New proficiency testbuilder

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N ew Proficiency

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Mark Harrison

MACMILLAN

First published 200:?

Tl'xt Mark Harrison 2002

Design and iliustr.uion Macmillan Publishers Limited 2002

Dl'sig[ll'd by Xcn Mcdi., Ltd

COH'r dt'sign bv Xcn Me-dia l.td

lhv author would like ttl thank Lena Hauberg Denise Coufalova Anja Ferstl,

ChdJ'lotk Hnnstrorn Andrca 7s Toth Eva Or ieskova and Luisc Kloss for

providing the- -cun ph- ,1Ils\\'CLS for Papers 2 and 3.

Random House Group for Extract fromCfll::'sby Jilly Cooper, published by' Methuen Used by permission of The Random House Croup Ltd (p llfi): News International Syndication for all extract from 'Cl'tting the bird' by A.1\.

Gill inThe Sunday Tinic-, 15 June 1997, A A Cill/TinlL's Newspapers Limited (1997) (p13l); The Random House Croup for all e-xtract fromSwillg

i lamnter Sioing' by Jeff Torrington, published by Martin Seckel' & \Varhurg.

Reprinted by permission of The Random House Croup Ltd (pI31); Penguin

Books (UK) for an extract fromX-Ray by Ray Davies (Viking, 1994) Copyright

Ray Davies, 1994 (p133) and for an extract from ｆ ｬ Ｑ ｩ ｴ Ｏ ｾ ｦ ｩ ｬ ｬ ｬ by Marianne

Faithful! with David Dalton, Michael Joseph (1994) Copyright (', Mananne Faithfull, 1994 (p134); The Random House Croup for an extract fromTIlc

permission of The Random House Group Ltd (pBS); Ncw-, International Syndication for an extract from 'Rainmaker with his head in the clouds' by Anjana Ahuja inThe Times, 16 February 1998, Times Xcwspepcr-, Limited (1998) (p136); The Random House Croup for an extract from OI:'ITl!It' Limit by

Bob Monkhouse, published by Century Reprinted by permission of The Random I louse Group Ltd (p13S); Dyson Appliances Ltd for an extract from 'The slow arrival of the wheel' by James Dyson, Ｑ Ｑ Ｗ Ｑ Ｑ Ｑ Ｑ Ｇ ' ｛ Ｉ ｙ ｓ Ｈ Ｑ ｉ Ｑ Ｇ Ｎ ｽ Ａ ｩ Ｎ ｾ ｬ ｴ ｊ ｮ nof Creal

Illllcn!iolls,Part 1, 2000 inTelegraph maga:ine(pl St}, Telegraph Croup Ltd for

an extract from 'Frantic Semantics: Bogus' by' John Morrish inTdcsrapl1 IIll1gl1:ilJc, 4 March 200n (p1S2); Thames& Hudson Ltd for an extract from

ｌ Ｉ ｣ ｾ ｩ ｧ Ａ ! Since 1945 by' Peter Dormer (]993) (pJS7).

(with key) (without key)

ｉ ｓ ｉ ｬ l 0 III 9549H X

oIII 95497 I

All righh reserved: no p.u-t of this publication may be reproduced, stored in a

n-trioval svstl'll1, t-an-nutted ill anv form, or bv anv means, electronic,

ｭ ｬ Ｇ ｣ ｨ ､ ｬ ｬ ｩ ｣ Ｎ ｾ ｬ l photocopying, recordtng, or otherwise without the prior wri tten

permission of the publisher-;

Between Towns Road, Oxford OX4 3PP

A division of Macmillan Publishers Limited

Companies and representatives throughout the world

!'Ill' pul-Ie.hor-, would like to thank the staff and students of East Finchley

School or English for their 11l'1p, and Mike Cutteridge and Lynn Gold for their

input.

The author and publishers would like to thank till' Unin'fsity ot C<lmbridge Local Examinations Syndicate for the assessment cr'itct-ia and :-',llllpk answer sheets.

llic author md publisher -; would like to thank the following for permission

ttl n-prodtm- their material: f ialifu x pic for an extract from 'No place like

hom " hv Christine Webb in1[(lIlIC:;nnd 517Z'illg::;, Summer 1995 (pH); Telegraph

Croup l.td toran e-xtract fromtIurrung Points Number 19, Pennsylvania

St.ruon Ncvv York by Cites v'lorsley inThe 017ily Telegraph Art:; C7' Hooks, 8

Mav ItNt), It'll'graph Croup Limited (1999) (14); PFD for an extract from

1"111'ｓ ｴ ｱ ｲ r (l(tlit' SUI/by Caroline I iarvcv reprinted by permission of PFD on

behalf of [l),mlld Trullope Caroline Harvey, 1983 (p14); the Harvill Press for

excerpts from 5(ltt CitI/ i(')jonathan Raban, '1974 Reproduced by permission of

the It.irvill l'rcs-, (ppl;, D2); 1\111 Macmillan for an extract fromThe Dead (:f

laidl(l bv ColinDt-xte-r, Sidg\vick &]dckson, Macmillan, London, UK (pIS);

David llighdlll Associates nil behalf of the author for extracts fromIlJspector

TlII/llt'l()/lIl1il'/lS bv Dorothy Simpson, Warner Hooks (1994) (pI6); Pearson

Education Ltd for l'xtr,-lCts from 1"I1t'Pt'l/gllill 1Ii:; tory (:f the United St17tes(if"

1999, reprinte-d bv pr-nuis-.ion of Pearson Education Limited (pp l S, 88); News

lnte-rnation.tl Svndicanon for an extract from 'Why advertising matters' by

Stephen Armstrong illlhc Sunday Tinu'< Art ; Supplelllent, 3D April 2000, C0

Stl"plwil ArlllstronglTillll'S Nl'\vspapers Limited, 2000 (p25);TlIe I leI/dOl/and

llllcfT/l'.l! flrt's:,for ,1Il l'x!r,lC! from 'Tube inspired a book',Die Pre:,::>27 April

21100 (p2S); Abner Stein on behalf of the author for an extract from the

Forl'\vord bv Dr Anthon!' ｃ ｬ ＼ Ｚ ｬ ｲ ｬ l to Vim17lld Your Adolescelltby L<:lUrl'nCe

ｾ ｴ ｬ Ｇ ｩ ｮ ｢ ｬ Ｇ ｲ r Ｌ Ｑ ｉ ｾ ~ An11 Ll'villl', Ebury Prpss (1992) (p31); rvlic Cheetham Literary

on iwhalf of the <1uthor for an extract fromIt'cllnger ; - J\ Fa1l1ily

Cuid,' hI' Lauric Crah<1I11, Chatto& Windus (1992) (p32); Pan

MilClllill,1I) for 11) l'xtract from Spt'IICtTTracy by Bill Davidson, Sidgwick &

Jackson, r-d,lClllilL1I), London, UK (p50); Penguin Books (UK) for an extract

fnm1Jlt'crlt'.Ｎ Ｎ ［ ;rIot:' Est]lL'r Freud (I lam ish Hamilton, 1993) Copyright (l)

Esther Freud, Il)l)J lane Furnival for an extract from 'The most

!ilwr,lting gddgl't C\'l'r?' inVv'('ckelld Tdegrapll, S September 1998; News

Intl'rnatitHl,ll Syndicltioll for an extract (rom 'Game for a laugh' by Simon

BiH1WS in'1"111' Tllllt'''; /v1/\1 S/lPfJlt'lIl1'llt,9 October 1999, ({) Simon Barnes/Times

:'\V\VSp,lper Limi!l'd (Il)Yt)) (p52); Little, Brown and Company (UK) for an

l'\.tLlCt frnnl ;/Ii.lliliS U/J by Rick Gekoski, (1998) (pS2); Mainstream Publishing

Cll Ltd {or 111 l'),Jr<ld trnmTill' l\cd and the Black by Michael Aylwin with Matt

SlIlgcr (19l)1)j Ｈ ｾ Ｉ ｓ ｊ Ｉ ) \1,lCmillan for anl'xtract frornAll the Rageby Ian

\1d.dgl'n, ｾ Ｇ ［ ｩ ､ Ｉ Ｍ Ｍ Ｇ Ｌ ｜ ｜ Ｇ ｩ ｣ c & J,lckson, Macmillan Ltd, London (p,57); HlJke

rricdlll.lnil litcrdfV on behalf of the author and The Random House

Croup for dn l':\.tr.;ct ttl Trade by Michael Ridpath, published by

\Villi,lm Ileilll'm<lI1n Rl>printed by permission of The Random House Croup

Ltd (p:;9); C'pventrv ((l/'l/iJlXTcll'Xnlpllfor an l'xtract from 'King of the

w.ltchmtlkcrs' b-,,' Mdrk ｆ ｯ ｲ ｳ ｴ ｴ Ｎ ｾ ｲ r 12 Fd,ruary 2000 (p67); International

ThoJllson Publishing Sen'icl's Ltd (or an extract fromLbllta:,talldillg Popular

CII/tllft'by John FiskL', U'Hvin Hy'man (19H9) (p72); News International

S\'ndic,ltioll lor ,1Il l'xtrdct fmm 'Tlw I-Iorse's Tale' by Rachel

Campbell-Il'lhnstol1 inTlI1' Tilllc." /'v1aXII:i!lC,21 June 1997, Times Newspapers Ltd (p86);

l'l'nguin nooks (UK) fur illll'xtrcKt fmm ｇ Ｈ Ｉ Ｎ Ｎ ［ ｾ ｩ ｰ ｦ ｲ ｯ ｬ ｬ ｬThrush Greenby Miss

HC,ld (Michael Joseph, 198]) 19tn by Miss Read (p87); The Orion

Puhlishing Croup Ltd for ln l'xtract fromKClllleth vVilliallls by Michael

Frl'edland, VV'L'idcnldd & Nicoboll (1990) (pH8); Transworld Publishers,

Kate Atkinson t:xtr<:lctcd fromfilillWI! Croqllet, published by Black Swan,

.1 division o( Trans\\'orld Publishers All rights reserved (p89); TIll' Orion

Publishing (;roup Ltd for 1n extr<:Kt from 'The Pawn King' by Dominic

L.l\vsun in /v1(1n'Tllal/iI CII/llt', CQOil SpOft ed Philip Watson, The Orion

Publishing Croup Ltd (pl)7); Tclcgt\lph Croup Ltd (or an extract from

'Celebrity crosSOVt'r' by Tim Dm,vling inTelegraph nwgazine, 26 February lOOO,

ft.'legr,lph Croup Limited (p107); Atlantic Syndication for an extract from

'Hero sunk by 1 lust tl)r stardom' by Roger Deakin inMail01/Slfllday RI'vic'lv,

The author and publishers would like to thank thl" follovving fur permission to reproduce their material Oil cassette: Telegraph Croup Ltd fur l'xtrdcts from the following: 'It's a dirty job, but if he didn't do it ' by Ionnv Bc.u'dsall in

TclcSTl1ph '0/c('kclld, 5 June 1099 (p7S); 'H<lPPY hero or the silentera by Mark Monahan inThe Daily Telegraph, 29 March 1999 (p76), ]l'IL'graph Croup Limited (999); 'Are you a maven or a connector?' by Damian Thompson in

(2000) (p38); David Higham Associates on behalf of the author for an extract from 'C'mon man - get a grip' by Geoffrey Wall in lVI't'k1'l1l1,26 September 1908 (p38); Kogan Page for an extract (rom III Hotel /utmini-tr.nionond lv1mlllgcIIlcllt by Russell Joseph, Russl'll Joseph, Kogan Page Limited (p43) and for an extract from ｃ ｬ ｬ ｮ Ｇ ｻ Ｇ ｲ rill Hdl/ililiX by

Loulou Brown, l.oulou Hrown, 1997, Kogan Pagl> Limited (p45); Abner Stein

on behalf of the authors and The Random House Croup for an extract from

Getting to Yc.s by Roger Fisher and William Ury published by Hutchinson.

Used by permission of TIll' Random House Croup Limited (pp72-1); Anna fox and Roger Highfield for an extract from "Seeing is be!in'ing - any moment now 'inTIlL' Daily 'ldcgnlplJ,Zti April 200n (p76); Michael O'MarJ Books Ltd on behalf of the author for extracts from} }(Ji('I}oll.':;e!/(Jld Nmllcs Rcgl1l1(1997) (pp77, 1(2); Atlantic Syndicdtion for an extr,lCt from '\'\'1 ' lived

\vithout TV for a year - and lovl'd it' by Miranda Ingram illDaily ;,\'1/1il, 17

August 2000 (pHO); F&W Publications, Inc., excerptedfwm 5I1ul's fill

permission of Writer's Digest Books, and imprint of F&V\' Publicatiolls, Inc All rights reserved (pHI); Atlantic Syndication for extr,lcts from 'Cheer up, life can only get ｷ ｯ ｲ ｳ ･ ｾ ~ by Quentin Letts inDaily ;,\117il, 21 June 2000, '\\'hat's

cooking?' by Rosie Shepherd in t"'-r Day, 18 June 200{) (pll9) and 'More

loon (pI20); Dyson Appliances Ltd for an extract from we need a nevI" patl'nt law' by James Dyson,1111Ilt':;Dy:;(lll ':, Part 3, Introduction, 2000 in1L'lcgraph lIIagazinc (p120); Burt for <In extract from '( wouldn't Paddy Burt the mumps' inldegraph 20 April 2000, fromR.OOlII Enigma (2000), Paddy Burt (pI22); Sheldoll Press for an extract fromHow to llllpnmc YOllrｃ ｏ Ａ ｾ ｦ ｩ ､ ｴ Ｇ ｉ ｬ Ｈ ｴ t by Dr Kenneth Ilambly (]Y87) (p160); Telegraph Croup Ltd (or extracts from 'C<lricature is packed \vith triple explosives' by Nicholas Carland inThe Dail!! TdcXraph, RJune200n (p160), 'I think 1 have a way with pain' by Will Cuhu inThe Dail.l! ldl'grapll /1rts&Hook:;,

6 MilY 2000 (pI6l), Tl'lcgrilph Croup Limited (2000), and 'Rhythm 'n' roilds'

by Mick Brown in'ldcgmphThrucl, 20 Novl"mber191.)9(pI61), (:"'1elegr<lph Croup Limited (l999),

V'lhilst every effort has been madc to tracL' mvncrs of copyright matl'rial in this book, there may have been somc cases v','hell thl' publi ;her ; have been unable to contact the o\tvners V'le should be gratPt"ul to lW<:H from anvone \\'ho recognises copyright material and \vho is unacknowledgl'd V'll' ;hall be pleased to make the necessary amendments in futurl' editiOlb {If thl' book.

The authors and publishers \vould like to thank tIll' fo]]o\ving for permission

to reproduce their photographic material:

Mary Evans Picture Library pl76 (c); The Hulton Archive' pp176 (d, b); Image Bilnk pl71 (d); Pietor pi 72 (b); Superstoek ppl71 (c), 172 la, e); Stone pl71 (a),

174 (a), 175 (d, e); Telegraph Colour Library pl71 (b, d), 17.1 (e), 174 (b,c).

Printed and bound in Spain

by Edelvives

2006 2005

10 9 8 7 6 5

Further Practice Paper 1Part One 10 Further Practice Paper 1Part Three 92

Further Practice Paper2article 21 Further Practice Paper2proposal 100

Further Practice Paper3 Part One 26 PAPER 3 107

Further Practice Paper3 Part Five 33 Further Practice Paper 3Part Three 110

Further Practice Paper4 Part One 40

Further Practice Paper 5 48

Further Practice Paper 1Part Two 54

TEST FOUR

Further Practice Paper2 review 63

Further Practice Paper 1Part Four 140

Further Practice Paper3Part Two 68 PAPER 2 143

Further Practice Paper3Part Five 74 Further Practice Paper2essay 144

Further Practice Paper2 report 148

Further Practice Paper4 Part Two 78 PAPER 3 151

Further Practice Paper5Parts Two Further Practice Paper3Part Five 159

Further Practice Paper4 Part Four 165

Further Practice Paper 5 169

Assessment criteria - Papers 2, 3 and 5 270

4 INTRODUCTION

THE NEW PROFICIENCY TESTBUILDER

The New Proficiency Testbuilder is much more than a book of Practice Tests A completely new version for the Revised Proficiency exam in operation from December 2002, it is designed not only to enable students to do tests of exactly the kind they will encounter in the exam itself, but also to provide them with valuable further practice, guidance and explanation This will enable them to prepare thoroughly for the exam and increase their ability to perform well in it

The New Proficiency Testbuilder contains:

Four complete Practice Tests for the Cambridge Certificate of Proficiency

in English

These tests reflect exactly the level and types of question to be found in the exam

Further Practice and Guidance pages

These are included for each part of each paper and they come immediately after the part of the exam

they relate to (see Contents) For each part of each paper, they include What's Tested sections, which provide detailed explanations of the precise focus of each part of the exam, and Tips sections, which

provide advice on the best approaches to answering the questions Throughout these pages, students are encouraged to draw their own conclusions as to what the correct answers to the questions in the test are, and the step-by-step approach taken enables students to develop and apply the right processes when answering the questions in the exam

For PAPER 1 READING, the Further Practice and Guidance pages contain exercises and questions directly related to the questions in the test

For PAPER 2 WRITING, the Further Practice and Guidance pages provide outlines enabling students to

plan their answers They also contain samples of each kind of writing that may be included in the exam

(article, report, etc) for students to assess

For PAPER 3 USE OF ENGLISH, the Further Practice and Guidance pages contain exercises and questions directly related to the questions in the test They also contain exercises for planning the

summary tasks and samples of summaries for students to assess.

For PAPER 4 LISTENING, the Further Practice and Guidance pages contain exercises directly related to the questions in the test

For PAPER 5 SPEAKING, the Further Practice and Guidance pages provide exercises on vocabulary likely to be useful in general terms, exercises on vocabulary relating to the themes for discussion in the tests and practice in talking about pictures

This contains full explanations of every answer to every question in the tests.

For PAPER 1 READING, this section contains detailed explanations not only of the correct choices, but also of why other options are incorrect Within these explanations, key vocabulary in the texts is

explained

For PAPER2WRITING, this section contains task-specific mark schemes for each question and

assessments of the sample answers

For PAPER3 USE OF ENGLISH, this section contains detailed explanations of the answers to each question, including grammatical and lexical information, mark schemes for the summaries and

assessments of the sample summaries

For PAPER4 LISTENING, this section contains detailed explanations not only of the correct choices, but also of why the other options are incorrect Within these explanations, key vocabulary in the pieces

is explained

For PAPER5SPEAKING, definitions are given of the vocabulary in the Further Practice and

Guidance pages

How to use the New Proficiency Testbuilder

Teachers and students who have the edition with key can use the book in a number of ways:

1 Simply follow the instructions page by page Clear directions are given as to the order in which to do things If you follow this order, you:

• complete one part of a paper, perhaps under exam conditions, and then

either

5

• do the Further Practice and Guidance pages relating to that part and check the answers to the

questions in those pages Then review the answers given to the questions in the test in the light of what has been learnt from doing the Further Practice and Guidance pages Finally, check the answers

to the questions in the test and go through the explanations of them

Or

check the answers to the questions in the test and go through the explanations of them if there are no Further Practice and Guidance pages and

then

• move on to the next part of the test

2 Vary the order

You may wish to do some of the Further Practice and Guidance pages before answering the questions in the test that they relate to Alternatively, teachers may wish to do the Further Practice and Guidance pages as discussion or pairwork, or ask students to prepare them before class

6 INTRODUCTION

The Certificate of Proficiency in English

The following is a brief summary of what the exam consists of Full details of what is tested in each Part

of each Paper are given in the relevant Further Practice and Guidance pages

PAPER 1 READING 1 hour 30 minutes

of Questions of Marks

1 3 short texts, each with 6 gaps 6 x 4-option multiple-choice 18 18

questions per text, testing vocabulary, 1 mark per question

2 4 short texts with a linked theme 2 x 4-option multiple-choice 8 16

questions per text, testing comprehension, 2 marks per question

3 1 long text with 7 gaps choosing from 8 paragraphs to fill 7 14

each gap, testing text structure and meaning, 2 marks per question

questions, testing comprehension,

2 marks per question

PAPER 2 WRITING 2 hours

of Words of Marks

1 compulsory, may be an article, letter, essay or proposal 300-350 20

2 choice of one of three options (options are article, letter, proposal, 300-350 20 report, review) or choice of one from three set book questions*

*Candidates can choose from three set books, which are specified in

the exam regulations each year Since the set books change from year

to year, these have not been included in this book

PAPER 3 USE OF ENGLISH 1 hour 30 minutes

of Questions of Marks

1 1 short text with 15 gaps filling each gap with one word, 15 15

mostly testing grammar, 1 mark per question

2 1 short text with 10 gaps filling each gap with one word 10 10

formed from the word given, testing word formation, 1 mark per question

3 6 sets of three sentences, each filling the gaps with one word 6 12 with a gap that is appropriate in all three

sentences, testing vocabulary, 2 marks per question

INTRODUCTION 7

4 8 sentences to be rephrased rephrasing the given sentence 8 16

using a word supplied and the beginning and ending supplied, testing vocabulary and grammar,

2 marks per question

Summary writing task text, 2 marks per question, and

write brief summary of both texts 1 14

of Questions of Marks

questions per piece, testing comprehension, 1 mark per question

monologue information given in the piece, 1

mark per question

3 1 dialogue, often an interview 5 x 4-option multiple-choice 5 5

questions, testing comprehension,

1 mark per question

4 1 discussion involving two 6 x matching views to speaker 6 6

views are expressed by both speakers), 1 mark per question

1 conversation between examiner and each candidate on general and 3 minutes social matters

2 talking about pictures, followed by conversation between candidates 4 minutes

on topic arising from one or two of the pictures

3 each candidate talks for two minutes, based on prompts given to them 12 minutes

on a card; candidates then discuss with each other and the examiner

the topics related to the prompt cards for eight minutes

Marks are worked out so that each paper is worth 40 marks This gives a total of 200 marks, which can

be divided by two to give a percentage To pass, candidates need to score approximately 60%

8 PAPER 1 PART ONE

TEST ONE

PAPER 1 READING 1 hour 30 minutes

TEST ONE

PART ONE

For questions1-18, read the three texts below and decide which answer (A,B, CorD)best fits each gap In the exam you will mark your answers on a separate answer sheet.

Living in Flats in Britain

The British have never(1) to flat dwelling in the way that other Europeans have This is

probably because of the English Channel Continental European city dwellers had to build walls to keep out marauding invaders Those who farmed the city hinterlands would (2) inside the walls and close the gates when danger approached Space within the walls was at a (3) , so it made sense

to pile one home above another in the form of flats Flats were the (4) in cities like Paris from as early as the 15th century Apart from the odd Viking, invaders were kept from British shores by the sea, allowing the British to live in houses (5) across the countryside in villages, hamlets and market towns, the only city of any size at that time being London.Itwas not until the industrial revolution started (6) people off the land into towns in the late 18th century that there was a demand for mass housing Then, rooms in houses were rented by the poor and each family would share one room

Meeting Marvin Gaye

When I first met Marvin Gaye in his Sunset Strip studio, I had just completed a two-year project

co-writing the autobiography of Ray Charles, an inspiring collaborator, but an authoritative and often (7) figure Marvin came on like a brother He was warm, witty and (8) to laugh He spoke like he sang, in whisper-quiet melodies and soft falsettos His conversation had a lyricism all of its (9) His affectations a slight British accent when he was feeling aristocratic, for example -were more than (10) by his disarming sincerity We became friends I felt (11) to watch

TEST ONE PAPER 1 PART ONE 9

him work and play up-close.Itsoon became clear that, like his music, his personal life was filled with dramatic contradictions, a combination of charm and chaos Because he was a hero of mine, and because his art was so dazzlingly beautiful - so self-contained, so accomplished, so (12) slick - it took

me a while to realize my hero was drowning

10 A set against B weighed up C made up for D settled up with

Sir John

Sir John did not seek to belittle and undermine for the sake of it.Itwas easy to mock - (13) , it

was the instinctive reaction of any thinking being to the modern world - but great harm could be caused

by thoughtless mockery His intention was merely to instil a little humility He was fighting a

(14) battle, he knew His colleagues - the psychiatric, the teaching and the social work

professions - were all doing their (15) to raise people's self-esteem.Itwas their basic credo;

everybody was (16) by low self-esteem For Sir John, on the other hand, the self-esteem of most

of the men and women he came across was far too high for their own (17) , or anybody else's, already The job of the professors was not so much to promote the uncontrolled expansion of self-esteem (18) to forcibly ram it back into the Pandora's box from which it should never have been liberated, and then sit upon the lid

Before you check your answers to Part One of the test, go on to pages 10-13.