. Registro en Eureka

Elige tu opción y abre la respuesta para compararla.

1.10,375 puntos

  1. a) The pressure of competing with other contemporary Australian musicians.
  2. b) Her inability to adapt to present-day Australian lifestyle.
  3. c) Her awareness of how everyday habits lead to overconsumption.
  4. d) A disappointment about how little artists care about technology.
  1. a) Descartada

    No se dice en la entrevista: la cantante no habla de competir con otros músicos.

  2. b) Descartada

    La canción no va de eso: dice que «it's not specifically about living in contemporary Australia».

  3. c) Correcta

    La cantante explica de dónde sale la canción: se siente derrotada por lo que gastan sus propios hábitos cotidianos. Lo dice así: «maybe a bit more aware than some people, in terms of how things I do in my regular life», y habla de «use, maybe overuse of resources». Es la tercera opción.

  4. d) Descartada

    No se dice en la entrevista: habla de su propio uso de tecnología desechable para hacer música, no de que a los artistas les dé igual la tecnología.

1.20,375 puntos

  1. a) it’s hard to know what really helps.
  2. b) there is too much information, she feels overwhelmed.
  3. c) she thinks no one else is making an effort.
  4. d) it’s difficult to change long-established habits.
  1. a) Correcta

    La cantante duda de la información que encuentra y concluye que no sabe qué cambios sirven: «it’s incredibly hard to find a clear basis for making informed judgments or decisions». Poco después añade: «It’s hard to feel like anything I do makes a difference». Es la primera opción.

  2. b) Descartada

    Habla de la fiabilidad de la información disponible («I feel very conflicted about the reliability of the information available»), no de que haya demasiada ni de que se sienta abrumada.

  3. c) Descartada

    No se dice en la entrevista: no compara su esfuerzo con el de los demás.

  4. d) Descartada

    No se dice en la entrevista que le cueste cambiar hábitos arraigados; lo que le cuesta es saber qué cambios sirven de algo.

1.30,375 puntos

  1. a) She is idealistic most of the time, so her songs are optimistic despite her negative thoughts.
  2. b) She alternates idealism and deep pessimism about the future, which is reflected in her songs.
  3. c) She feels the world is as pessimistic as she is, though some people do want to change the world.
  4. d) She is indifferent about the future, so her songs are never influenced by her emotions.
  1. a) Descartada

    Dice lo contrario: la letra de «Turning a Blind Eye» nace de sus momentos de pesimismo, no de un optimismo que contradiga sus pensamientos negativos.

  2. b) Correcta

    La cantante se describe como idealista con épocas de pesimismo: «I think I'm an idealist a lot of the time, but often prone to bouts of very depressive cycles of thought and pessimism», y esos momentos inspiran la letra: «It's those moments when I feel like that really prompted the lyrics». Es la segunda opción.

  3. c) Descartada

    No se dice en la entrevista: la cantante habla de sí misma y no afirma que el mundo sea igual de pesimista.

  4. d) Descartada

    Dice lo contrario: ella misma habla de «bouts of very depressive cycles of thought and pessimism», así que no es indiferente, y esos momentos inspiran la letra.

1.40,375 puntos

  1. a) The contrast between her environmentally friendly lifestyle and that of other musicians.
  2. b) How travelling constantly increases her environmental impact.
  3. c) How certain hotels contribute to the overall carbon footprint.
  4. d) How each culture approaches environmental problems differently.
  1. a) Descartada

    Solo compara cuánto viaja («some artists do it more than I do»); no dice que su estilo de vida sea más ecológico que el de otros músicos.

  2. b) Correcta

    Al hablar de las giras, la cantante reconoce: «I'm probably more in touch with the reality of having an ever-increasing carbon footprint», porque una gira supone «a lot of airports, hotel rooms, cars, buses». Es la segunda opción.

  3. c) Descartada

    No se dice en la entrevista: los hoteles solo aparecen en la lista de lugares por los que pasa una gira («hotel rooms»).

  4. d) Descartada

    El entrevistador menciona las culturas en su pregunta, pero la cantante no responde sobre eso: habla de su huella de carbono.

1.50,375 puntos

  1. a) She thinks success always brings joy to anyone.
  2. b) She fears larger projects will feel less meaningful to her.
  3. c) She is afraid that fans will expect her to keep things as personal as they have been so far.
  4. d) She believes enjoying fame will fix her environmental worries.
  1. a) Descartada

    No lo dice: cita lo que le dice la gente («I must be so overjoyed and amazed by the success») y responde con una preocupación («part of what makes me worry»).

  2. b) Correcta

    La cantante teme que el éxito haga las cosas menos personales: «the bigger things get, the less likely they are to stay sustainable or be personal». Es la segunda opción, la que recoge ese temor a que lo grande deje de ser personal.

  3. c) Descartada

    No se dice en la entrevista: ella teme que las cosas pierdan lo personal, no habla de lo que esperen los fans.

  4. d) Descartada

    No se dice en la entrevista: la fama no aparece como solución a sus preocupaciones ambientales.

1.60,375 puntos

  1. a) She now posts more often because she feels she owes it to her new followers.
  2. b) She is more aware of the diversity of her audience and how that affects her communication.
  3. c) She prefers to post less because communication with her listeners has become less sustainable.
  4. d) She feels that social media makes followers focus on what she says rather than on her music.
  1. a) Descartada

    No dice que publique más: dice que le cuesta incluso escribir algo («It’s difficult for me to even write anything on my Twitter account»).

  2. b) Correcta

    La cantante dice que, al crecer su público, es más consciente de quién la escucha: «realizing that my audience is broader now, and that lots of different kinds of people are discovering my music, changes how aware I am of who I’m speaking to on these platforms». Es la segunda opción.

  3. c) Descartada

    No dice que prefiera publicar menos: dice que le cuesta escribir y que ahora sabe mejor a quién se dirige.

  4. d) Descartada

    No se dice en la entrevista que los seguidores se fijen en lo que dice y no en su música.

1.70,375 puntos

  1. a) The instrument sounds the same as usual.
  2. b) The resulting sound is amazing.
  3. c) The instrument as such does not appear in the resulting album.
  4. d) The sound of the instrument becomes angelic.
  1. a) Descartada

    Dice lo contrario: «It almost turns into a completely new instrument».

  2. b) Correcta

    Al grabar un instrumento nota por nota y controlar esas notas, la cantante dice que «you make the instrument sound incredible». Es la segunda opción.

  3. c) Descartada

    No se dice en la entrevista: el arpa se graba nota por nota y se convierte en un instrumento casi nuevo, pero no dice que deje de aparecer en el disco.

  4. d) Descartada

    El sonido angelical es el habitual del arpa: «The way it sounds on a record is usually quite angelic». Lo que cambia al grabar nota por nota es que suena «incredible».

1.80,375 puntos

  1. a) all other artists use traditional instruments, which is uninteresting.
  2. b) they help her explore a new way to make music and create more original musical stories.
  3. c) it takes less time than recording traditional instruments.
  4. d) avoiding experimentation makes her music sound like everybody else’s.
  1. a) Descartada

    Dice lo contrario: «I'm not against using traditional instruments», y en el disco hay piano y baterías normales.

  2. b) Correcta

    La cantante disfruta de las formas alternativas de hacer música porque «They open up windows to sound worlds I haven't explored before» y porque con ellas hay «more of a story». Es la segunda opción.

  3. c) Descartada

    Dice lo contrario: experimentar «also takes time».

  4. d) Descartada

    No se dice en la entrevista que evitar la experimentación haga que su música suene como la de los demás.

Transcripción oficial del audio

Interviewer (I): You are Gotcha, the musical force!

Gotcha (G): Haha, from now on I’m going to introduce myself as Gotcha, the musical force. My real name is Margot Chapman, but I guess I’ve got used to being called Gotcha more often now.

I: Right, I got you. That song we’ve just listened to, ‘Turning a Blind Eye’, is the first Australian single from your latest record, Making Miracles. It's a song that you say describes your feelings of being completely defeated, I'm quoting you, “by the realities of living in contemporary Australia.” What's been difficult about life there?

G: Oh, it's not specifically about living in contemporary Australia, although I’m American. It comes from a place of defeat, I guess, in the sense of being someone who is concerned, maybe a bit more aware than some people, in terms of how things I do in my regular life, in terms of use of materials, driving cars, using so much disposable technology to make music, how that is so implicitly involved in so much... use, maybe overuse of resources?

I: Your carbon footprint.

G: Yeah. And I feel very conflicted about the reliability of the information available. When I try to research it and make changes, it’s incredibly hard to find a clear basis for making informed judgments or decisions. It’s hard to feel like anything I do makes a difference, even in my own life. Whether or not it sets an example for my fans or helps spread a more environmental message, sometimes it just feels like I’m making changes simply to avoid feeling completely defeated.

I: But the feeling of being “completely defeated” when you were writing this song suggests that you're quite pessimistic about our future. Are you?

G: I have moments like that, yeah. I sometimes change my mind a lot when I compose. You know, I think I'm an idealist a lot of the time, but often prone to bouts of very depressive cycles of thought and pessimism about the potential for really fundamental change in the way humans live on earth, at least. It's those moments when I feel like that really prompted the lyrics to ‘Turning a Blind Eye’.

I: And what about the fact that now that you’re touring, you’re inevitably traveling more and experiencing not just different countries, but different cultures and different ways people are trying to deal with issues like the environment and ecological change? Does that make you feel more defeated, or do you find things on those travels that inspire you?

G: You know, touring for a music career does involve seeing a lot of airports, hotel rooms, cars, buses, et cetera, though some artists do it more than I do. Even so, I'm probably more in touch with the reality of having an ever-increasing carbon footprint, at least in terms of what I'm doing in my music career. And it is indeed something I think about.

I: So you wrote the song ‘Turning a Blind Eye’ feeling completely defeated. It's getting worse now because the song's popular and your carbon footprint is harming everybody.

G: Haha. I do think about that. It's funny, more and more people tell me, I must be so overjoyed and amazed by the success and how big everything's getting. But I guess part of what makes me worry and that might lead to writing a song like this, is the sense that the bigger things get, the less likely they are to stay sustainable or be personal. I don't know...

I: And not just environmentally, but materially, emotionally.

G: Emotionally, yeah, trying to communicate with increasing numbers of people. I feel a bit freaked out about it. I think I have a different approach. It’s difficult for me to even write anything on my Twitter account; even though it's not like I have a huge number of people following me there, only around 40, 50,000. I still think about it. I know plenty of people have millions of followers on these social media. But even so, realizing that my audience is broader now, and that lots of different kinds of people are discovering my music, changes how aware I am of who I’m speaking to on these platforms.

I: Let me talk a bit about the record, Making Miracles. You're getting a lot of attention for this record, and that's got to be rewarding given the amount of work that you put into it. You play most of the instruments on it, but even more remarkable is the method of taking acoustic instruments, recording them note by note, and then turning them into virtual instruments. What exactly does that mean you're doing in terms of creating these sounds?

G: Yes, it’s the case of a harp that I found at an antique shop. A harp is not particularly a new-sounding instrument. It's one you've probably heard. The way it sounds on a record is usually quite angelic, because that's the way you can play it, but to record it note by note and then have control over those notes just means that you make the instrument sound incredible. It almost turns into a completely new instrument.

I: That's remarkably creative and innovative, but where does that come from? I mean, do you have an allergy to just playing an acoustic guitar and singing a song?

G: Well, I'm really excited by alternative ways of making music. They open up windows to sound worlds I haven't explored before, and those are the kinds of records I want to make. I'm not against using traditional instruments: there's plenty of piano and regular drum kits on the album, but I have a pretty intense interest in things like, what if you could use... a plastic ball and use that as a drum instead of just getting a drum out and putting a mic on it. It's just more interesting. It just means there's more of a story. I guess it creates a far greater range of textures, though it also takes time.

I: This is so interesting, Gotcha, but I’m afraid we have run out of time. It’s been a pleasure to have you here with us today.

G: Nice to chat, too.

Adapted from:

https://www.youtube.com/watch?v=-0kNQc_UHn0

Enunciado: Generalitat de Catalunya, Consell Interuniversitari de Catalunya, Oficina d’Accés a la Universitat. PAU de Inglés 2026, convocatoria ordinaria. La imagen es el examen oficial tal cual y el texto lo reproduce; las explicaciones y las respuestas modelo son de EducaIA. Consultado el 7 de noviembre de 2026; el documento no declara fecha de última actualización.

Examen (PDF)Pauta de corrección (PDF)Reutilizado según el aviso legal de la Generalitat

2026Convocatoria ordinaria · Serie 1 · Ejercicio 2Part 2: Reading comprehension, the search for a sixth basic taste

3 puntosDa las ideas que pide la pautaTemas: Comprensión escrita con preguntas abiertas
Enunciado oficial
Enunciado oficialEste examen solo se publicó en inglés.

WHAT’S AFTER UMAMI? SCIENTISTS ARE HUNTING FOR THE SIXTH BASIC TASTE

In 1908, Japanese chemist Kikunae Ikeda was studying the active substances in seaweed, when he made a discovery that would change food science forever. Ikeda realized that a compound called glutamic acid was what gave seaweed its distinctive taste—nothing like the existing basic tastes of sweet, salty, sour, and bitter. He named that taste umami.

Yet even though people have been eating seaweed, mushrooms, miso, cheese, and fermented foods for ages, it took nearly a century of scientific debate for umami to be recognized worldwide as the fifth basic taste. It wasn’t until the 1990s that it gained universal recognition, and only after extensive scientific studies confirmed that it was unlike any other existing taste.

Is it time to add a sixth taste to the list? Some scientists argue that the answer is yes, though there is still debate about what it should be. Scientists have not been intentionally searching for a sixth taste. Rather, “there’s a fundamental science-based search for different ways we can experience the world in terms of taste and how it’s detected,” explains neuroscientist Emily Liman.

Advances in understanding the science of taste would allow food scientists to create more delicious foods—and could also help doctors diagnose and treat related disorders that involve a loss of your sense of taste. But getting the scientific community to agree on a sixth sense is not easy. To qualify as a basic taste, any competitor must be proven to be as distinct as the sweetness of berries or the bitterness of kale.

First, it’s important to note that “there’s a difference between taste and flavor,” says Marisa Moore, a dietitian in culinary nutrition from Atlanta. “Taste begins on the tongue when food molecules we eat mix with saliva and activate our taste buds, which then send signals to the brain and cause the perception of distinct tastes.” Contrary to popular belief, the tongue does not have specific areas that detect each type of taste. Instead, basic tastes can be picked up by taste buds on various parts of the tongue, though different cells may have varying levels of sensitivity to sweet, sour, salty, bitter, and umami.

While taste begins in the mouth, flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature, and aroma. “Taste and other senses do interact in the brain to put together flavor,” says Richard Mattes, professor of nutrition science at Purdue University, “but that’s different from taste.”

Various criteria have been proposed over the years to define a new taste. For starters, a taste needs to have a “chemical signature”—a set of chemical components that are distinct from that of other substances. Then, Mattes says, “you need to have a receptor anywhere on the tongue, palate, or throat where the chemical component can interact with a cell in a taste bud.” That cell in the taste bud must then have a mechanism “to change the component’s chemical signal to an electrical signal that is then transmitted through nerves to the brain,” Mattes adds. The electrical signal carried by taste nerves must activate regions in the brain that are associated with taste, and it needs to generate a unique taste perception in the brain that is independent from other tastes. Finally, there needs to be a response in the body that results from these effects. For example, Mattes says, “the perception of sweetness triggers the release of insulin throughout the body.”

In short, a major challenge to getting the scientific community to accept a new taste has to do with the complexity of the research that needs to be conducted. “You have to go through a lot to prove a taste exists,” says Dawn Jackson Blatner, a dietitian nutritionist in Chicago. None of the candidates for a sixth basic taste have passed all experimental tests yet—but some of them are closer to doing so than others. Despite all these complications, scientists continue to study taste—and debate what the next big one might be—because taste is important, as it is about what we crave, how we cook, and how satisfied we feel after eating.

Text adapted from an article by Stacey Colino. National Geographic [online] (November 25, 2025)

seaweed: alga
taste bud: papil·la gustativa / papila gustativa
palate: paladar
crave: tenir desig de / tener antojo de

QUESTIONS

Answer the questions below using complete sentences. You may use fragments from the text unless specified not to do so.

[3 points: 0.5 points for each correct answer. Up to 0.3 points might be deducted from the total mark for lack of intelligibility in the answers provided.]

2.1 How did umami become recognized as the fifth basic taste? USE YOUR OWN WORDS TO ANSWER THE QUESTION. You may keep the words in the question.

[0.5 points]

2.2 Complete the following sentence:
Improving the diagnosis of taste-related illnesses and permitting researchers to make food tastier are...

[0.5 points]

2.3 Find a phrase in the text that means the following: “Unlike what people usually think”.

[0.5 points]

2.4 According to the text, what is flavor the result of?

[0.5 points]

2.5 Name TWO of the different criteria that have been proposed over the years to define a new taste.

[0.5 points]

2.6 In what sense does the study of taste continue to be important? In your answer, mention the THREE reasons given in the text. USE YOUR OWN WORDS.

[0.5 points]

Escribe tu respuesta y compárala con la de la pauta: marca lo que tenía la tuya.

2.10,5 puntos

La respuesta modelo

Umami was accepted as the fifth basic taste only after decades of arguments among researchers, when a large body of research finally confirmed that no other taste was like it.

Lo que puntúa la pauta

0,5 puntos. La pauta no reparte idea por idea los puntos del contenido de este apartado.

La pregunta pide tus propias palabras: no copies frases del texto como «it took nearly a century of scientific debate for umami to be recognized worldwide»; sí puedes repetir las palabras de la pregunta. La respuesta tiene que decir que se aceptó como quinto sabor cuando los estudios demostraron que era distinto de los demás.

La pauta acepta, en inglés y literal:

  • Umami was recognized as the fifth basic taste after research/investigations corroborated/stated/proved that it was different from other tastes we already know/have.

2.20,5 puntos

La respuesta modelo

Improving the diagnosis of taste-related illnesses and permitting researchers to make food tastier are two advantages that a better understanding of how taste works could bring.

Lo que puntúa la pauta

0,5 puntos. La pauta no reparte idea por idea los puntos del contenido de este apartado.

Hay que completar la frase y que siga siendo gramatical: empieza con las palabras del enunciado y continúa con lo que son esas dos cosas, por ejemplo ventajas o aplicaciones de entender mejor el gusto. El texto lo dice así: «Advances in understanding the science of taste would allow food scientists to create more delicious foods».

La pauta acepta, en inglés y literal:

  • two effects/consequences/applications/results of understanding the science of taste.

2.30,5 puntos

La respuesta modelo

Contrary to popular belief

Lo que puntúa la pauta

0,5 puntos. La pauta no reparte idea por idea los puntos del contenido de este apartado.

Se pide una expresión del texto, no una explicación: copia la frase tal como aparece, sin cambiarla ni añadir nada. Búscala en el párrafo que habla de las zonas de la lengua.

La pauta acepta, en inglés y literal:

  • Contrary to popular belief

2.40,5 puntos

La respuesta modelo

Flavor results from the brain putting together the taste with the food’s texture, its temperature and its aroma.

Lo que puntúa la pauta

0,5 puntos. La pauta no reparte idea por idea los puntos del contenido de este apartado.

El texto lo explica en el párrafo que distingue gusto y sabor: «flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature, and aroma». Basta con decir que el sabor resulta de que el cerebro combine el gusto con la textura, la temperatura y el aroma; puedes usar fragmentos del texto.

La pauta acepta, en inglés y literal:

  • Flavor is the (result of the) interaction between taste and other senses in the brain.
  • Flavor is the (result of the) combination of taste, texture, temperature and aroma in the brain.
  • Flavor is what registers in the brain when it combines the entire experience of taste, texture, temperature and aroma.

2.50,5 puntos

La respuesta modelo

1

Firstly, a candidate taste needs a chemical signature, meaning a group of chemical components unlike those found in other substances.

2

Secondly, there has to be a receptor somewhere in the mouth or throat, so that the components can interact with a cell of a taste bud.

Lo que puntúa la pauta

0,5 puntos: la pauta pide dos de las ideas siguientes.

  1. §1
  2. §2

Con las reglas de la pauta. Si una idea está, lo decides tú; si la tienes a medias, el tribunal puede darte una parte.

Piden DOS criterios: da dos. El texto enumera seis (una «chemical signature», un receptor, un mecanismo en la célula, la activación de zonas del cerebro, una percepción única y una respuesta del cuerpo): elige dos y escríbelos en frases completas, con tus palabras o con fragmentos del texto.

La pauta acepta, en inglés y literal:

  • A taste needs to have a “chemical signature” -a set of chemical components that are distinct from that of other substances.
  • You need to have a receptor anywhere on the tongue, palate, or throat where the chemical component can interact with a cell in a tastebud.
  • That cell in the tastebud must have a mechanism “to change the component’s chemical signal to an electrical signal that is then transmitted through nerves to the brain”.
  • The electrical signal carried by taste nerves must activate regions in the brain that are associated with taste.
  • It needs to generate a unique taste perception in the brain that is independent from other tastes.
  • There needs to be a response in the body that results from these effects.

2.60,5 puntos

La respuesta modelo

The study of taste remains important because it is related to the foods we long for, the ways in which we prepare our meals and the degree of satisfaction we get once we have eaten.

Lo que puntúa la pauta

0,5 puntos. La pauta no reparte idea por idea los puntos del contenido de este apartado.

Piden las TRES razones y con tus palabras. El texto las da en la última frase: el gusto tiene que ver con lo que nos apetece comer, con cómo cocinamos y con lo satisfechos que nos sentimos después de comer. No copies «it is about what we crave, how we cook, and how satisfied we feel after eating»: dilo de otra forma y no te dejes ninguna de las tres.

La pauta acepta, en inglés y literal:

  • The study of taste continues to be important because/since/as taste is about what we feel like eating, how we prepare food, and how happy we are after a meal.
  • The three reasons why the study of taste continues to be important include the relationship between taste and what we feel like eating, how/the way we prepare food and how happy we are after a meal.

Enunciado: Generalitat de Catalunya, Consell Interuniversitari de Catalunya, Oficina d’Accés a la Universitat. PAU de Inglés 2026, convocatoria ordinaria. La imagen es el examen oficial tal cual y el texto lo reproduce; las explicaciones y las respuestas modelo son de EducaIA. Consultado el 7 de noviembre de 2026; el documento no declara fecha de última actualización.

Examen (PDF)Pauta de corrección (PDF)Reutilizado según el aviso legal de la Generalitat

2026Convocatoria ordinaria · Serie 1 · Ejercicio 3Part 3: Writing

4 puntosUna redacción modelo de EducaIA: la pauta no da ningunaTemas: Correo y carta formal, Ensayo de opinión y argumentativo
Enunciado oficial
Enunciado oficialEste examen solo se publicó en inglés.

Choose ONE topic. Your answer should be 125-150 words in length. There is no specific penalty for exceeding 150 words in length.

[4 points: 1 point for grammar, 1 point for vocabulary and spelling, 1 point for cohesion, and 1 point for adequacy and coherence]

3.1 You recently attended an international online workshop on cooking healthy food. You want to thank the workshop coordinator for how useful this workshop has been to you. Write a formal email to the workshop coordinator in which you highlight the quality of the workshop, explain what you learned, and suggest improvements for future workshops.

[4 points]

3.2 Over the last few years, the number of teenagers suffering from stress and anxiety has increased significantly in many developed countries. Schools, parents, and health organisations are debating possible solutions to improve students’ well-being and reduce pressure. Some experts believe that schools should not give homework or hold traditional exams, while others argue that it is necessary for academic progress. Write an opinion essay on whether homework and/or exams should be limited or abolished for secondary school students, giving reasons and examples to support your view.

[4 points]

Escribe tu redacción, compárala con la redacción modelo y marca los criterios que cumple.

3.14 puntos

La respuesta modelo

Dear Workshop Coordinator,

I am writing to thank you for the international online workshop on cooking healthy food that I attended last week. It has been extremely useful for me.

Firstly, the quality of the sessions was outstanding. The speakers were well prepared, the recipes were clearly explained, and the live demonstrations made everything easy to follow. Thanks to the workshop, I learned how to plan balanced weekly menus, read food labels carefully and replace processed products with fresh ingredients. I have already cooked three of the dishes for my family.

However, I would like to suggest some improvements for future workshops. Shorter sessions with a break in the middle would help participants stay focused. In addition, sending the recipes in advance would allow us to buy the ingredients beforehand.

Once again, thank you very much for your work.

Yours sincerely, Anna Soler

Lo que puntúa la pauta

Cada criterio vale 1 punto.

Un punto por criterio. Si tu texto lo cumple, lo decides tú.

Qué mira cada criterio en esta redacción

  • Grammar Mira que las frases sean correctas y que las estructuras varíen. En este correo hay tiempos distintos («I have already cooked three of the dishes for my family») y condicionales («would help participants stay focused»).
  • Vocabulary and spelling Mira que el vocabulario sea preciso, propio del tema (la cocina saludable) y del registro formal, y que la ortografía sea correcta. Por ejemplo, «replace processed products with fresh ingredients» y la fórmula de apertura «I am writing to thank you».
  • Cohesion Mira que las ideas se encadenen con conectores y que cada párrafo tenga su función. Aquí, «Firstly», «However», «In addition» y «Once again» ordenan el correo, y «Thanks to the workshop, I learned how to plan balanced weekly menus» enlaza la valoración con lo aprendido.
  • Adequacy and coherence Mira que el texto haga lo que pide la consigna, con el registro y el destinatario adecuados. El correo se dirige al coordinador («Dear Workshop Coordinator»), valora la calidad del taller, explica lo aprendido y propone mejoras para futuras ediciones, sin contracciones y con despedida formal.

3.24 puntos

La respuesta modelo

Many people wonder whether homework and exams should disappear to reduce teenagers’ stress. In my opinion, they should be limited, but not abolished.

To begin with, the current system puts too much pressure on students. Many of us spend the evenings finishing worksheets and revising for tests, so we have little time to sleep, exercise or see our friends. For example, a classmate of mine stopped enjoying school because of the amount of work she had to hand in every week.

On the other hand, we cannot simply get rid of everything. Exams show teachers and students what has really been learned, and a reasonable amount of homework helps us practise at our own pace.

In conclusion, schools should set less homework, replace some exams with projects and let students rest. That would protect their well-being without harming their progress.

Lo que puntúa la pauta

Cada criterio vale 1 punto.

Un punto por criterio. Si tu texto lo cumple, lo decides tú.

Qué mira cada criterio en esta redacción

  • Grammar Mira que las frases sean correctas y variadas. Aquí hay pasivas y subordinadas («Exams show teachers and students what has really been learned») y modales («we cannot simply get rid of everything»).
  • Vocabulary and spelling Mira que el vocabulario sea preciso y natural y que la ortografía sea correcta, también en la variedad elegida (aquí, la británica). Por ejemplo, «finishing worksheets and revising for tests», «well-being».
  • Cohesion Mira que las ideas se enlacen y que el texto avance en párrafos. Aquí, «To begin with», «On the other hand» e «In conclusion» ordenan el ensayo, y «so we have little time to sleep, exercise or see our friends» une causa y consecuencia.
  • Adequacy and coherence Mira que el texto cumpla la consigna: un ensayo de opinión con postura clara, razones y ejemplos. La postura aparece al principio («they should be limited, but not abolished»), y el ejemplo concreto es «a classmate of mine stopped enjoying school».

Enunciado: Generalitat de Catalunya, Consell Interuniversitari de Catalunya, Oficina d’Accés a la Universitat. PAU de Inglés 2026, convocatoria ordinaria. La imagen es el examen oficial tal cual y el texto lo reproduce; las explicaciones y las respuestas modelo son de EducaIA. Consultado el 7 de noviembre de 2026; el documento no declara fecha de última actualización.

Examen (PDF)Pauta de corrección (PDF)Reutilizado según el aviso legal de la Generalitat

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Cada tema de este examen tiene su página con todos los ejercicios de la PAU de Inglés de 2022 a 2026.

Comprensión oralComprensión escrita con preguntas abiertasCorreo y carta formalEnsayo de opinión y argumentativoTodos los temas de Inglés

Preguntas frecuentes

¿Cómo era el examen de junio (serie 1) de Inglés de 2026?

Las instrucciones oficiales, en inglés, están arriba. Por temas, los puntos eran: comprensión oral (3 puntos) y comprensión escrita con preguntas abiertas (3 puntos). Ejercicio 3, una pregunta a elegir de dos: 3.1, correo y carta formal; 3.2, ensayo de opinión y argumentativo.

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La opción correcta de cada pregunta de opciones es la de la pauta oficial; las explicaciones, las respuestas modelo y las redacciones modelo las escribe EducaIA. La pauta de 2026 da la opción correcta de las 8 preguntas de la comprensión oral y la transcripción completa del audio, varias formulaciones válidas de cada pregunta abierta de la lectura y el reparto de los 4 puntos de la redacción en cuatro criterios (gramática, vocabulario y ortografía, cohesión, adecuación y coherencia); no da ninguna redacción modelo.

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