UNDERSTANDING F NY ELA and Common Core Learning Standards
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
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WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING STANDARDS GRADES 3-8
WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING STANDARDS GRADES 3-8
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UNDERSTANDING F NY ELA and Common Core Learning Standards
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A ISBN 978-1-4204-7594-4 S IS DU THIS PERM REPRO
Copyright ©2013 RALLY! EDUCATION. All rights reserved. No part of the material protected by this copyright may be reproduced in any form by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner. Printed in the U.S.A. 0113.MAQ The following selections Copyright © Highlights for Children, Inc., Columbus, Ohio: Plork: The Orchestra of the Future © 2009, Dragons Race on Water © 2010, Elizabeth Jennings Takes a Stand © 2007, Seeing Through Dorothea’s Eyes © 2005 Photo/Illustration credits: p. 6 Lorene Lavora; p. 7 Denise Applewhite, Office of Communications, Princeton University; p. 15 Wikimedia Commons/Atmhk; p. 25 & 26 Dennis McDermott; p. 30 Library of Congress
RALLY! EDUCATION • 22 Railroad Avenue, Glen Head, NY 11545 • (888) 99-RALLY
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Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 An introduction to the Common Core English Language Arts Test Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Four individual passages and two paired passages Passage 1: Plork: The Orchestra of the Future . . . . . . . . . . . . .6
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
An informational passage with multiple-choice questions Passage 2: The Buckwheat . . . . . . . . . . . . . . . . . . . . . . . . . . .11 A literary passage with multiple-choice questions
Passage 3: Dragons Race on Water . . . . . . . . . . . . . . . . . . . . .15 An informational passage with multiple-choice questions
ER.
ST Passage 4: Archie’s Vacation . . . . . . . . . . . . . . . . . . . . . .IN. E. .M.A.20 L BLACK E IS N TO B T K I O . D O TE a Stand Passage 5: Elizabeth Jennings IGHTakes THIS. B. . . . . . . . . . . .25 R Y R P O O F K IS Cpassage GIVENshort-response O A paired informational with WAY. questions T O Y O B N N E A L S I P IN AM SION UCED Eyes . . . . . . . . . . . . . .30 D THIS S 6: PSeeing O R Passage Dorothea’s ERMISThrough REP A literary passage with multiple-choice questions OT A
A paired informational passage with short-response questions and an extended-response question
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Introduction Common Core English Language Arts Test Beginning in 2013, students in New York will take the Common Core English Language Arts (ELA) Test. The test has been redesigned to meet the requirements of the Common Core Learning Standards (CCLS). The main differences include a greater focus on informational texts, the use of authentic texts, and an increased emphasis on close reading and using text-based evidence.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 Question Formats888. Common Core Learning Standards
The Common Core ELA Test assesses the standards described in the Common Core Learning Standards (CCLS) for English Language Arts & Literacy. These standards are divided into four strands: reading, writing, language, and speaking/listening. The Common Core ELA Test only assesses reading, writing, and language standards.
TER. S A M KLINE C A L B NOT A K TO BE S I T I D. of questions. The Common Core ELA Test includes three HTEtypes IS BOO Multiple-choice G H I T R Y R questions assess reading andK language EN FOStudents IS COP standards. . asked a question V I AYare G O W T O Y O B N N E about a passage and IS correctCanswer. Nthe AMPLmust Iselect D IN A O I S E S S S U I H D T PERM REPRO Short-response questions assess reading and language standards. Students are asked to make a claim or draw a conclusion about a passage and must provide two pieces of text-based evidence to support the response. Students are also expected to write in complete sentences. Extended-response questions mainly assess writing standards. Students must produce a coherent, well-organized, and well-written essay in response to a passage or a pair of passages and must also use textual evidence to support the ideas.
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Passage Formats The Common Core ELA Test has a greater focus on comprehending and analyzing informational texts. The test includes a wider range of informational texts. This may include expository, argumentative, instructional, and narrative texts. The Common Core ELA Test will use only authentic texts. Authentic texts are published works that students encounter in everyday life. These differ from commissioned texts, which are texts that are specifically developed for use in standardized tests. The use of authentic texts means that passages will be more worthy of reading, but will also be more challenging. They may be emotionally charged, contain complex ideas, be based on topics outside the student’s usual experience, or express opinions that students may not agree with. As well as comprehending the passages, students may be required to analyze, critique, or evaluate the author’s point of view, purpose, or argument.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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/ Plork: \ The Orchestra of the Future By Laurie S. Wallmark
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO 1
The houselights dim; the audience quiets. You wait for the musicians to arrive—men in tuxedos, women in long black dresses. You picture them filing in, instruments at their sides—the warm glow of the violin wood, the gleaming reflection of the silver flutes.
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But wait! Something’s wrong. You hear the scuff, scuff, scuff of socks instead of the tap, tap, tap of dress shoes. Fifteen casually dressed college students and professors stroll onstage and step over cables and wires. They weave between racks of speakers, blinking lights, and large pillows to reach their places.
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And what’s that in front of each musician? A laptop!
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The conductor lifts his arms. The performers lean over their computers and play the beginning notes of the composition. Music fills the hall. Sounds, both strange and familiar, emerge from the speakers. Drums pick up the beat. Computers transform the musicians’ voices and add them to the mix. The music swoops and soars, thumps and clicks. You’re at a performance of PLOrk, the Princeton Laptop Orchestra.
Forming the PLOrkestra 5
6
7
This first-ever laptop orchestra was started in 2005 by Princeton University professors Perry Cook and Dan Trueman with graduate students Ge Wang and Scott Smallwood. Before then, playing computer music was a solitary activity. Professor Trueman says they formed the PLOrkestra to have activities such as jam sessions and chamber ensembles.
E L P SAM ATION C U D E ! Y L L Y L A L R A R . Creating Laptop Music 9 9 888.
The PLOrk musicians use laptops and specialized software to create music. You don’t have to be a computer whiz to join PLOrk, though. “We require that all students in the orchestra have some kind of musical background,” says Professor Trueman, “but we don’t require programming skills.”
TER. S A M KLINE C A L B NOT A K TO BE Laptop music starts with a S I T I . computer keyboard and mouse. RIGHTED IS BOO H T Y R COP As the musician types, you EN FO WAY. IS hear V I K G O T O NO “raindrops or popcorn IS or PLE B popping N ANY I M N A D O I S E S C HIS notes DU MIS melodies,” even Tmusical PERand REPRO
says Mr. Smallwood. But that’s just the beginning. 8
Sometimes, musicians lift and tilt their laptops to produce different audio effects. Or they might use a joystick, as if playing a video game. A computer trackpad can be programmed so that “rotating your finger . . . creates a beautiful glowing sound,” says Professor Trueman.
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For more advanced pieces, PLOrk musicians use additional human-to-computer interfaces, such as piano-keyboard controllers, drum pads, headset microphones, gaming devices, and even Dance Dance Revolution pads! When wearing flexsensor gloves, performers can create music just by waving their hands in the air.
Electronic Instruments 10 The PLOrkestra sometimes uses standard instruments, such as cellos, electric
guitars, accordions, fiddles, flutes, and hand drums. A guest composer is currently writing a concerto for violin and PLOrk. “In [most] performance[s], there is at least one piece with conventional instruments involved,” says Professor Trueman.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
11 Some compositions feature the BoSSA, a one-of-a-kind instrument that looks
like a bright-red, high-tech gumball machine. It is played with an enhanced violin bow and a small wooden lever you move up and down. But the BoSSA doesn’t have strings or a hollow body. Instead, musicians use the BoSSA’s electronics to create strange and beautiful sounds. 12 PLOrk musicians use other unusual instruments, too. The eToob is six to eight
ER.
T to feet long and has a microphone inside. The performer drops it onE the MASfloor N I L K produce a deep, hollow-sounding thump of a specific pitch. is BLACThe DigitalDoo A T E O B N O S I based on the didgeridoo, an Aboriginal wind instrument.OElectronic circuits KT ED. ITdeepTHtones. BO“There T S H I G I allow a musician to control thePY DigitalDoo’s are scores of R R O O F C N S E instruments I’d still O build GIV students OKtoI buildNorOThave WAY. with me,” says Y B like N E A L S I P ProfessorS Cook. SAM SION CED IN THI
IS PERM
DU REPRO
13 One instrument all PLOrk musicians use is their voice. For “The ABC Song,”
musicians prerecord themselves speaking each letter several times. The samples are then filtered to produce the familiar pitches of the alphabet song. During the concert, the conductor leads the musicians as they type the alphabet. Each time a performer presses a letter, the computer randomly chooses a sample of that letter to play. The length of the note depends upon how long musicians hold down the key. 14 The future is exciting for PLOrk. Orchestra members are currently trying to
redesign their instruments to make them more portable. If they succeed, the musicians will be able to “set up quickly and play just about anywhere,” says Professor Trueman. “A subway-station show is in our future!”
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1
As it is used in the last paragraph, the word portable means that the instruments will be easier to A play B build C move around D teach to others
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Which sentence states the author’s personal opinion about PLOrk? A “The PLOrk musicians use laptops and specialized software to create music.”
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
B “A guest composer is currently writing a concerto for violin and PLOrk.” C “One instrument all PLOrk musicians use is their voice.” D “The future is exciting for PLOrk.”
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How does the second person point of view in paragraphs 1 through 4 R. influence the reader? MASTE
CKLINE ISonNOPLOrk. TO BE T K I O . It gives the reader background information D O IGHTE FOR THIS B R Y P O C It shows the reader the personal K ISauthor’s AY. with PLOrk. GIVEN experience O W T O Y O B N N E L It helps Athe understand MPreader N IS howUCPLOrk D IN Amembers feel when performing. O I S E S S S I I H D T PERM REPRO
BLA A It allows the reader to imagine watching the PLOrk T A perform. B C D
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According to the article, PLOrk has all of the following in common with a traditional orchestra EXCEPT A having a conductor lead the music B using traditional instruments like violins C including both strange and familiar sounds D having a group of people play together
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The comparison of PLOrk to a traditional orchestra in the first two paragraphs makes the PLOrk musicians seem more A comical B easygoing C dedicated D skillful
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Which statement best reflects the central idea of the article? A Musicians can record their voices and play the sounds by typing the letters.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
B The first laptop orchestra was started at Princeton in 2005 and continues to develop. C One of the leaders of PLOrk hopes they will soon be playing in subway stations. D Members of PLOrk require some musical training but only basic computer skills.
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TER. S A M KLINE that The title refers to PLOrk as “the orchestra of the future” to suggest C A L B NOT A K TO BE A it has not actually been invented yet D. IT IS HTE IS BOO G H I T R Y R B it will soon replace all traditional EN FO WAY. IS COP T Gorchestras V I K O O B cutting-edge C it is a modern IS NO development PLEand N ANY I M N A D O I S E S C S enjoyable U most orchestras IS HImore ODthan D itTis PERM to beRpart EPRof
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/ The Buckwheat \ By Hans Christian Andersen
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Very often, after a violent thunderstorm, a field of buckwheat appears blackened and singed, as if a flame of fire had passed over it. The country people say that this appearance is caused by lightning; but I will tell you what the sparrow says, and the sparrow heard it from an old willow-tree which grew near a field of buckwheat, and is there still. It is a large venerable tree, though a little crippled by age. The trunk has been split, and out of the crevice grass and brambles grow. The tree bends forward slightly, and the branches hang quite down to the ground just like green hair. Corn grows in the surrounding fields, not only rye and barley, but oats, pretty oats that, when ripe, look like a number of little golden canary-birds sitting on a bough. The corn has a smiling look and the heaviest and richest ears bend their heads low as if in pious humility. Once there was also a field of buckwheat, and this field was exactly opposite to old willow-tree. The buckwheat did not bend like the other grain, but erected its head proudly and stiffly on the stem. “I am as valuable as TER. any other corn,” said he, “and I am much handsomer; my flowers M are as S A E look at us. KLINto beautiful as the bloom of the apple blossom, and it is a B pleasure C A L A willow-tree?” NOTold Do you know of anything prettier than we are, ISyou TO BE
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
2
3
ED. IT THIS BOOK T H G I R as FOR And the willow-tree nodded OPYhead, Chis S I K GIVEN NY WAY. O T O O B if he would say, “Indeed I do.” N E N IS AMPL D IN A O I S E S C S S U I I H D M T RO with PERspread But the buckwheat itself REPout pride, and said, “Stupid tree; he is so old that grass grows out of his body.”
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There arose a very terrible storm. All the field-flowers folded their leaves together, or bowed their little heads, while the storm passed over them, but the buckwheat stood erect in its pride. “Bend your head as we do,” said the flowers.
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“I have no occasion to do so,” replied the buckwheat.
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“Bend your head as we do,” cried the ears of corn. “The angel of the storm is coming; his wings spread from the sky above to the earth beneath. He will strike you down before you can cry for mercy.”
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“But I will not bend my head,” said the buckwheat.
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“Close your flowers and bend your leaves,” said the old willow-tree. “Do not look at the lightning when the cloud bursts; even men cannot do that. In a flash of lightning heaven opens, and we can look in; but the sight will strike even human beings blind. What then must happen to us, who only grow out of the earth, and are so inferior to them, if we venture to do so?”
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“Inferior, indeed!” said the buckwheat. “Now I intend to have a peep into heaven.” Proudly and boldly he looked up, while the lightning flashed across the sky as if the whole world were in flames.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
10 When the dreadful storm had passed, the flowers and the corn raised their
drooping heads in the pure still air, refreshed by the rain, but the buckwheat lay like a weed in the field, burnt to blackness by the lightning. The Abranches TER. S M of the old willow-tree rustled in the wind, and large waterAdrops KLINEfell from his C L B A sparrows green leaves as if the old willow were weeping.ISThen NOT the TO BE asked why T K I O . D O E he was weeping, when all around him so cheerful. IGHTseemed THIS B “See,” they said, R Y R P O O F “how the sun shines, andISthe . Do you not smell IVENin the Yblue K C clouds AYsky. Gfloat O W T O O B N N E the sweet perfume flower do you weep, old willowIN A N ISand bush? AMPL from DWherefore O I S E S C S S U I I H D tree?”T Then the P willow O the haughty pride of the buckwheat, and ERM told them EPRof R of the punishment which followed in consequence. 11 This is the story told me by the sparrows one evening when I begged them to
relate some tale to me.
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Read this sentence from the story. “Proudly and boldly he looked up, while the lightning flashed across the sky as if the whole world were in flames.” The author includes the phrase “as if the whole world were in flames” to show that the lightning A warmed the air B lit up the sky C lasted a long time D entertained people
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
Based on the story, what is the main reason the buckwheat did not listen to the flowers, the corn, or the willow-tree? A He could not hear them over the storm.
B He wanted to teach them to overcome their fears. C He thought he knew better than them.
TER. S A M KLINE C A L B NOT A K TO BE S I T I The description of the buckwheat as TED. tallTHinstead Hstanding IS BOOof bending is used to G I R Y R OP buckwheat? emphasize which quality Iof S Cthe EN FO WAY. V I K G O T O PLE B SION IS NO CED IN ANY M A arrogance A S IS DU THIS PERM REPRO B courage D He did not think the storm would come.
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C wisdom D helplessness
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11 How does the willow-tree’s view of nature differ from the buckwheat’s view of nature? A He accepts that nature has a plan. B He understands that nature can be cruel. C He respects the power of nature. D He dislikes being a victim of nature.
12 The narrator of the story helps the reader understand the buckwheat’s character mainly by A quoting his speech
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
B revealing his thoughts C telling his emotions
D describing his appearance
13 How does the author emphasize that the buckwheat’s attitude was unacceptable? A B C D
TER. S A M KLINE C A L B by explaining that the buckwheat is inferior to humans NOT A K TO BE S I T I by giving his opinion on the buckwheat’s HTED. actions IS BOO G H I T R Y R O ways . by showing that the buckwheat EN Fhis IS COP Tchanged V I K G O WAY O Y O was punished B the buckwheat N N E A L S I P by describing how by nature N AM D IN O I S E S C S S U I I H D T PERM REPRO
14 The main theme of the story is about the importance of being A generous B understanding C patient D humble
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/ Dragons Race on Water \ By Natasha Yim
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
Growing up in Hong Kong, I can still remember how I felt when I heard the thundering drumbeats. Boom-be-boom! Boom-be-boom! How my heart pounded with those drums. I cheered on my favorite boat as the rowers dipped and sliced their oars in rhythm with the beats. The oarsmen bent and pulled in ER. T S A M perfect timing. LINE
LACK B A T BE as if NO The boats glided on the surface of the waterITsoISsmoothly, they TOlooked K O . D O TEice. One Tboat they were being pulled across a sheet HIS Bwould surge ahead, then IGHof R Y R P O O F another, as the crewsOO wrestled IVEN Electrifying K IS C for Othe Glead. WAY.chills would shimmy T Y B N N E A L S I P up and down N rowers Upropelled CED IN their boats across the finish S SAMmy Espine SSasIOthe I I H D M T O R R line. The first team P at the end of the course won the race. P to grab the REflag
The Races Begin 3
Not only is dragon-boat racing a challenging sport, but the boats themselves are wonderful to look at. The long, sleek wooden boats—40 to 100 feet long— have bows shaped like dragon heads; scaly bodies painted red, green, yellow, blue, and gold; and dragon tails at the stern.
4
Often, before the start of each race, priests in golden robes perform a noisy ceremony called Waking the Dragon. They chant prayers, light incense and firecrackers, clang gongs, beat drums, and paint the “dragon” pupils red or black. Without the dots, the dragon looks asleep.
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5
The typical boat has 20 to 26 rowers who sit side by side in two rows. Some boats are so long that 80 rowers can fit inside. A drummer at the front of the boat pounds on a huge drum with sticks. A helmsman sits at the back controlling the boat, keeping it on track.
Honoring the Dragon 6
7
8
9
The Dragon Boat Festival is the oldest Chinese festival. It was first celebrated more than 2,000 years ago. The festival takes place on the fifth day of the fifth moon on the Chinese lunar calendar, usually between late May and late June. In China, this is a time when the heat brings lots of insects. In the past, it also brought diseases. So the festival began as a celebration for driving away sickness and evil spirits. People hung pictures of Chung Kuei, the guardian against evil spirits, on their doors. They wore charms around their necks for luck, and children carried sweet-smelling silk pouches containing special herbs.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 The Legend of Chu8 Yuan 88.
Rituals, such as the dragon-boat races, were also performed to honor the “dragon” and to ask it to bring about plentiful crops. In Chinese legend, dragons are not fierce and fire-breathing, but kind. They are also symbols of water, ruling the rivers and seas and controlling the clouds and rains. ER.
MAST E N I L K BLAC A T O IS N TO BE T K I O . D O Later, another legend became associated HIS B Chu Yuan was a IGHTE withFOthe Tfestival. R Y R P O poet and loyal, faithful Kadviser of Chu. One IS C to the Y. IVEN ofYthe AKingdom Gemperor O W T O O B N N E L day, Chu Yuan theOemperor not to N A with the emperor of a N IS AMPwarned D Imeet I S E S C S S U I I H D T neighboring kingdom. PERM He feared REPRitOmight be a trap.
Unfortunately, the emperor did not listen to his adviser and was captured and killed. Chu Yuan was heartbroken and threw himself into the Mi Lo River. The people of the kingdom rushed to the river to try to save him. They banged on their drums and splashed their oars in the water to scare away the fish. They threw in rice so that the fish and water dragons would leave him alone.
10 To this day, people remember Chu Yuan during the Dragon Boat Festival by
eating zhong, a pyramid-shaped sticky rice dumpling. It is usually filled with meat and salted duck’s egg, then wrapped in lotus or banana leaves and steamed. The search for Chu Yuan is reenacted by beating drums and racing dragon boats.
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Dragon Boats Race Everywhere! 11 Today you can see dragon-boat races in many countries. The San Francisco
International Dragon Boat Festival is one of the largest in the United States and attracts more than 180 teams. 12 Racing dragon boats is one of the fastest-growing water sports. At the Beijing
Olympic Games in 2008, dragon boats also rowed into history when they were used, for the first time ever, to carry the Olympic torch—a great honor indeed!
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888. Zhong
The traditional food of the festival has different fillings, depending on the region where it is made. In northern China, dumplings are filled with dates. In eastern China’s Jiaxing County, they are stuffed with pork. In the southern province of Guangdong, zhong is usually made with pork, ham, water chestnuts, and other ingredients. And in Sichuan Province, R. they are served with a sugar dressing. MASTE
KLINE C A L B But no matter what the filling, these dumplings N are OTsoA popular BE are S I TO they T K I O . D O eaten any time of year. IGHTE FOR THIS B R Y P O K IS C GIVEN NY WAY. O T O O B N E N IS AMPL D IN A O I S E S C S S U I I H D T PERM REPRO
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15 Complete the chart below by listing the zhong fillings used in different regions of China. Region of China
Zhong Filling
northern China Jiaxing County Guangdong Province
pork, ham, water chestnuts
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
16 Why does the author include paragraphs 1 and 2? A to give the history of dragon races
B to describe her personal experience with dragon races C to explain where the dragon races are held
TER. S A M KLINE C A L B NOT A K TO BE S I T I D. article.HIS BOO Read this sentence from paragraph 2 HofTEthe G I R Y OP FOR T Y. N E IS Cshimmy V I K A as the rowers “Electrifying chillsOO would up and down OT G IN ANYmyWspine B N E L S I P propelled AMtheir boats across D ON the finish line.” THIS S PERMISSI EPRODUCE R most likely refers to how the author felt The phrase “electrifying chills” D to encourage people to attend a dragon race
17
A cold B excited C afraid D shocked
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18 What is the most likely reason there is a drummer at the front of each dragon boat? A to help the rowers keep the same rhythm B to make sure people can hear the other dragon boats C to frighten away fish and water dragons D to create an exciting and joyful atmosphere
19 Which statement best expresses the author’s view of dragon-boat racing today? A Dragon-boat racing has become too competitive in recent years.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
B Dragon-boat racing is as meaningful in the United States as it is in China. C Dragon-boat racing is an entertaining event based on ancient traditions. D Dragon-boat racing is changing too quickly, and the traditions are no longer respected.
20 Based on your answer to question 19, which section of the article best R. supports your answer? MASTE
KLINE C A L B NOT A K TO BE S I T I Honoring the Dragon HTED. R THIS BOO G I R Y The Legend of Chu Yuan IS COP T GIVEN FO WAY. K O O B Everywhere! IS NO CED IN ANY PLERace Dragon A Boats M N O I S S IS DU THIS PERM REPRO
A The Races Begin B C D
21 Which statement describes how the information in paragraph 3 is organized? A Two events are compared and contrasted. B An opinion is stated and then details are given to support it. C Events are described in the order they occurred. D A problem is given and then a solution to the problem is described.
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/ Archie’s Vacation \ By Mary Joanna Porter
1
“Papa has come,” shouted Archie Conwood, as he rushed down stairs two steps at a time, with his sisters Minnie and Katy following close behind, and Mamma bringing up the rear. Papa had been to Cousin Faraton’s to see if he could engage summer board for the family.
2
Cousin Faraton lived in a pleasant village about a hundred miles distant from the city in which Mr. and Mrs. Conwood were living. They had agreed that to board with him would ensure a pleasant vacation for all.
3
Papa brought a good report. Everything had been favorably arranged.
4
“And what do you think!” he asked, in concluding his narrative. “Cousin Faraton has persuaded me to buy a bicycle for you, Archie. He thought it would be quite delightful for you and your cousin Samuel to ride about on their fine roads together. So I stopped and ordered one on my way home.”
5 6
7
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M INE a hug.” “Oh, you dear, good Papa!” exclaimed Archie, “do let me give KLyou C A L B NOT A K TO BE S I T I “Are you sure it’s healthful exercise?” asked Mrs. Conwood, rather timidly. HTED. for RtheTHhealth IS BOOof her son. G I R Y After the way of mothers, she was anxious IS COP T GIVEN FO WAY. K O O E Bbetter, ifNtaken IS NOin moderation,” PLbe N ANY Mr. Conwood positively I M “Nothing S could A D O I E S C U IS THISthus setting PROatD rest. replied, PERMhis wife’sREfears
8
The order for the bicycle was promptly filled, and Archie had some opportunity of using it before going to the country. When the day for leaving town arrived, he was naturally more interested in the safe carrying of what he called his “machine” than in anything else connected with the journey.
9
He succeeded in taking it to Cousin Faraton’s uninjured, and was much pleased to find that it met with the entire approbation of Samuel, whose opinion, as he was two years older than himself, was considered most important.
10 The two boys immediately planned a short excursion for the following day,
and obtained the consent of their parents.
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11 Breakfast the next morning was scarcely over when they made their start.
The sunshine was bright, the sky was cloudless, and they were well and strong. Everything promised the pleasantest sort of a day. Yet, alas! for all human hopes. Who can tell what sudden disappointment a moment may bring? 12 The cousins had just disappeared from view of the group assembled on the
piazza to see them start, when Samuel came back in breathless haste, exclaiming: “Archie has fallen, and I think he’s hurt.” 13 The two fathers ran at full speed to the spot where Archie was, and found him
pale and almost fainting by the roadside. They picked him up and carried him tenderly back to the house, while Samuel hurried off for the village doctor. Fortunately he found him in his carriage about setting forth on his morning round and quite ready to drive at a rapid rate to the scene of the accident.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
14 The first thing to be done was to administer a restorative, for Archie had had a
severe shock. The next thing was an examination, which resulted in the announcement of a broken leg. 15 Surely there was an end to all plans for a pleasant vacation. 16
TER. S A M NE was. The The doctor might be kind, sympathetic, and skillful, as indeed KLIhe C A L B OT Ainjured other children might unite in trying to entertain BE Ntheir S I TOplayfellow. T K I O . D O B to him their various They might bring him flowers without and IGHTEnumber, THISrelate R Y R P O O F adventures, and read himIStheir story-books—all this they did. IVEN K C most AY. Ginteresting O W T O Y O B N N E Mother might in Nher IS devotion, IN A day and night to make him AMPbeL tireless Dtrying O I S E S C S S U I I H D forgetT the pain—what PRO not have done all in her power? PERM motherREwould
17 Still there was no escape from the actual suffering, no relief from the long six
weeks’ imprisonment; while outside the birds were singing and the summer breezes playing in ever so many delightful places that might have been visited had it not been for that broken leg. 18 Archie tried to be brave and cheerful, and to conceal from every one the tears
which would sometimes force their way to his eyes. 19 He endeavored to interest himself in the amusements which were within his
reach, and he succeeded admirably. Yet the fact remained that he was having a sadly tedious vacation.
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20 The kind-hearted doctor often entertained him by telling of his experiences
while surgeon in a hospital during the war. 21 “Do you know,” he said one day in the midst of a story, “that the men who had
been bravest on the field of battle were most patient in bearing suffering? They showed what we call fortitude, and bravery and fortitude go hand in hand.” 22 This was an encouraging thought to Archie, for he resolved to show that he
could endure suffering as well as any soldier. Another thing that helped him very much was the fact, of which his mother reminded him, that by trying to be patient he was doing what he could to please the Lord Jesus. 23 “It was He,” she said, “who allowed this trial to come to you, because He saw
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
that through it you might grow to be a better and a nobler boy. And you will be growing better every day by simply trying to be patient, as I see you do.” 24 “I want to be, Mamma,” Archie answered, “and there’s another thing about
this broken leg, I think it will teach me to care more when other people are sick.” 25 “No doubt it will, Archie, and if you learn to exercise patience and sympathy, STER.
NE MA I L K C A L OT A B TO BE N S I ED. IT THIS BOOK T H G I COPYR GIVEN FOR S I K WAY. Y OT BOO N N E A L S I P AM D IN ON THIS S PERMISSI EPRODUCE R
your vacation will not be lost, after all.”
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22 As used in paragraph 9 of the story, the word approbation most closely means A approval B jealousy C inspection D donation
23 How did the doctor’s story about the soldiers in battle influence Archie? A It reminded Archie not to take his problems too seriously.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
B It made Archie want to become a doctor.
C It convinced Archie to take pride in putting up with the suffering. D It helped Archie take his mind off his problems.
24 Which sentence illustrates knowledge Archie has that the other characters in the story do not? A B C
ER. T S A M “They picked him up and carried him tenderly back to theLIhouse, K NE while C A L B Samuel hurried off for the village doctor.” NOT A K TO BE S I T I . “The next thing was an examination, resulted HTEDwhich IS BOOin the announcement G H I T R Y R of a broken leg.” IS COP T GIVEN FO WAY. K O O Y NO in trying “The other Pchildren their injured ANentertain LE B might ISunite N to I M N A D O I S E S C S S U I I H playfellow.” D T PERM REPRO
D “Archie tried to be brave and cheerful, and to conceal from every one the tears which would sometimes force their way to his eyes.”
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25 Which sentence does the author include to foreshadow that something will go wrong? A “The two boys immediately planned a short excursion for the following day, and obtained the consent of their parents.” B “Breakfast the next morning was scarcely over when they made their start.” C “The sunshine was bright, the sky was cloudless, and they were well and strong.” D “Who can tell what sudden disappointment a moment may bring?”
26 An important contrast in the story is between
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
A how young Archie seems and how mature Samuel seems
B how caring Archie’s mother is and how reckless his father is C how Archie’s vacation turned out and how he expected it to be D how nice Archie’s bike is at first and how damaged it is after the accident
.
27 How do the final two paragraphs contribute to the reader’s understanding STER A M E N of the story? LACKLI A B C D
OT A B TO BE N S I They suggest that Archie is being childish. ED. IT THIS BOOK T H G I PYRvacation They indicate that ArchieCOwill again FOR next Yyear. N S E I . V I K OO is trying Y WAof things. OTtoGmakeINthe BArchie N N E They show Pthat most A L S I SAM ISSIONlegPisROquickly DUCEDhealing. M THISimply R They that Archie’s E P E R
28 After he breaks his leg, the other children do all of the following to help Archie EXCEPT A bake him treats B bring him flowers C read stories to him D tell him about their adventures
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Directions The next two passages are paired passages. Read the first passage and answer questions 29 and 30. Read the second passage and answer questions 31 and 32. Then use information from both passages to answer question 33.
Elizabeth Jennings / Takes a Stand \ By Laura Sassi
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO 1
Clippity clop! Clang! Clang! The Third Avenue trolley rounded the New York City corner with a clatter of horseshoes on cobblestones. Elizabeth Jennings, a young African American schoolteacher, noted with dismay that the trolley did not have a “Colored People Allowed” sign hanging in the front window. On another occasion, she might have waited for the next trolley. But on this particular Sunday in 1854, Elizabeth was late for church. As soon as the whites-only trolley stopped, she boldly stepped aboard. And when the conductor ordered her off, she firmly refused. Little did she know she was about to change public transportation in New York City forever!
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An Unfair Ride 2
Born in New York City in 1830, Elizabeth Jennings grew up in a hardworking family. Her parents, Elizabeth and Thomas Jennings, ran a boardinghouse. A tailor by trade, her father also spent many hours helping the needy and fighting for the legal rights of his fellow African Americans.
3
Like her parents, Elizabeth was a devoted member of her community. Weekdays, she taught at Colored School No. 5. Saturdays, she attended school to improve her teaching skills. Sundays, she volunteered at her church, where she played the organ and directed the choir. Sometimes she even gave afternoon concerts for family and friends.
4
5
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
But even though Elizabeth and her parents were free citizens in a free state, they didn’t enjoy the same rights as white New Yorkers. Most black men, R . E for T S A M example, couldn’t vote, even though white men could. Also, the best schools CKLINE LArestaurants, B and best jobs were off-limits to blacks, as were mostTofA the BE around IS NonO her Oregular TO trips T theaters, and concert halls that ElizabethDpassed K I O . GHTE OR THIS B town. OPYRI F
K IS C GIVEN NY WAY. O T O O B N E L trolley IS treated Even the city’s IN A like second-class citizens. By Nlines AMPmany Dblacks O I S E S C S S U I I H D T RO ERMCity’s 683 the 1850s, New P York trolleys were the fastest way to REPhorse-drawn
get around town. Most companies, however, didn’t let blacks ride their regular trolley cars. Instead, people like Elizabeth had to wait for separate, overcrowded “Colored” cars. The few companies that did permit blacks on board insisted that they stand on the outside platform, where it was dangerous and dirty. 6
Some blacks protested this unfairness by refusing to ride. One popular minister even died after walking miles and miles on a hot day rather than taking the trolley. Others boldly boarded whites-only trolleys, only to be kicked off. Still, nothing changed.
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7
Nothing, that is, until the day Elizabeth climbed aboard and refused to budge. “[The conductor] took hold of me,” she wrote later that night, “and I took hold of the window sash. He pulled me until he broke my grasp . . . He then ordered the driver to . . . help . . . They then both seized hold of . . . [my] arms . . . and dragged me flat down . . . so that my feet hung one way and my head the other.” Still, Elizabeth refused to get off. Finally, a police officer grabbed her. “Without listening to anything I had to say,” she wrote, “[he] thrust me out . . . like a dog.”
8
Elizabeth was too sore to attend the protest meeting held at her church the next day. Her words were read by the church secretary. Outraged, Elizabeth’s friends and family decided she should take legal action. Elizabeth Jennings, barely 24 years old, was about to sue the Third Avenue Railroad Company!
9
10
E L P Suing for Change SAM N O I T A C U D E ! Y RALL 99.RALLY 888.
Elizabeth’s case came to trial on February 22, 1855. Her lawyer was Chester A. Arthur, the future 21st President of the United States. A supporter of black rights, Arthur was the perfect choice. In court, he pointed out a new state law, which said that trolley companies were “common carriers.” As such, they . TERwere S A M required to carry all respectable persons, no matter what theirLrace. K INE What’s C A L B more, trolley companies were responsible for the actions BEemployees. NOT A ofK their O S I T T I So if a conductor mistreated or refused E D. to aHblack S BOOperson, the trolley HTservice I G I T R Y R companies could and shouldCObe P punished. FO
K IS GIVEN NY WAY. O T O O B N E PL for the IN A In a stunning decision, they N ISto reach It didn’tStake jury aEDverdict. AMlong O I S S C S U I I H D T O ERM Railroad found the ThirdPAvenue guilty of all charges. Soon, most REPRCompany trolley and railroad companies in New York City were integrated.
11 All but forgotten today, Jennings was remembered for many years by New York
City’s African Americans as a champion for civil rights. Like Rosa Parks, who a century later fought segregated seating on Alabama buses, Elizabeth Jennings bravely challenged injustice and won.
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29 Do you feel that Elizabeth Jennings received the appreciation she deserved? Use two details from the article to support your response. Write your answer in complete sentences.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
Page 28 Š R A L LY ! E D U C AT I O N . N O PA R T O F T H I S D O C U M E N T M AY B E R E P R O D U C E D W I T H O U T W R I T T E N P E R M I S S I O N O F T H E P U B L I S H E R .
30 Read this paragraph from the article. “Nothing, that is, until the day Elizabeth climbed aboard and refused to budge. ‘[The conductor] took hold of me,’ she wrote later that night, ‘and I took hold of the window sash. He pulled me until he broke my grasp . . . He then ordered the driver to . . . help . . . They then both seized hold of . . . [my] arms . . . and dragged me flat down . . . so that my feet hung one way and my head the other.’ Still, Elizabeth refused to get off. Finally, a police officer grabbed her. ‘Without listening to anything I had to say,’ she wrote, ‘[he] thrust me out . . . like a dog.’” Describe two ways Elizabeth’s account of the event emphasizes how poorly she was treated.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
Write your answer in complete sentences.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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Seeing Through / Dorothea’s Eyes \ By Sudipta Bardhan
1
Every day after school, Dorothea Lange walked through the streets of downtown Manhattan, heading for the library where her mother worked. She moved so quietly that no one really noticed her at all. Dorothea didn’t mind going unnoticed—it gave her a chance to see the things she wanted to see.
2
Dorothea had a hard childhood because she felt different from other people. She had a physical disability. When she was seven, the disease called polio had left her with a limp. Also, when she was twelve, her father abandoned the family, leaving her mother to care and provide for them. Dorothea grew to be a solitary child. She spent many hours alone, watching other people going about their lives.
3
E L P SAM ATION C U D E ! Y L L Y L A L A A World FullR of Images R . 9 9 888.
TER. S A M KLINE C A L B Over time, Dorothea developed a special NOT A K TO BE S I gift—she saw beauty in things that T I HTED. R THIS BOO G I R others didn’t even notice. As she walked Y P EN FO WAY. IS COshe V I K G the streets of New York City, O T O IS NOShe CED IN ANY PLE Bfull of M N A O discovered a world images. I S S IS DU THIS ROmake PERMstruggling saw poor immigrants REPto lives for themselves in America. She saw the homeless walking the same streets as the wealthy. Even before she held a camera in her hands, Dorothea captured these pictures in her mind and heart.
4
One of Dorothea’s journeys led her to the door of Arnold Genthe, a portrait photographer. She didn’t have much experience with photography, but in 1914, she convinced Genthe to make her his assistant. He taught her how to take portraits and work with cameras, studio lights, and negatives. She watched everything he did and soon became an accomplished photographer.
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Photos Worth Taking 5
In 1919, camera in hand, Dorothea Lange traveled to San Francisco. She set up her own portrait studio and became successful photographing the rich and famous. Ten years later, when the Great Depression began, things changed for everyone, including Lange.
6
People all over the country lost their jobs. Businesses closed, and fewer people could afford Lange’s portraits. Her business suffered, but she saw this as a mixed blessing. She realized that she wasn’t very happy only creating portraits for pay.
7
Lange struggled to decide what to do next. She took a vacation to help her make a decision. Walking alone in the mountains, she remembered the pictures she had filed away in her heart from her childhood, of bustling markets and hard-working immigrants. Suddenly, she knew what to do.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
8
“I had to take pictures and concentrate upon people, only people,” she said. “All kinds of people, people who paid me and people who didn’t.”
9
Lange wandered the streets of San Francisco, just as she had done as a child in New York City. She watched people around her going about their lives. ER. TOne S A M day, she took a photo of people waiting in a bread line. She hung KLINE that photo C A L B A more powerful in her studio with the portraits, and realized that than NitOTwas S I TO BE T K I O . D O all of the work she had done before.GHTE IS B
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YRI R TH P O O F C N S E I . OT GIV IN ANY WAY BOOK N E Struggles and Strength L S I P D SAM SION ISsoon DUCEto M THIS of O R The state California hired Lange photograph the living conditions R E P P E R
of migrant farm workers. She traveled out of San Francisco to the camps where migrants from the Midwest came to try to find work. In one camp, she came across a woman and her family on the brink of starvation. “I saw and approached the hungry and desperate mother. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed.” 11 Lange was appalled by the way these families were living. She took
photographs of the woman and her children, and of other people in the camp. When people saw those photographs, they were shocked as well. In fact, the federal government rushed 20,000 pounds of food to the workers in that camp, mainly because Lange had brought attention to them.
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12 The pictures Dorothea Lange took during the Great Depression captured
people’s despair and their hopelessness. But the photos also captured their pride and honor. She saw in these people a determination that even the Great Depression could not take away. Using her camera, Lange kept a record of people who would have otherwise been forgotten. When President Franklin Roosevelt began a program to help those people most affected by the Depression, Dorothea Lange’s photographs played an important role in bringing aid to many migrant workers. 13 Throughout her life, Lange believed that “a camera is an instrument that
teaches people how to see.” She hung her camera around her neck almost every day. The pictures she made decades ago are still teaching us to see that beauty can always be found in the strength and determination of the human spirit.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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31 The section heading “Struggles and Strength” refers to the pictures that Lange took. Describe one example of the struggles captured and one example of the strength captured. Write your answer in complete sentences.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
32 What does Lange mean when she states that a camera “teaches people how to R. TEUse S see.” How does this meaning apply to the photographs that Lange M took? A INE two details from the article to support your response. BLACKL
NOT A K TO BE S I T I Write your answer in complete sentences. HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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Planning Page You may PLAN your writing for question 33 here if you wish, but do NOT write your final answer on this page. Your writing on this Planning Page will NOT count toward your final score. Write your final answer on Pages 35 and 36.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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33 Write an essay in which you describe how the actions of Elizabeth Jennings and Dorothea Lange influenced many people. Explain how they are both examples of how every person can make a difference. Use details from both articles to support your answer. In your response, be sure to do the following: • describe how Elizabeth Jennings’s actions influenced many people • describe how Dorothea Lange’s actions influenced many people • explain how they both show that every person can make a difference • include details from both articles to support your answer Write your answer in complete sentences.
E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
TER. S A M KLINE C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y IS COP T GIVEN FO WAY. K O O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO
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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.
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Understanding NY ELA and Common Core Learning Standards prepares students for the Common Core English Language Arts (ELA) Test. It focuses on the main differences of the redesigned test including a greater focus on informational texts, the use of authentic texts, and increased emphasis on close reading and using text-based evidence. The book's key features include: Based on the Common Core Learning Standards This book assesses the reading, writing, and language skills described in the Common Core Learning Standards (CCLS) for English Language Arts & Literacy. Full Range of Question Types This book includes multiple-choice questions, short-response questions requiring students to make a claim and support it with details, and extended-response questions requiring a complete essay. Focuses on Informational Texts The Common Core ELA Test has a greater focus on comprehending and analyzing informational texts. This book has a stronger focus on informational texts, and includes a range of informational texts.
Uses Authentic Texts The Common Core ELA Test uses only authentic texts, rather than texts specifically created for use on standardized tests.
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