Understanding nys ela d sample

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UNDERSTANDING D 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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Targets the Common Core Standards

Applying the Common Core Reading & Writing Standards Written Specifically for the Common Core Standards

Understanding the Common Core Reading Standards

Understanding Complex Reading

Understanding Persuasive Text

Literature & Informational Text by Theme

Specific Common Core Reading Standards

Reading & Argumentative Writing WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 3-8

WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 3-8

WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 3-8 Reading comprehension instruction using long reading passages with a focus on the Common Core style questions. Also includes paired passages written on the same topic

• Persuasive text and argumentative writing

• Understanding How to Read Complex Passages with rigorous passages and questions

• Glossary of Persuasive Reading and Writing Terms

• Glossary of Complex Reading Terms

• Instruction to develop the understanding of persuasive text structure and purpose, and understand techniques used to persuade readers

• Complex Reading Passages of multiple themes with multiple-choice and open-ended questions

• Writing prompts for developing persuasive writing skills including editorials, letters, essays, and responses to literature, etc.

Understanding Drama

Understanding Poetry

Reading to Analyze and Interpret

Reading to Analyze and

WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 3-8

WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 3-8

• Drama selections with comprehension questions for students to answer on their own

• Poems with comprehension questions for students to answer on their own

• Glossary of drama terms

• Glossary of poetry terms

Interpret

• Drama selections are presented with background information to help readers better understand drama • Each selection is followed by comprehension questions

Entendiendo La Poesía WRITTEN SPECIFICALLY FOR THE COMMON CORE STANDARDS GRADES 2-5 New Spanish poetry written specifically for Spanish-speaking students

• Poems are presented with background information to help readers better understand the poem

Understanding Reading & Writing Series

• Each poem is followed by comprehension questions

Applying the Common Core Standards

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Understanding Reading & Writing Series Includes Teacher Guide Understanding the Understanding Common Core Reading Standards Complex Reading LEVEL Level C Level D Level E Level F Level G Level H

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UNDERSTANDING D 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 S IS DU THIS ISBN 978-1-4204-7586-9 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: Capturing Unicorns © 2007, Born to Run © 2009, Waiting for Miss Liberty © 2011, The Woman in the Moon: A Kumeyaay Legend © 2009. Photo/Illustration credits: p. 6, 8 & 9 Matt Collins; p. 14 Comstock Images/ Jupiterimages Unlimited; p. 17 Library of Congress; p. 22 & 24 Katie Flindall 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: Capturing Unicorns . . . . . . . . . . . . . . . . . . . . . . . . .6

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

A literary passage with multiple-choice questions

Passage 2: Born to Run . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 An informational passage with multiple-choice questions Passage 3: Waiting for Miss Liberty . . . . . . . . . . . . . . . . . . . .17 An informational passage with multiple-choice questions

ER.

ST Passage 4: The Woman in the Moon: A Kumeyaay Legend INE .M.A.22 L BLACK E IS N TO B T K I O . D O E Passage 5: Talking Animals .IG. H. T. . . . . . R . . T. H. I.S. B. . . . . . . . . . . .27 R Y 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 AM SION CED IN THIS S 6: PClever Passage ERMISHansRE. P. R. O. .D.U. . . . . . . . . . . . . . . . . . . . . . . .30 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 M Common Core Learning SAStandards N O I T A C U D E ! Y RALL 99.RALLY 8. 8 8 Question Formats

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 onlySassesses TER. A M E reading, writing, and language standards. ACKLIN

L OT A B TO BE N S I ED. IT THIS BOOK T H G I COPYR GIVEN FOR S I Y. K WAquestions. Y OT three Itypes BOOTest includes The Common Core ELA of MultipleN N E A L S I P N M N A D O I S E S C IS choice questions assess standards. Students are asked DU THIS PROlanguage PERMreadingREand a question about a passage and must select the correct answer.

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.

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/ Capturing Unicorns \ By Tim Myers Illustrated by Matt Collins

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Long ago, in a land where unicorns still roamed free, there lived a great sculptor. With hammer and chisel, he could turn a block of stone into something that seemed alive: a tree swaying in the wind, a breaking wave, a human being who seemed to think and feel.

2

The king had ordered the sculptor to make a statue of galloping unicorns, for which the king would pay much gold. So the sculptor had captured two unicorns, one white and one gray. He kept them in a high-walled pen next to his studio so that he could look down from his window and sculpt them just as they were.

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One day, a boy wearing a uniform knocked on the door of the studio. The sculptor hated interruptions. “What do you want?” he growled.

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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 P EN FO WAY. “Your unicorns are OK IS CO V I G T O LE Bboy said. IS NO CED IN ANY Pthe whinnying,” “I M N A O I S S U IS THISin at them looked throughRthe PERM EPROD keyhole. They’re unhappy.”

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“This is why you’ve disturbed me? It’s no business of yours!” the sculptor barked. “Go away.”

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“Wait,” said the boy. “The king sent me. He told me to ask when you’ll finish the statue.”

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The sculptor sighed. Things hadn’t been going well, and he couldn’t figure out why. Day after day, he sat staring at the unicorns in the pen—at their long manes and powerful flanks, at their shining hooves and the perfect spirals of their horns. But when he tried to sculpt them, the statue just wouldn’t come out right.

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“Tell His Majesty I’m working as fast as I can,” the sculptor said.

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The boy paused, looking down.

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“Well, be off with you,” said the sculptor.

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“All right,” said the boy. “But . . . maybe I could help. I know about capturing unicorns.”

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“You!” The sculptor laughed. “You’re just a page boy. Now go and take my reply to the king.”

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So the boy left.

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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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STER For weeks, the sculptor worked at his statue—watching the Eunicorns, A M N KLI chiseling the white marble. But he had no more success A BLAC than before.

NOT S I TO BE T K I O . D O And the unicorns grew listless—lying for S B refusing their IGHTE down THIhours, R Y R P O O F food, and at times whinnying K IS C terribly. GIVEN NY WAY. O T O O B N E PL N IS D INatAthe door, and the messenger O I E S C S SAM there S U I D AfterTH a Imonth, was another knock PERM EPRO R boy stood before the sculptor again.

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“The unicorns are still whinnying,” he said. “They’re so sad! You have to do something.”

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“Don’t bother me with that, boy,” the sculptor mumbled, exhausted from his endless hours of work and the frustration he felt. “What does the king say now?”

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“He says you must finish the statue soon, or he will punish you.” The boy trembled as he said this.

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The sculptor slumped down in the doorway till he was sitting on the floor. What will I do? he asked himself in despair.

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“Sir?” the boy said timidly. “Maybe I could help. I know about capturing unicorns.”

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The sculptor turned to the boy as if seeing him for the first time. “That’s kind of you, child,” he said. “I’m sorry I was stern with you before. But you don’t understand. I’ve already captured the unicorns.”

23

“You’ve penned them, and it hasn’t helped you,” said the boy. “Why don’t you let them go?”

24

I suppose he’s right, the sculptor thought. I can’t finish the statue anyway, and the king will soon have me thrown into a dungeon. At least I could let those innocent creatures go back to the forest.

25

26

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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 LINEkey to their “All right,” the sculptor said with a weak smile. “Here’s Kthe C A L B pen. Set them free.” NOT A K TO BE S I T I HTED. R THIS BOO G I R Y The boy’s face lit up. “IISwill!” FO only ifY.you go to the COP he said. EN“But V I K G O WA T O Y O B N N window and watch.” E A L S I P AM D IN ON THIS S PERMISSI EPRODUCE R sculptor thought. “All right,” he said, and Might as well humor him, the he plodded over to the window.

28

When the boy opened the pen, the unicorns raised their heads. Then they leapt up and rushed through the gate, neighing for joy. Galloping toward the forest, they kicked up their heels and tossed their manes, tails held high behind them.

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Watching them, the sculptor felt warm all over. An energy rose inside him that he hadn’t felt in a long time. He rushed over to his tools, grabbed his hammer and chisel, then hurried to a new block of marble.

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31 32

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

TER. Two weeks later, the sculptor unveiled the statue in the royal Mthrone S A INEtwo marble KLthe C room. The king and his courtiers gasped when theyBLsaw A A BE manes as NOT tossing unicorns—galloping, kicking up their heels, and S I TOtheir T K I O . D O B TE they neighed for joy. YRIGH R THIS IS COP T GIVEN FO WAY. K O O O unicorns!” B LE you’ve “It’s . . . it’sAM asPif frozen IS Nreal N ANY the king exclaimed. I N D O I S E S C U THIS ERMIS PROD P E R And the next day, the boy began his apprenticeship, there in the great

sculptor’s studio, because he’d shown such wisdom in capturing unicorns.

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1

Which of these is a main theme in the story? A working well under pressure B allowing wild animals to be free C accepting help from others D standing up for yourself

2

What is the main reason the young boy tells the sculptor he must go to the window and watch the unicorns being set free? A He wants the sculptor to see the unicorns being natural.

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

B He is trying to make sure the sculptor does not get in trouble. C He thinks the sculptor will try to stop the unicorns from escaping. D He is worried the unicorns could harm the sculptor.

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Which of these is emphasized by the art on page 6?

TER. S A M KLINE C A L B how much the young boy wants to help NOT A IS TO BE T K I O . D O how stressed the sculptor feels IGHTE FOR THIS B R Y P O S C a lot how the young boy VEN unicorns K Iknows GIabout O WAY. T O Y O B N N E A L S I P AM D IN ON THIS S PERMISSI EPRODUCE R

A how talented the sculptor is B C D

4

Which of the young boy’s dialogue best shows that he is worried about the unicorns? A “The king sent me. He told me to ask when you’ll finish the statue.” B “But . . . maybe I could help. I know about capturing unicorns.” C “They’re so sad! You have to do something.” D “You’ve penned them, and it hasn’t helped you,” said the boy.

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5

Which statement best explains how you can tell that the story has a third person point of view? A It is set in a land that could not really exist. B It is told by a person who is not part of the story. C The events are described in the order they occur. D The main character describes his own experiences.

6

The description of the sculptor in paragraph 29 emphasizes his feelings of

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

A excitement B shock C pride D calm

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/ Born to Run \ By Bradford H. Robie

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There’s nothing like racing across the playground or sprinting along the beach with the wind at your back. That sudden burst of speed can make you feel like a cheetah chasing its prey or a horse galloping on an open plain. It’s as if you were born to run.

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Running also strengthens bones and muscles, controls weight, and keeps your heart healthy.

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Most of all, it can be a lot of fun!

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Athletes have competed in running races for many centuries. The marathon in the Olympic Games traces its roots back 2,500 years to the Battle of Marathon. The legend is that a soldier ran the entire distance from the city of Marathon to Athens (about 25 miles) to announce that the Athenian army had defeated the Persians. STER.

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E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 . Getting Started 888

NE MA I L K C A L OT A B TO BE N S I . IT OOKyou have a good B S I GHTED make H I If you’re inspired to becomePaYR runner, sure that FOR T Y. CO special N S E I V I K pair of running shoes. These sneakers WAdesigned to cushion OT G IN ANYare BOO N E L S I P M running. Many Aof D ON stores specialize the impact in this type of shoe. THIS S PERMISSI EPRODUCE R

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Be sure to run in a safe place with an adult partner. City parks are good. So are country roads. Many towns have athletic fields with grassy areas and running tracks. Any of these spots could work.

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One advantage to running on a track is that it’s easy to know how far you’ve run. A lap on the track at most high schools is 400 meters long. That’s almost a quarter of a mile, so four laps equal about one mile.

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If you decide to run on a road or sidewalk or in a park, make sure a parent helps you plan a route. Always run facing oncoming traffic, and never run at night unless you’re in a very well-lit area.

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Soft surfaces like dirt trails and grass are easiest on your feet and joints. Most sidewalks and road surfaces are quite hard, so you’ll want to limit the amount of running you do on them. The first question new runners ask is, “How far?” A better way to gauge your workout is, “How long?” Running for a specific number of minutes reduces the pressure to run a certain distance each time. A good way to start is to alternate running and walking for 30 minutes.

Pace Yourself for Success 11

Here’s a good plan for starters. Run three times each week, taking at least one day off between workouts. The first week, run one minute, then walk for six minutes. Run a minute, then walk six. Keep running a minute and walking six until you’ve been at it for about 30 minutes total.

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Each week, increase the length of the running portions (two minutes the second week, three minutes the third), and reduce the walking time. Before long, you’ll be running for the entire 30 minutes.

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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 E your It’s important to increase the running gradually. This will KLINallow C A L B A achesBEand pains. body to adapt to the work, and it will help you NOTavoid S I TO T Kdiscouraged. I O . D O E B Beginning runners who go too far too soon often get T YRIGH N FOR THIS P O C S . minutes. This will K I by walking GIVE briskly O WAYfive T O Warm up for each workout for Y O B N N E A L S I P IN ON directing S SAMyourERheart slowly UCEDmore blood and oxygen to your ISSIrate, D M THIraise O R P REP muscles. Swing your arms and walk faster than you normally would, but not so fast that you start to jog. Then you can ease into your run.

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You should be able to talk comfortably while running, without gasping for breath. If you find yourself huffing and puffing, slow down (or walk) until you feel comfortable.

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Be sure to drink plenty of fluids throughout the day. Cool water is best for replacing the water you’ll lose from sweating. Athletes who train for several hours can benefit from a sports drink, but you’ll be better served by drinking plain water. If you do want a sports drink, it’s best to mix it with an equal amount of water.

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After your run, cool down with another five-minute walk and some light stretching. Stretching keeps your muscles from tightening up. It also reduces soreness and can help prevent injuries.

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Running is a great activity to do with a friend. In middle school, you might have the opportunity to join a running club or team.

19

Now you know the basics of running. So lace up your running shoes and join the millions of people who are proud to call themselves runners.

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Chances are, you were born to run, too!

The Next Step: Racing Many kids enjoy competing in road races. The distances range from a mile to a marathon, and you can probably find a race in your area.

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THIS

When you’re able to run for 30 minutes, you’ll be ready for a 5-kilometer race (about 3 miles).

Be sure to pace TER. S A M yourselfCin KLIaNErace. A L B TA too E can NOStarting S I TO Bfast T K I O . D O IS Bup too much IGHTE FOR THuse R Y P O energy K IS C AY. in a hurry, GIVEN NY W O T O O B N E A making it difficult to L SAMP MISSION IS ODUCED IN finish, so begin at the P ER REPR same rate of speed you used in training. You’ll probably feel nervous before the race, but don’t let that stop you. Even professional runners get butterflies.

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What is the main purpose of this article? A to encourage people to take up running B to explain why running is enjoyable C to tell a story about running D to teach readers the history of running

8

Complete the web below by adding two more benefits.

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888. makes bones stronger

makes muscles stronger

Health Benefits of Running

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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 Y good places to O following According to Pthe LE Barticle,IOall ISofNthe N ANare I M N A D S E S C IS run EXCEPT DU THIS PERM REPRO A parks B city streets C athletic fields D country roads

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10 Read this paragraph from the article. “If you’re inspired to become a runner, make sure that you have a good pair of running shoes. These special sneakers are designed to cushion the impact of running. Many stores specialize in this type of shoe.” Which of the following describes how this paragraph is organized? A It gives a solution to a problem. B It compares two things. C It asks and then answers a question.

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D It describes events in order.

11 Read this sentence from paragraph 13 of the article.

“Beginning runners who go too far too soon often get discouraged.” The word discouraged means that people

TER. S A M KLINE C A L B injure themselves NOT A K TO BE S I T I feel afraid HTED. R THIS BOO G I R Y P want to give up OK IS CO EN FO WAY. V I G T O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

A become drowsy B C D

12 How is the information in the section “The Next Step: Racing” related to the rest of the article? A It lists a plan for new runners to follow when first starting out. B It gives information that runners can use once they gain experience. C It summarizes the information about running from the article. D It describes the author’s personal experience with running.

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/ Waiting for Miss Liberty \ By Barbara D. Krasner

1

From the shores of Rouen, France, sculptor Frédéric Auguste Bartholdi watched the Isère steam toward the Atlantic Ocean. His 214 wooden crates were on board. “Goodbye, my daughter, Liberty,” he said. “At last you are going home.”

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

2

The waiting was over.

3

The idea for a statue as TER. S A a gift of freedom and M KLINE C A L friendship from France B NOT A K TO BE S I to the United States had T I HTED. R THIS BOO G I R excited Bartholdi for Y IS COP T GIVEN FO WAY. K O 20 years. But itLEhad O P B SION IS NO CED IN ANY M A S frustrated him, too. MIS THIS ODU

P ER

REPR

Designing the Statue 4

Things went fine at first. Bartholdi scouted America for the perfect location. He spotted a small island in New York Harbor. “In this very place shall be raised the Statue of Liberty, as grand as the idea which it embodies, casting radiance upon the two worlds,” he wrote. Then he got down to work. He designed the statue to look like his mother. He selected iron and steel for the frame and copper for the statue itself. He worked with the best engineers in the world to make her tall and proud.

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Running into Problems 5

But soon a lack of money delayed his progress. He had wanted to complete his statue in time to help America celebrate its 100th birthday—the year of liberty—at the 1876 Philadelphia Exposition. But all he had to show was the statue’s right arm and torch. Later, these stood in front of New York City’s Madison Square Park.

6

The world kept waiting for Miss Liberty. There still wasn’t enough money to build her or her pedestal.

7

France promised to pay for the statue. By 1880, France had collected the money from more than 100 towns and cities and 100,000 people.

8

America promised to pay for the pedestal. It was a huge job. Some might even have said it was colossal.

9

Famous American artists, writers, and actors donated their works to an auction in 1883. More than 1,000 people received invitations to the auction and an exhibition. On the opening night, the head of the TER. S A M Pedestal Fund said, “Here is everything charming, . . .ACelegant, KLINE . . . L B E beautiful, and . . . splendid. It is such an exhibition NOT A asKour S I TO Bcountry T I O . D O never saw before.” IGHTE THIS B

10

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

COPYR GIVEN FOR S I Y. K O its auction Y WAenough OT failedINtoANraise BOand But the exhibition money. N E L S I P M N A D O I S E S C U IS THIS PERM EPROD R The Statue Comes Together

11

Hungarian immigrant Joseph Pulitzer, owner of New York World newspaper, came up with an idea. He printed daily pleas for money. He wrote, “The statue, the noble gift of our young sister republic is ready for us . . . and we stand haggling and begging and scheming in order to raise enough money.”

12

Pulitzer’s plan worked.

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13

Money poured in from all over America from rich and poor and children, too. Jane M. gave 50 cents and wrote, “I am only a sewing girl, but I am in full sympathy with your effort.” Another child scribbled, “I am a wee bit of a girl, yet I am ever so glad that I was born in a time to contribute. . . . When I am old enough, I will ask my Mama and Papa to take me to see the statue, and I will always be proud that I began my career by sending you one dollar to aid in so good a cause.” The World printed the name of each person who contributed, down to the last penny.

14

Finally, Miss Liberty could have her pedestal.

15

Now it was time to build.

16

Once in New York, Bartholdi’s crates traveled by barge to Bedloe’s Island. There, small railway cars carried them on makeshift tracks to the foot of the pedestal. It took workers several months to put Miss Liberty together, using a system of numbers, letters, and symbols that had been marked on each piece back in France.

17

18

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

R.

E STsteel At last, two sets of steel beams locked into the Statue of Liberty’s A M E N I CKLits LAof skeleton as it rose to its full height of 151 feet onAtop 89-foot B T E O B N O S I pedestal. Nothing could shake the statue D. ITloose. OOK T

IGHTE FOR THIS B R Y P O ENthousands . people huddled And on October 28,O1886, K IS C hundreds GIVof WAYof T O Y O B N N E A L S I P IN under their and SSinIONthe rain UCEDwind for the statue’s dedication. IS SAMumbrellas I H D M T O R R E And there was PPresident Grover REP Cleveland accepting this gift from France—Liberty Enlightening the World—on behalf of the United States.

19

She was well worth the wait.

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13 Read these two sentences from paragraph 6: “The world kept waiting for Miss Liberty. There still wasn’t enough money to build her or her pedestal.” Which of the following describes the relationship between these two sentences? A The sentences compare two ideas. B The sentences describe two events in order. C The first sentence describes a solution to the second. D The second sentence gives the cause of the first.

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

14 Which sentence best shows that the people of France supported the idea of giving the statue as a gift? A “The idea for a statue as a gift of freedom and friendship from France to the United States had excited Bartholdi for 20 years.” B “By 1880, France had collected the money from more than TER. S A M 100 towns and cities and 100,000 people.” LINE C D

LACK B A T “Money poured in from all over America E and O rich and IS Nfrom TO Bpoor T K I O . D O children, too.” IGHTE FOR THIS B R Y P O “It took workers O several together, using a VENput Miss K IS C months AY. GIto WLiberty T O Y O B N N E A L S I P system of numbers,IOletters, AM ED IN that had been marked on Csymbols SS N ROand U I HIS Spiece D M Teach R E Pback in France.” REP

15 What is the main reason the building of the Statue of Liberty was delayed? A Bartholdi spent too long trying to make the statue perfect. B People could not agree on the best place to put it. C America had problems finding the money to build the pedestal. D It was difficult to transport it from France to America.

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16 Read this quote from Joseph Pulitzer: “The statue, the noble gift of our young sister republic is ready for us . . . and we stand haggling and begging and scheming in order to raise enough money.” The words haggling and begging and scheming suggest that Pulitzer feels A positive that people will want to help the cause B proud that the statue was created for America C annoyed by how difficult raising the money is

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

D excited about being able to help raise the money

17 Which event from the article does the photograph show? A the Philadelphia Exposition in 1876

B the art auction held by the Pedestal Fund

TER. S A M KLINE D the statue’s dedication in October 1886 C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y FO COPlettersGIin How do the quotes from ENparagraph IS the V Y. add to the K A13 O W T O Y O B N N E information donating money? IS peopleCof PL about IN A Nthe AMgiven D America O I S E S S S U I I H D T RO poor people gave money. ERMboth rich A They show P that REPand C the statue being built on Bedloe’s Island

18

B They explain how people felt about giving money. C They show that children donated most of the money. D They explain why Joseph Pulitzer wanted to help raise the money.

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/ The Woman in the Moon: \ A Kumeyaay Legend Retold by Jeannie Beck Art by Katie Flindall

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

A long time ago, a group of native people in Southern California traveled between the mountains and the ocean in search of food and comfort. They gathered acorns, mushrooms, and berries from the mountains. They fished and found sea plants and crabs by the sea. What they found to eat depended on each season’s gifts. These people called themselves Kumeyaay.

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2

Since travel was a natural part of their lives, they had no need for building permanent homes. They often lived in dwellings made of branches and clay, which could easily be taken apart when no longer in use.

3

The Kumeyaay knew that all people and animals belonged to the Earth equally, like brothers and sisters. So they shared the Earth’s gifts and never took more than they needed.

4

Still, one year was very hard. There wasn’t enough food, no matter how far they traveled. The people felt weaker every day, and their babies grew restless. Soon the people became too tired to travel at all.

5

One spring night, a young Kumeyaay mother took her baby into an open field to sleep under the moonlight. But because she was hungry and concerned for her people, she had trouble sleeping.

6

The young mother looked into the fullness of the moon and asked for help for all the people.

7

8

9

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

She turned to soothe her baby and prepare herself for sleep. Just then, TER. S A M she saw a great ball of light falling across the sky. It appeared KLINE to land C A L B A close to where she was. IS NOT TO BE

ED. IT THIS BOOK T H G I She stood and found the glow FORmeadow. COPYRin aGnearby N S E I . The trees, grass, V Y I K A O W T O rocks, and stream bathed IS NO inCEaDpleasing PLE BwereSIall N ANY light, so she was not I M N A O S IS step into afraid itsIScircle. PRODU THto PERM RE

Then she saw the most beautiful woman she had ever seen. The beautiful woman smiled as if she had always known the young mother. “I came when I heard you calling,” she said.

10

“Where have you come from?” the young mother asked.

11

The beautiful woman pointed up at the full moon. “I came down because you asked for help unselfishly, for all the people.” Then the moon woman opened her hand, revealing a pile of bright kernels, gleaming like stardust in the night. The young mother had never seen anything like this.

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12

“Plant these when the moon is full, and remember me,” said the moon woman. And she explained how to harvest and prepare the kernels, which she called corn. The young mother took the kernels in her hand.

13

Just then, the baby started to cry. “Bring her to me,” said the moon woman. She smiled. “I have a gift for her also.”

14

15

16

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

When the young mother returned, the moon woman took the baby in her arms and began to sing. The young mother had heard many types of songs in her . life, but never one so sweet and enchanting. ASTER

NE M I L K C A The baby soon fell into a peaceful sleep. “That T A BaLlullaby,” Owas BE the moon N O S I T T K I woman said. She handed the babyHTback mother’s ED. to the IS BOO arms. “Sing it to G H I T R Y R OP all the children who have sleeping, me.” With EN FO andWremember IS Ctrouble . V Y I K A G O T O NO disappeared those last words, ISwoman PLE Bthe moon N ANY in a ball of light. I M N A D O I S E S C DU THIS RMIS PEyoung REPRO mother taught the people how to That spring, the Kumeyaay grow corn, and she also taught them to sing lullabies. After this, the people didn’t have to travel so often or far in search of food, and they sang their restless children into peaceful sleep. And some children, even today, have seen the face of that woman smiling down from the moon. The elders say that as long as there are generous hearts, the moon woman will be remembered.

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19 In paragraph 3, the author describes how the people “shared the Earth’s gifts.” The author uses the phrase “the Earth’s gifts” to help the reader understand A how the Earth is only giving at some times of the year B how the Earth cannot provide for so many people C how the people do not understand how to work for what they need D how the people are thankful for what the Earth gives them

20 Which detail from the story tells something that could not really happen?

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

A A group of native people travel from place to place.

B A woman from the moon visits a mother and helps her. C A woman sings a lullaby that puts a child to sleep. D A group of people learn to grow corn.

21

TER. S A M INE Kumeyaay Based on the ending of the story, you can conclude that KLthe C A L B people mainly felt NOT A K TO BE S I T I HTED. was IS BOO G H I T R A curious about who the moon woman Y R IS COP T GIVEN FO WAY. K O O B grateful for E B moon Nwoman’s IS NO help PLthe N ANY I M A D O I S E S C S U THIS that Phard C fearful ERMItimes EPRODreturn again Rwould D sad about no longer traveling to new places

22 Which event from the story does the art on page 24 show? A the moon woman appearing in the meadow B the moon woman explaining where she came from C the moon woman giving the corn kernels D the moon woman singing to the baby

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23 Which piece of dialogue supports the story’s main theme? A “I came when I heard you calling,” she said. B “I came down because you asked for help unselfishly, for all the people.” C “Plant these when the moon is full, and remember me,” said the moon woman. D “Sing it to all the children who have trouble sleeping, and remember me.”

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

24 Based on the story, which word best describes the Kumeyaay people? A brave B selfish

C impatient

D thoughtful

25

TER. S A M E is In paragraph 5, the woman probably cannot sleep because KLINshe C A L B worried about NOT A K TO BE S I T I HTED. R THIS BOO G I R A becoming lost Y IS COP T GIVEN FO WAY. K O O B home IS NO B not havingPLaE real N ANY I M N A D O I S E S C U IS THIS enough C finding PERMfood REPROD D how bright the moon is

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Directions The next two passages are paired passages. Read the first passage and answer questions 26 and 27. Read the second passage and answer questions 28 and 29. Then use information from both passages to answer question 30.

/ Talking Animals \ 1

2

3

4

Have you ever had the feeling that your pet was trying to talk to you? If it was a dog, it might have barked or growled. Your cat might purr to tell you it’s happy. Horses whinny to let you know how they feel. There are some animals, however, that really can “talk.”

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

People who study animals tried to teach a chimpanzee to speak. The chimpanzee, who was named Vicki, was very smart and she seemed to want to talk. However, she couldn’t learn to form words because her throat was just not the same as a human throat.

.

STER The trainers decided to try a different method with another chimp A M E N I ACKLspeak named Washoe. Have you ever seen people who are with Ldeaf B A T E O B O shapes IS Nhands Oand their hands? They use the movement of K Tmake ITthe O . D E B T IS trainers decided to with the hands to represent Pletters YRIGH andNwords. R THThe O O F C S E use American Sign toOteach OK I WAY. to communicate. T GIV Washoe BOLanguage NY how

IS N PLE M N A D IN A O I S E S C S S U I I H D M RO Then they formed Washoe’s hands First,TWashoe was an PERshown REPobject.

into the sign for the object. For example, they might show the chimp an orange. Then they would form her hands into the sign for an orange. She quickly learned to make the same signs that her teacher made. After three years, Washoe had learned how to make 132 signs. Best of all, she learned how to combine these signs. She could put together three or more words to make simple sentences and commands. Washoe could sign “you tickle me” and “hug me good.” 5

In 1971, after five years of signing, Washoe met other chimps for the first time. She called them “black bugs.” When Washoe saw a swan, her hands signed “water bird.”

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6

At the end of ten years, Washoe was able to teach the signs to another chimp. The young chimp learned signing very well. One day, the young chimp had a temper tantrum. He kept jumping up and down. He made the sign for hug over and over again. When Washoe finally hugged him, the young chimp calmed down.

7

At about the same time that Washoe was learning to use sign language, other people began working with a gorilla. In 1972, Koko the gorilla was a year old when they began teaching her sign language. Koko turned out to be even smarter than Washoe. By the end of seven years, Koko had learned over 400 signs. The gorilla could show when a thing had happened in the past or when it might happen in the future. She could argue and could even make jokes. One day, Koko was caught chewing a red crayon. She signed “lip.” Then, she pretended to move the crayon around her lips as if it were a lipstick.

8

9

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

Koko even learned to form the sounds of words. She used a machine that could make human sounds. She learned to touch the keys that made the sounds of words. Soon Koko was using the machine toSTER. E MA “speak” real words. ACKLIN

L OT A B TO BE N S I Koko also learned new words by listening ED. IT to Tpeople’s BOOKconversations. She T S H I G H I YR humans R worked with her couldn’t became so good at this, Sthat FOwho COPthe N E I V I K G WAY.to spell out words so OO sheISwas Y OTnearby. Bwhen say certain words They had N N E A L P SAM ED INwere saying. When Koko could UCthey ISSION PRwhat that Tshe understand HIS wouldn’t D M O R E P E hear them, nobody would Rsay “candy,” or she would get excited. They would spell out “c-a-n-d-y” to fool her.

10

Koko also taught another gorilla how to sign. She taught him the name Koko and the word “tickle.”

11

Once Koko was asked, “Are you an animal or a person?” Koko answered, “Fine animal gorilla.” Koko may not have been a person, but she was one mighty smart gorilla.

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26 What evidence does the author include to support the idea that Koko was even smarter than Washoe? 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.

27 Why was sign language used to teach animals to communicate? TER. S A M NE Use two details from the article to support your response. LACKLI

OT A B TO BE N S I Write your answer in complete sentences. 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

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/ Clever Hans \ 1

Have you ever heard the term “horse sense”? We say that a person who is clever shows a lot of horse sense.

2

Back in the early 1900s, a German horse named Hans showed people that he was very bright. The nine-year-old horse had been taught for five years. His master was a retired teacher named William von Osten.

3

Hans could tap out answers to arithmetic problems written on a blackboard. Hans used his right forefoot for units and his left for tens. If his master wrote “8 + 9 = ?,” Hans would tap his left foot once to show ten. Then he would tap his right foot seven times for seven ones.

4

5

6

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

Every day at noon, he would show what he could do. People came from all over and marveled at the show. At first, people didn’t believe that a horse could do such difficult things.

ER. Tof Hans could also spell words. He tapped his foot a certain number S A M NE “B,” three KLIfor C times for each letter of a word. One tap for “A,” two taps A L B BE NOT A KbyTOshaking for “C,” and so on. Hans could also answer questions his S I T I O . D O E B T head to indicate either yes orYno. HISget something, Hans RIGHWhen Ftold R Tto P O O C N S E . IV would pick up theBOobject OK I with his Y WAY OT Gteeth. IS N PLE N AN I M N A D O I S E S C IS HIS York Times ODU of Hans. Their headline said, The TNew PERM carriedRthe EPRstory

BERLIN’S WONDERFUL HORSE: HE CAN DO ALMOST EVERYTHING BUT TALK. The New York Times went on to say that Hans could add, subtract, multiply, and divide. He could also do more than just repeat what he had been taught. He could solve new problems. He could do this even when his master was not present. This clever horse also formed little sentences, and he could remember them the next day. He could tell the difference between twelve colors and name each color. Hans was so smart that he could tell when a wrong note of music was played. More than that, he could tell how to fix music. The New York Times quoted Professor von Osten saying that Hans was as smart as any fourth grade child.

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7

8

9

10

Nobody could explain how Clever Hans, as he was known, could do these things. Professor von Osten let scientists test Clever Hans for a month. They also checked on the way Hans had been taught. His teacher kept asking him the same question until Hans answered him correctly. Hans was never punished for a wrong answer. Whenever he gave the right answer, he was given a lump of sugar, a piece of bread, or a carrot.

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

While all this was going on, Hans became famous. Songs were written about him, postcards had pictures of his clever head, and Clever Hans toys were made. The term “horse sense” took on a new meaning. The scientists found out that Hans was no phony pony. They reported: TER. S A M “The horse Hans does not think. But, at the same time,ACthere KLINEis no L B OT AHans could trickery on the part of the trainer.” They said Nthat S I TO BE only T K I O . D O TE whoTHknew answer questions if he could see IS B the answer. It turned IaGHperson R Y R P O O F out that these people, hisGIteacher, IS C VEN gave Y. little hints. These Kincluding AHans O W T O Y O B N N E people actually IN A giving Hans these clues. It N ISthat they AMPLdidn’tISSrealize Dwere O I S E C S U I H D T that the Pquestioners ERM seems EPRO move their heads very slightly when Rwould Hans got the right answer. When Hans was asked to add the numbers 8 and 9 by pawing the ground, people watched his feet. Once Hans tapped the ground to show seventeen, people would raise their heads slightly. Hans would see their slight movement and stop tapping. To prove this point, the scientists purposely lifted their heads early. Sure enough, Hans stopped tapping. If they didn’t move their heads at all, Hans would go on tapping forever.

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11

When Professor von Osten was told the results of the study, he refused to believe it. He thought whenever Hans gave a wrong answer, it was because the horse was tired. He never lost faith in Hans. He took Hans away and never let anyone see him again.

12

Perhaps Hans couldn’t add or spell, but he really was clever. All by himself, he learned how to watch people for signals. He may not have worked out how to do math the way people do, but he did work out a way to find the right answer.

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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28 How does the author emphasize that people were impressed by Clever Hans? 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.

29 Explain whether or not you believe that Professor von Osten was trying to trick people. Use two details from the article to support TER. S A M NE your response. LACKLI

OT A B TO BE N S I Write your answer in complete sentences. 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

Page 33 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 .


Planning Page You may PLAN your writing for question 30 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

Page 34 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 Both articles describe animals that are able to communicate. How are the abilities of Washoe, Koko, and Hans similar and different? Explain which of the animals seems the most intelligent. Use details from both articles to support your answer. In your response, be sure to do the following: • describe the abilities of Washoe and Koko • describe the abilities of Hans • explain whether Washoe, Koko, or Hans seems the most intelligent • 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

Page 35 © 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 .


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 36 © 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 .


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 37 © 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 .


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 38 © 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 .


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 39 © 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 .


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 40 © 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 .


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


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.

E L P SAM ATION C U D E ! Y L L Y L L RA A R . 9 9 888.

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.

TER. S A M KLINE C A L B Uses Authentic Texts NOT A K TO BE S I T I The Common Core ELA Test uses only authenticHtexts, BOOspecifically created TED. rather than IStexts G H I T R Y R for use on standardized tests. IS COP EN FO WAY. V I K G O T O PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

www.rallyeducation.com 22 Railroad Avenue, Glen Head, NY 11545


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