Preparation for Cambridge English BB Sovervcos "B ESOL Examinations Find your nearest centre at: Profi cie n cy Te sae Practice Tests Five tests for the 2013 Cambridge English: i © MARK HARRISON i OXFORD | ale eles eae e et oR CORR ee ld beCambridge Proficiency Practice Tests Five tests for Cambridge English: Proficiency MARK HARRISON OXFORD UNIVERSITY PRESSOXFORD Great Clarendon Suet, Oxford, 0x2 6DP, Uniteé Kingdom Oxford University Press isa department ofthe University of Oxford. lefurthers the Universy’s objective of excellence in research scholarship. ‘and education by publishing worldwide. Oxford isa registered rade ‘marc of Oxford Univesity Press in the UK ard in certain other countries ‘Oxford tiniversty Press 2012 ‘The moral rights of the author have been userted First published ia 2012 ‘2016 2015 2014 woa7es All ights reserved. 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Reproduced by permission of NI Syndication; 1.42 Extract fom Soft ity by Jonathan Raban, Copyright o Jonathan Raban. 1974, Reproduced by permission of Pan Macmillan, london and Aitken ‘Alexandr Associate Limite: p.17 Extract from ‘Cooking with Chocolate: The lust word on chocolate’, Te Teegaps, 21 Otober 2011.6 Telegraph Media Group Limited 2011; p14 Fxtrct from Stet lead by Keith Waterhouse published by Hodder & Stoughton, Reproduced by permission of David ‘igham Associates, p18 Extract from Pg xi and 27 of Th Gren Trav) Guide by Greg Neale 0 1998. Reproduced by permission of Taylor & Francis Rooks (Uk}: p20 Fxract fom “The clash ofthe two cultures by Graham Farmelo, ‘Te Daily Telorup. 10 March 1999, ¢ Telegraph Media Group Limited 1999; 1p20Ex\rat from ‘Asothers see us The ight booker’ by Susan dVALey. The ‘Sunday Tres, 6 Apell 1997 Reproduced by permission of NI Syndication; [p22 Extract fron nthe Pschintra' Char by Anthony Clare. Reproduced by ‘permission of The Random House Group Limited, and A P Watt Ltdon behall (of Professor Anthony Clare: 28 Extract from 'A curse on this cult of celebrigy” by Ray Connolly, The Disy Ma, 25 February 2000. Reproduced by permission ‘of Solo Syication; ps2 Extract from Salomon Cran by Dan Gooch. Reproduce ‘with permission of Curtis Brown Group Lis, London on Bebalf af Dan Gooch, {© Dun Gooch, 1997; p.34 Extract from Say Up by Rick Gekoski Copyright ‘ORick Gekoskt 1998 Reproduced by permission of the author lo Roges Coleridge & White tt, 20 Powis Mews, London W11 1JN. and Lt Brown Book Group p17 Extset from ‘Cou treadmill esk save your life? by Joba Preston, Th Teqruph, 4 December 201, 0 Telegraph Media Group Limited 2011; ‘p38 Extract from Ihe Lange of Cokes by Alison ci. Copyright © 1981, 2000 by Alison Lari. Reprinted by permission of Melanie Jackson Agency. LLC, and A P Watt Id lterary Agents, pat Extract from My sporting passion- scuba diving’ by Emily Hobler, the Sunday Tegroph, 5 May 1996. © Telegraph Media Group Limited 1996, p42 Extract trom Wining Consumer Compton by Kathy Kantypowee, published by How to Books Lx. Keproduced by permission; 7 Fxtraet from Birdsong by Sebastian Faulks, copyright ©1993 by Sebastian Faulks. Used by permission of Random House, Inc. and The Random House Group Limited: p48 Extract from On the sland where dream came true’ by Janet Daley. he Daly Telegroph, 27 December 1999.0 Telegraph Media Group Limited! 1999; p49 Extract from "You can’t judge an author by his cove’ by ‘chatles Lawrence, The Day lélegaph, $ December 1996. 6 Telegraph Media ‘Group Limited 1996, p52 Extract tTom Norecumte & Wise by Graham McCann, ‘Graham MeCann 1998. Reprinted by permision of HarperCollins Publishers Land Mic Cheetham Literary Agency p54 Fxtract From Daud Souls by lan Rankin. John Rebus Ltd 1999, Orion, sn imprint of The Orion Publishing, ‘Group, London, Reproduced by permission: p57 Extract from ‘Shining lights the new independent jssellery designers’ by Sophie de Rose. The Duy Tegra, 17 December 2011.0 Telegraph Media Group Limited 2011; p58 Extract from Onde Games in Sires nd Passround by Lona and Peter Opie (1984, BY permission of Oxford University Dress; p58 Fatract from Children’s Gres with Things by lona and Peter Opie (1997) By permission of Oxford University Press [p60 Extract from Lestningon aerial job’ by Laura Merril, Te Dat Telkeraph, 29 May 1999. Telegraph Media Group Limited 1999; p.60 Extract from Big ‘Math Sues gaia by Tony Parsons. Repreduced by permission of Tony Parsons 16 Extract fom Home is where the ats’ by Oliver Bennet, The Tins, 15 March 1997. Reproduced by permission of NISdieation p.62 Extract from Forth Man by Arthur Hopcrft Reproduced by permission of Aurum Press, p67 Extract from “The roar of the areenbuehs” By Nigel Cliff, The Toes, 2 July 1998, Reproduced by permission of NI Syndication: p68 Extract trom “Karaoke cultute rules OKY by Rony Bremner, Ihe Duty Tegraph, 25 September 1998, 0 Telegraph Media Group Limited 1998: p72 Extract trom Ll Whiveby ‘susan faaes. Copyright(c) 1996 by Susan Isaac, Reproduced by permission of arperCollins Publishers, and Susan fsases .74 Extrad from Help guide us through the universe by Sir Martin Rees. The uly Tap, 2 December 1958 fo Telegraph Media Group Limited 1998; 9.77 Extract trom’ Desperately seeking ‘wise ol Socrater by Bettany Hughes, Te Tiewaph, 12 October 2010. Telegraph ‘Meats Group Limited 2010, p.78 Extract from The introduction fom Ieasf ara Nature by Roger Tig. jo Wiley & Sons Ld. Reproduced by permission: ‘pAD Extract from’ place for damsel in dstess by Bil Powell. Dat Telegraph 21 August 1999.0 Telegraph Media Group Limited 1999; p80 Extract from “Meet the miliondoar ty boy’ by Chares Laurence. The Dy Tle. 29 April 1999, Telegraph Media Group Limited 1998: p.8D Extract from ‘Cookbooks: love affairs with no calories by Nigella Lawson, The Dail Teoh, 26 September 1998.0 Telegraph Metta Group Limited 1998; p81 Extract from “Persuading us to Shop Till We Drop” by Charles Clover, the Daly Tegraph 2 Janwary 1998.0 Telegraph Media Group Limited 1999: p82 Extract from -iamting People by Hunter Davies, Mainstream Publishing Co. (Edinburgh) Ld Reproduced by permission. _Alugh vey efor has heen mad ta eae and contac copyright older ere mletion, his hs at brs posible sore cases, We apf any apparent ‘ringeent of copyright arf nti, the publi wee plese a rectfvany crorsor omission at he ales opportunity Soure:p.a8 Extact from Understanding Faso by Elizabeth Rouse, John Wiley Sons ed ‘The pubicher wd as ho thank th fs for person to repre phe Alarmy Images pp-44 Young male using computerjaberCPC). 64 man st on SoajPoul Ridsdale), 84 (1960's Lancia| Goddard Automotive) #4 (PO Oceana) (Greg Balfour Evans), 84 Fitchiking in RosnaJason Langley, 4 (easy jeyNick anal Corbis pp.24(UK ~Srudents March Against Tition Fees Mike Kemp), 25 (Politician shaking hands with supporters Set Srudos. 4 (Cammuters fn Tokyo Subway Car Paul Souders: Getty Images pp 24 wo students talking! IMAGEMORE Co), (watching television Family in ving room). 44(Man with ‘bunting money’ sn cigaupiterimages), 46 Wimbledon Michse! Regan! (Oxford University Press p44 (Celebrity Couple/Moodhboard RF} Rex Features p24 American footbalieye Candy, aes 87-93 reproduced with permission of Cambridge ESOL Samplesnswer Test 1 Question 1 writen by Dominika GajekContents Introduction 5 We, TESTA 7 Y G Reading and Use of English G 18 iy is 20 We 24 Vs . Wl, TeST2 ay” G Reading and Use of English 27 Y i Writing 38 Listening 40 WA spersieg 44 Ves Yj, TEST ay YG Reading and Use of English a Writing 58 Listening 60 WD Speaking 64 Vs GY ‘TEST 4 a Y Y, Reading and Use of English or WY, Writing 78 Listening 80 De Speaking 84 Ve Sample answer sheets 87 Assessing the Writing paper 92 ‘Assessing the Speaking paper 93 Explanatory Key 94 Writing sample answers 126 Audio scripts 130 (CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS CONTENTS 3Introduction This book contains: = Four complete Practice Tests for Cambridge English: Proficiency (from March 2013) = Explanatory Key This provides detailed explanations for correct answers, and also for incorrect answers in Reading and Use of English Part 1. Relevant vocabulary and grammatical points are also fully explained. = Sample answers for the Writing Paper There is a sample student answer for each of the kinds of writing required (essay, article, letter, etc.) and all the sample answers are assessed. = General assessment criteria for Writing and Speaking Papers = Sample answer sheets = Audio scripts There are four Papers in the exam: | Sd and Use of English (1 hour 30 minutes) ee _ Questiontype PART1 ‘1shorttext with8 | Multiple-choice cloze aps 4-option multiple-choice; choose the correct word(s) to fill each gap aaa in vocabulary (meaning of Fsingle words, -ompletion of phrases, phrasal verbs, tc.) a i {8 questions; 8 marks _ PART2 '1shorttextwith8 | Open cloze | mostly grammar, some vocabulary gaps filleach gap with one word ! 8 questions; 8 marks ! gaps Use the words given to form the correct | 8 questions; 8 marks word for each gap : PART 4 6 unrelated sentences, ; Key word transformations each followed bya __ use the word given to complete the ingle wordand a —_! gapped sentence so that it means the japped sentence _: same as the first sentence PART3 ‘1short text with 8 | Word formation ‘vocabulary | grammar, vocabulary and collocation 6 questions; 12 marks | (1 mark for each part of the answer, | max. 2 marks per question) Multiple choice comprehension of detail, opinion, ! d-option multiple choice attitude, tone, purpose, main idea, ' ! implication, exemplification, reference, : pete. long text 6 questions; 12 marks understanding of text structure, links between parts of text ions; 14 marks PARTS 1 text with 7 ! Gapped text jaragraphs missing _! choice of 8 paragraphs to fill the gaps “PARTT !1textdivided into! Multiple matching | opinion, attitude, specific "sections OR several! matching statements / information to information short texts section of text or short text they refer 19 questions; 10 marks | to or appear in i CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS INTRODUCTION 5Writing (1 hour 30 minutes) Each question carries equal marks. Task ‘Word limit PART | essay summarizing the key points in two short texts {240-280 words and giving opinions i Candidates must do this task. PART2 .atticle, report, review, letter ~ Questions 2-4: candidates choose one task from three choices OR Questions 5a / 5b: candidates may choose one task about the set books. (There are two set books which change periodically) 280-320 words Listening (40 minutes) Each question carries equal marks. sk uestiontype PART1 '3short unrelated —_: Multiple choice - ! detail, gist, opinion, feeling, attitude, pieces 3-option multiple-choice (2 questions _/ purpose, agreement between speakers, (monologue or per piece) | course of action conversation) i | 6 questions; 6 marks PART 2 | 1 monologue Sentence completion ' understanding of specific information : | 9 sentences to complete with a word or ; given in the piece i ihr pikes | 9 questions; 9 marks PART 3 / 1 interview or {Multiple choice understanding of opinion, attitude, discussion (two or —_ 4-option multiple-choice | detail, gist, inference imorespeakets) i { S questions; 5 marks PART4 | 5 short themed "Multiple matching ‘same as Part 1 monologues | 2tasks. For each task, match what each 10 questions; 10 marks i ! speaker says to one of 8 options Speaking (14 minutes) "Activity type (examiner + two candidates) “Focus PART1 ; conversation between candidates and examiner general and personal topics relating to the i (2 mins) candidate PART 2 : talking about pictures: candidates discuss together | exchanging ideas, giving and justifying opinions, ! one or more pictures and do a decision-making task ' making suggestions, agreeing/disagreeing, reaching (4 minutes) | a decision through negotiation PART3 | each candidate speaks alone for 2 minutes, based _ speaking continuously on a given topic, commenting { on a prompt card; each candidate is also asked (on what someone has said exchanging ideas, giving ! a question about what the other candidate said _" and justifying opinions, agreeing/disagreeing discussion between candidates and examiner on the | same topics } (10 minutes) 6 CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS INTRODUCTIONREADING & USE OF ENGLISH | 1 hour 30 minutes PART 1 For questions 1-8, read the text below and decide which answer (A,B, Cor D) best fits each gap. Mark your answers on the separate answer sheet. TLsal There is an example at the beginning (0). Example: © A acclaiming —B plugging _— raving D promoting oA B Reading People paieenen Last month I was invited to lunch with my cousin accidentally spilling some water on the table. Twas | and his new wife. I hadn’t met her before, but my eventually 5___ worthy of her attention. cousin had been 0___C____to everyone about _only when it came to paying the bill; I had offered her wonderful, warm and caring personality. Clearly to treat them to lunch to celebrate their recent ‘good | she had completely 1_____ him off his feet. It news: She was evidently someone who could tum | didn’t take long for me to see through this veneer. _the charm on, but only when it 6_____ her ] Om arving at lunch, she sat down at the table purpose. In my opinion, 7 wonderful, without so 2_____as an acknowledgment ‘warm and caring people do not blow hot and cold in| of my presence. She 3______ to continue her _ their behaviour to others 8____ on what they | conversation with her husband as if didn’t exist, believe they can get out of them.of what someone and then 4a the young waitress for can do for them. 1A plucked B swept € dragged D hoisted 2 A much B far © great D long 3 A proceeded —_B followed C progressed —_D continued 4 A winked B glared © peeped D eyed 5 A pondered B discriminated weighed D deemed 6 Amet B realized € performed —_D served 7 A fully B purely C literally D truly 8 A varying B revolving € depending determined CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISH 7TESTA PART 2 For questions 9-16, read the text below and think of the word which best fits each gap. Use only one word in each gap. There is an example at the beginning (0). Write your answers IN CAPITAL LETTERS on the separate answer sheet. Example: fo] [olryH]elel | | Charles Schulz |__ The cartoonist Charles Schulz created the daly lives, He was given 12_ anxiety and low spirits, | of Charlie Brown, Snoopy, Lucy andthe Q__other _ and there was an underlying sadness in his stories, inhabitants of the Peanuts strip. Schulz, 9 a bitter-sweet quality that clearly fascinated many to his friends as ‘Sparky’, drew the daily strip for almost of his fans. In the 1950s, the strip had a vogue 50 years. Its distinctly American culture10_______ following 13____ intellectuals, but Schulz nothing to hamper its universal success. It was was happy to point 14_ that he himself to have 355 million readers in 75 countries, and it had flunked algebra, Latin, English and physics 11______ Schulz very rich. Schulz displayed at school. When someone 15. tunflaggingly sharp observation and a fairly gentle, if __ existentialist, he had to ask 16____ the sometimes downbeat. humour. word meant. 8 CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISHPART 3 For questions 17-24, read the text below. Use the word given in capitals at the end of some ofthe lines to form a word that fits in the gap in the same line. There is an example at the beginning (0). Write your answers IN CAPITAL LETTERS on the separate answer sheet. Example: Tere i ie | GY elFlFlolr[ reels] 5] L] | Y BEHIND THE SCENES ‘Watching a successful theatre production is an amazing experience. The performance looks 0 effortless. and everything goes smoothly EFFORT but this often 17___ the amount of work that was actually involved. ue ‘At the Palace Theatre, the average time from the first 18____ to REHEARSE ‘opening night is just four weeks of intensive work. Everyone involved attends the first read-through by the cast, so this is an ideal opportunity to get an 19___into howa production germinates. SIGHT | took myself to the theatre on a 20_____ October morning to attend the CHILL read-through of the theatre's new production ~ the British premire of Sive, by the acclaimed Irish playwright john B Keane. Itis a poignant portrayal of rural family life, rich in comedy and filled with 21_______ characters played MEMORY by an Irish cast for linguistic 22___. AUTHENTIC ‘it important for people to have a sense of common purpose and 23____ explains director Ben Barnes. ‘The play has been i TEAM pre-production since June but this is the first reading and it will be 24________ of how the actors work together. And it's for the theatre INDICATE, staff as much as the actors.” CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISH 9TEST 1 PART 4. For questions 25-30, complete the second sentence so that it has a similar meaning to the (first sentence, using the word given. Do not change the word given. You must use between three and eight words, including the word given. Here is an example (0): Example: © Dan definitely wor't be able to afford a holiday this year. possiblity There to afford a holiday this year. 0) isno possibility of Dan being able Write only the missing words on the separate answer sheet. 25 John has hinted that he doesn't wish to remain in the group any longer. hint Johnhas wishes to remain in the group, 26 Five actors were competing for the leading role in the play. contention There _____the leading role in the play. 10 CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISHty 27 She was concentrating so hard on her work that she didn't notice when | came in. wrapped She was that she didn't notice when | came in, 28 They stil haven't found out what caused the accident. cause Theyhaveyet______________________ the accident was. 29 | reluctantly signed the contract. signature Itwaswith onthe contract. 30 Suzanne is far superior to me in terms of technical knowledge. match When it comes for Suzanne. CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISH 11PARTS You are going to read an extract from a book about life in cities. For questions 31-36, choose the answer (A,B, C or D) which you think fits best according to the text. Mark your answers on the separate answer sheet. Image and the city In the city, we are barraged with images of the people we might become. Identity is presented as plastic, a matter of possessions and appearances; and a very large proportion of the urban landscape is taken up by slogans, advertisements, flatly photographed images of folk heroes ~ the man who turned into a sophisticated dandy overnightby drinking a particular brand of drink, the girl who transformed herself into a femme fatale with a squirt of cheap scent. The tone of the wording of these advertisements is usually pert and facetious, comically drowning in its own hyperbole. But the pictures are brutally exact: they reproduce every detail of a style of life, down to the brand of cigarette-lighter, the stone in the ring, and the economic row of books on the shelf. Yet, if one studies a line of ads across from where one is sitting on a tube train, these images radically conflict with each other. Swap the details about between the pictures, and they are instantly made illegible. If the characters they represent really are heroes, then they clearly have no individual claim to speak for society as a whole. The clean-cut and the shaggy, rakes, innocents, brutes, home-lovers, adventurers, clowns all compete for our attention and invite emulation. As a gallery, they do provide a glossy mirror of the aspirations of a representative city crowd; but it is exceedingly hard to discern a single dominant style, an image of how most people would like to see themselves. Even in the business of the mass-production of images of identity, this shift from the general to the diverse and particular is quite recent. Consider another line of stills: the back-lit, soft-focus portraits of the first and second generations of great movie stars. There is a degree of romantic unparticularity in the face of each one, as if they were communal dream-projections of society at large. Only in the specialised genres of westerns, farces and gangster movies were stars allowed to have odd, knobbly cadaverous faces. The hero as loner belonged to history or the underworld: he spoke from the perimeter of society, reminding us of its dangerous edges. ‘The stars of the last decade have looked quite different. Soft-focus photography has gone, to be replaced by a style which searches out warts and bumps, emphasises the uniqueness not the generality of the face. Voices, too, are strenuously idiosyncratic; whines, stammers and low rumbles are exploited as features of ‘star quality’ Instead of romantic heroes and heroines, we have a brutalist, hard-edged style in which isolation and egotism are assumed as natural social conditions. In the movies, as in the city, the sense of stable hierarchy has become increasingly exhausted; we no longer live in a world where we can all share the same values, the same heroes. (lt is doubtful whether this ‘world, so beloved of nostalgia moralists, ever existed; bout lip-service was paid to it, the pretence, at least, was kept up.) The isolate and the eccentric push towards the centre of the stage; their fashions and mannerisms are presented as having as good a claim to the limelight and the future as those of anyone else. In the crowd on the underground platform, one may observe a honeycomb of fully-worked-out worlds, each private, exclusive, bearing little comparison with its nearest neighbour. What is prized in one is despised in another. ‘There are no clear rules about how one is supposed to manage one’s body, dress, talk, or think, Though there are elaborate protocols and etiquettes among particular cults and groups within the city, they subscribe to no common standard. For the new arrival, this disordered abundance is the city’s most evident and alarming quality. He feels as if he has parachuted into a funfair of contradictory imperatives. There are so many people he might become, and a suit of clothes, a make of car, a brand of cigarettes, will go some way towards tuming him into a personage even before he has discovered who that personage is. Personal identity has always been deeply rooted in property, but hitherto the relationship has been a simple one ~ a question of buying what you could afford, and leaving your wealth to announce your status. In the modern city, there are so. many things to buy, such a quantity of different kinds of status, that the choice and its attendant anxieties have created a new pornography of taste. 12 CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISH31 What does the writer say about advertisements in the first paragraph? A. Certain kinds are considered more effective in cities than others. B The wayin which some of them are worded is cleverer than it might appear. C They often depict people that most other people would not care to be like. D__ The pictures in them accurately reflect the way that some people really live. 32 The writer says that if you look at a line of advertisements on a tube trait A. city dwellers have very diverse ideas about what image they would like to have. B some images in advertisements have a general appeal that others lack. C city dwellers are more influenced by images on advertisements than other people are, D ‘some images are intended to be representative of everyone's aspirations. 33 What does the writer imply about portraits of old movie stars? ‘A They tried to disguise the less attractive features of their subjects. B Most people did not think they were accurate representations of the stars in them. C They made people feel that their own faces were rather unattractive. D They reflected an era in which people felt basically safe. 34 What does the writer suggest about the stars of the last decade? ‘A Some of them may be uncomfortable about the way they come across. q B They make an effort to speak in a way that may not be pleasant on the ear. They make people wonder whether they should become more selfish. 1D Most people accept that they are not typical of society as a whole. 35 The writer uses the crowd on an underground platform to exemplify his belief that ‘A nossingle attitude to life is more common than another in a city. B noone ina city has strict attitudes towards the behaviour of others. C Views of what society was like in the past are often inaccurate. D__ people in cities would like to have more in common with each other. 36 The writer implies that new arrivals in a city may change the image they wish to have too frequently. B underestimate the importance of wealth. C acquire a certain image without understanding what that involves. D_ decide that status is of lttle importance. CAMBRIDGE ENGLISH: PROFICIENCY PRACTICE TESTS READING & USE OF ENGLISH 13,