Cambridge first certificate in English 1 with answers

U N IV E R S IT Y o f C A M B R ID G E

ESO L Exam inations

Cambridge English

AUTHENTIC EXAMINATION PAPERS

FROM CAMBRIDGE ESOL

O fficial preparation m aterial for Cambridge English: First,

SẢCHKỀM THEO ĐĨA CD ĐẶTTẠĨ

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Cambridge

First Certificate

in English

1

WITH ANSWERS

Official examination papers

from University o f Cambridge

ESOL Examinations

C a m b r i d g e

U N IV E R S IT Y P R E S S

CAM BRIDGE UNIVERSITY PRESS

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Cambridge University Press

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Contents

Thanks and acknowledgements

Introduction 5

Test 1 Paper 1 Reading 8

Paper 2 Writing 14

Paper 3 Use of English 16

Paper 4 Listening 22

Paper 5 Speaking 28

Test 2 Paper 1 Reading 30

Paper 2 Writing 36

Paper 3 Use of English 38

Paper 4 Listening 44

Paper 5 Speaking 50

Test 3 Paper 1 Reading 52

Paper 2 Writing 58

Paper 3 Use of English 60

Paper 4 Listening 66

Paper 5 Speaking 72

Test 4 Paper 1 Reading 74

Paper 2 Writing 80

Paper 3 Use of English 82

Paper 4 Listening 88

Paper 5 Speaking 94

Test 1 Paper 5 frames 95

Test 2 Paper 5 frames 98

Test 3 Paper 5 frames 101

Test 4 Paper 5 frames 104

Marks and results 107

Test 1 Key and transcript 116

Test 2 Key and transcript 130

Test 3 Key and transcript 144

Test 4 Key and transcript 157

Visual materials for Paper 5

4

co lo u r section

Sample answer sheets 171

Thanks and acknowledgements

The authors and publishers acknowledge the following sources o f copyright material and are grateful for the

perm issions granted. While every effort has been made, it has n o t always been possible to identify the sources

of all the m aterial used, o r to trace all copyright holders. If any omissions are brought to our notice, we will be

happy to include the appropriate acknowledgements on reprinting.

For the article on p. 8, ‘M eet the amazing W atkins family’ by M atthew Rye, Daily Telegraph, 1 July 1999,

© Telegraph G roup Limited; for the adapted text on p. 10, ‘The Kingfisher’, BBC Wildlife M agazine, April

1998, © Bristol Magazines Ltd; for the extract on p. 13, ‘My line of w ork’, Marie Claire UK, September 1998,

© European M agazines Limited; for the text on p. 30, from A Patchwork Planet by Anne Tyler, published by

C hatto and Windus. Reprinted by permission of The Random H ouse G roup Ltd; for the text on p. 35, adapted

from ‘Boys of Summer’ by M arie-Claire Dorking, C om pany Magazine, August 2001, © The National

M agazine Company; for the text on p. 52, from ‘Flat in Ringsend’ from Dublin 4 by Maeve Binchy, published

by C entury. Reprinted by permission of The Random House G roup Ltd; for the text on p. 54, ‘Ready Steady￾W ait by M ary Brown, Writing M agazine, June-July 2000. By permission of the author; for the adapted text on

p. 57, ‘A place to call hom e’ by Nicole Swengley, The Times, 8 M ay 1999, and for the text on p. 19, adapted

from ‘Play the Game’ by Keith Wheatley, The Times, 18 M ay 1997, © N I Syndication; for the text on p. 74,

from ‘Beyond the Pale’ by William Trevor, Ireland: Selected Stories, Penguin Books. 1972. Reprinted by

perm ission o f PFD on behalf of William Trevor; for the extract on p. 76, adapted from ‘In Their N atural

H ab itat’, R adio Times, 2 1 -2 7 M arch 1998, © BBC M agazines Ltd; for the text on p. 78, adapted from

‘Unusual Jobs’, Geographical Magazine, June 1997, October 1996, December 1995, © Circle Publishing; for

the adapted extract on p. 63, from William F H ornby, Melvyn Jones, A n Introduction to Population

G eography, 1993. By permission of Cambridge University Press; for the adapted text on p. 82, ‘The W orld’s

Shops’ by Brian J Knapp from The W orld’s Changing Energy Supplies (W orld Geography Series), 1994. By

perm ission of Atlantic Europe Publishing Company Ltd.

C olour section

Alamy/Bubbles Photo Library p. C3 (tr); Alamy/David R Frazier Photolibrary Inc p. C7 (br); Alamy/Don

Tonge p. C3 (c); Alamy/Eric James p. C l3 (t); Alamy/Images of Birmingham p. C 7 (t); Alamy/Imagestate

p.C 5 (t); Alamy/Kevin Foy p. C8 (b); Alamy/Sally & Richard Greenhill p. C2 (t); Alamy/Suzanne Long

p. C 7 (bl); Arctic Photo/Bryan Alexander p. C3 (b); Corbis/Adam W oolfitt p. C l 3 (b); Corbis/Eric

G aillard/Reuters p. C16 (t); Corbis/M ango Productions p. C2 (c); Corbis/Steven Vidler/Eurasia Press p. C6

(br); Corbis/Tibor Bognar p. C6 (t); Getty Images/Alfrendo p. C l 6 (b); Getty Images/Iconica p. C4 (t); G etty

Images/Photonica p. C2 (bl); Getty Images/Riser p. C12 (t); Getty Images/Samba Photo p. C7 (c); Getty

Images/Stone p. C4 (b); Getty Images/Stone p. C5 (b); Getty Images/Stone p. C12 (b); Getty Im ages/U pperCut

p. C 2 (9r); Imagestage/Rob Gage p. C3 (cl); M ark Goebel/Painet/Photographers D irect p. C9 (b); Punchstodk

p. C l (b); Punchstock/Digital Vision p. C6 (bl); Punchstock/Photodisc p. C8 (t); Punchstock/Stockbyte p. C l

(t); R obert H arding Picture Library/Roy Rainford p. C9 (t);

Black a n d white section

Punchstock/Pixtal p. 10; Yves Tzaud/Photographers D irect p. 32

Picture research by Alison Prior

Design concept by Peter Ducker

Cover design by D unne 8c Scully

The recordings which accompany this book were made at Studio A VP, London.

4

Introduction

This collection of four complete practice tests comprises papers from the University of

Cambridge ESOL Exam inations First Certificate in English (FCE) examination; students can

practise these tests on their own or with the help of a teacher.

The FCE examination is part of a suite of general English examinations produced by

Cambridge ESOL. This suite consists of five examinations that have similar characteristics but are

designed for different levels of English language ability. Within the five levels, FCE is at Level B2

in the Council of Europe’s Common European Framework o f Reference fo r Languages:

Learning, teaching, assessment. It has also been accredited by the Qualifications and Curriculum

Authority in the UK as a Level 1 ESOL certificate in the N ational Qualifications Fram ework. The

FCE exam ination is widely recognised in commerce and industry and in individual university

faculties and other educational institutions.

Examination Council of Europe

Framework Level

UK N ational

Qualifications

Fram ework Level

CPE

Certificate of Proficiency

in English

C2 3

CAE

Certificate in

Advanced English

C l 2

FCE

First Certificate in English B2 1

PET

Preliminary English Test B1 Entry 3

KET

Key English Test A2 Entry 2

Further information

The inform ation contained in this practice book is designed to be an overview of the exam . For

a full description of all of the above exam s including inform ation about task types, testing

focus and preparation, please see the relevant handbooks which can be obtained from

Cambridge ESOL at the address below or from the website at: www.CambridgeESOL.org

University of Cambridge ESOL Exam inations Telephone: +44 1223 553997

1 Hills Road Fax: +44 1223 553621

Cambridge CB1 2EƯ e-mail: [email protected]

United Kingdom

5

Introduction

The structure of FCE: an overview

The FCE examination consists of five papers.

Paper 1 Reading 1 hour

This paper consists of three parts, each containing a text and some questions. Part 3 may

c o n ta in tw o o r m o re s h o rte r re la te d te x ts . T h e re a re 3 0 q u e s tio n s in to ta l, in c lu d in g m u ltip le -

choice, gapped text and multiple-matching questions.

Paper 2 Writing 1 hour 20 minutes

This paper consists of two parts which carry equal marks. In Part 1, which is compulsory,

candidates have to write either a letter or an email of between 120 and 150 words. In Part 2,

th e re a re fo u r ta s k s fro m w h ic h c a n d id a te s choose o n e to w rite a b o u t. T h e ra n g e o f ta s k s fro m

w h ic h q u e s tio n s m a y be d ra w n in c lu d es a n a rtic le , a n essay, a letter, a re p o r t, a rev iew a n d a

short story. The last question is based on the set books. These books remain on the list for tw o

years. Look on the website, or contact the Cambridge ESOL Local Secretary in your area for

the up-to-date list of set books. The question on the set books has tw o options from which

c a n d id a te s ch o o s e o n e to w rite a b o u t. In th is p a r t, c a n d id a te s h av e to w rite b e tw e e n 1 2 0 a n d

180 words.

Paper 3 Use of English 45 minutes

This paper consists of four parts and tests control of English gram m ar and vocabulary. There

are 42 questions in total. The tasks include gap-filling exercises, word form ation and se n te n c e

transform ation.

Paper 4 Listening 40 minutes (approximately)

This paper consists of four parts. Each part contains a recorded text or texts and some

questions, including multiple-choice, sentence completion, and multiple-matching. Each text is

heard twice. There is a total of 30 questions.

Paper 5 Speaking 14 minutes

This paper consists of four parts. The standard test format is two candidates and two e x a m in e rs .

One examiner takes part in the conversation while the other examiner listens. Both examiners

give marks. Candidates will be given photographs and other visual and written material to look

at and talk about. Sometimes candidates will talk with the other candidates, sometimes with the

examiner and sometimes with both.

Grading

The overall FCE grade is based on the total score gained in all five papers. Each paper is

weighted to 40 marks. Therefore, the five FCE papers total 200 m arks, after weighting. It is

not necessary to achieve a satisfactory level in all five papers in order to pass the exam ination.

Certificates are given to candidates w ho pass the examination with grade A, B or c. A is the

highest. D and E are failing grades. All candidates are sent a Statement of Results which

includes a graphical profile of their performance in each paper and shows their relative

performance in each one.

For further inform ation on grading and results, go to the website (see page 5).

6

Test 1

Test 1

PAPER 1 READING (1 hour)

Parti

You are going to read a newspaper article about a musical family. For questions 1-8, choose the

answer (A, B, c or D) which you think fits best according to the text.

Mark your answers on the separate answer sheet.

Meet the Amazing Watkins Family

The sons are composers and prize-winning musicians, while Dad makes the instruments.

M atthew Rye reports.

W hole fam ilies of m u sician s are n o t exactly

rare. However, it is u n u su al to com e acro ss one

th a t includes n o t only w rite rs and p erform ers

of m usic, b u t also an in stru m en t m aker.

W hen South W ales sch o o lteach e rs John

and H etty W atkins n ee d ed to get th eir ten-year￾old son, PauL a cello to su it his blossom ing

talents, th ey b a u lk e d a t th e co sts involved. ‘We

h ad a look at vario u s d e a le rs an d it w as obvious

it w as going to b e v ery ex p en siv e,’ John says.

‘So I w o n d ered if I could actually m ake one. I

disco v ered th a t th e W elsh School of Instrum ent

Making w as n o t far from w h ere I lived, an d I

w ent along for evening cla sse s o n ce a w eek for

ab o u t th re e y ea rs.’

‘After p ro b ab ly th re e o r four goes w ith

line 17 violins an d violas, h e h a d a crack at his first

cello,’ Paul, now 28, ad d s, i t tu rn ed o u t really

well He m ade m e a n o th e r o n e a bit later, w hen

h e ’d got th e hang of it. A nd th a t’s th e on e I used

right UD until a few m o n th s ag o .’ Jo h n h as since

retired as a te a c h e r to w ork as a full-time

craftsm an, and m akes up to a dozen violins a

y ear - selling o n e to th e este em ed American

player Jaim e L aredo w as ‘th e icing on th e cak e’.

Both Paul an d his y o u n g er b ro th e r, Huw,

w ere en co u rag ed to p la y m usic from an early

age. T h e piano ca m e first: ‘As so o n as I w as big

enough to clim b u p a n d b an g th e keys, th a t’s

w hat I d id ,’ Paul rem em b ers. But it w asn ’t long

before th e cello b ec k o n ed . ‘My folks w ere

really q u ite keen for m e to ta k e u p th e violin,

b ec au se Dad, w h o p lay ed th e viola, u sed to

play ch a m b er m usic w ith his m ates an d th ey

need ed a n o th e r violin to m ake up a strin g trio.

I learn ed It for a b o u t six w eeks b u t d id n ’t take

to it. But I really to o k to th e c h a ra c te r w ho

played th e cello in D ad’s g roup. 1 th o u g h t he

w as a v ery cool guy w h en I w as six o r seven. So

h e said h e ’d give m e so m e lesso n s, an d th a t

really s ta rte d it all off. L ater, th e y suggested

th a t my b ro th e r play th e violin to o , b u t he

w ould h av e none of it.’

‘My p aren ts w ere b o th s u p p o rtiv e and

relaxed,’ Huw says. ‘I d o n ’t th in k I w ould have

resp o n d ed very well to being p u sh ed . And,

ra th e r th a n feeling th re a te n e d by Paul’s

su ccess, I found th a t I h ad so m eth in g to a&pire

to .’ Now 22, h e Is beginning to m ake his own

m ark as a p ian ist and co m p o ser.

M eanwhile, John W atkins’ cello h as d o n e his

eld er son p roud. W ith it, Paul won th e string

final of th e BBC Young M usician o f the Year

com petition. Then, at th e rem ark ab ly youthful

age of 20, he w as ap p o in ted principal cellist of

th e BBC Sym phony O rch estra, a p o sition he

held, still playing his fath er’s in stru m en t, until

last year. Now, how ever, h e has acq u ired a

F rancesco Rugeri cello, on loan from th e Royal

A cadem y of M usic. ‘D ad’s n o t said anything

ab o u t m e m oving on, th ough rece n tly h e had

th e ch an ce to run a bow ac ro ss th e strin g s of

each In tu rn an d had to adm it th a t m y new one

is qu ite nice! I think th e only th in g Dad’s d o esn ’t

have - and may acquire after about 50-100

y ears - is th e pow er to p ro ject right to th e back

of large co n c ert halls. It will get rich er w ith age,

like my Rugeri, w hich is alread y 304 y ea rs old.’

Soon h e will be seen on television playing th e

Rugeri as th e soloist in Elgar’s Cello C oncerto,

w hich form s th e h eart of th e seco n d program m e

In th e new series, Masterworks. ‘The well-known

perform ance h istory d o esn ’t affect th e w ay I play

th e w ork,’ h e says. ‘I’m always going to do it my

w ay.’ But Paul w on’t b e able to w atch him self on

television - th e sam e night h e is playing at the

C heltenham Festival. Nor will Huw, w h o se string

Q uartet is receiving its London p rem iere at the

W igmore Hall th e sam e evening. John and Hetty

will have to be diplom atic - an d energetic - if

th ey are to keep track of all th e ir s o n s’ m usical

activities over th e com ing weeks.

Paper ĩ Reading

1 Why did John Watkins decide to make a cello?

A He wanted to encourage his son Paul to take up the instrument.

B He was keen to do a course at the nearby school,

c He felt that dealers were giving him false information.

D He wanted to avoid having to pay for one. ,

2 What is meant b y ‘crack’ in line 17?

A attempt

6 plan

c shock

D period

3 What do we learn in the third paragraph about the instruments John has made?

A He considers ihe one used by Jaime Laredo to be the best.

B He is particularly pleased about what happened to one of them,

c His violins have turned out to be better than his cellos.

D It took him longer to learn how to make cellos than violins.

4 Paul first became interested in playing the cello because

A he admired someone his father played music with.

B he wanted to play in his father’s group,

c he was not very good at playing the piano.

D he did not want to do what his parents wanted.

5 What do we learn about Huw’s musical development?

A His parents' attitude has played little part in it.

B It was slow because he lacked determination,

c His brother’s achievements gave him an aim.

D He wanted it to be different from his brother's. ■

6 W hat does Paul say about the Rugeri cello?

A His father’s reaction to it worried him.

z The cello his father made may become as good as it.,

c It has qualities that he had not expected.

D He was not keen to tell his father that he was using it.

7 What does Paul say about his performance of Elgar’s Cello Concerto?

A It is less traditional than other performances he has given.

B Some viewers are likely to have a low opinion of it.

c He considers it to be one of his best performances.

D It is typical of his approach to everything he plays.

8 What will require some effort from John and Hetty Watkins?

A preventing their sons from taking on too much work

B being aware of everything their sons are involved in

c reminding their sons w h a t they have arranged to do ,

D advising their sons on what they should do next

9

Test 1

You are going to read an article about a bird called the kingfisher. Seven sentences have been

removed from the article. Choose from the sentences A -H the one which fits each gap (9-15).

There is one extra sentence which you do not need to use.

Mark your answers on the separate answ er sheet.

Part 2

The kingfisher

W ildlife photographer C harlie James is an expert

on the kingfisher: a be a u tifu l blue-green b ird that lives

near streams and rivers, feeding on fish.

Old trees overhang the stream, half shading

shallow water. Soft greens, mud browns and

the many different yellows of sunlight are the

main colours, as soft as the sounds o f water in

the breeze. The bird cuts like a laser through

the scene, straight and fast, a slice o f light and

m otion so striking you almost feel it. It has

gone in a split second, but a trace of the image

lingers, its power out of proportion to its size.

Charlie James fell in love with kingfishers at an

early age. I 9 I I After all, it is the stufT

of legend. Greek myth makes the kingfisher a

m oon goddess who turned into a bird. A nother

tale tells how the kingfisher flew so high that its

upper body took on the blue of the sky, while

its underparts were scorched by the sun. '

I 10 I I For despite the many different

blues that appear in their coats, kingfishers

have no blue pigment at all in their feathers.

Rather, the structure of their upper feathers

scatters light and strongly reflects blue.

I 11 I ~~l It’s small wonder that some

wildlife photographers get so enthusiastic

about them. Couple the colours with the fact

that kingfishers, though shy of direct human

approach, can be easy to watch from a hideout,

and you have a recipe for a lifelong passion.

Charlie James's first hideout was an old blanket

which he put over his head while he waited

near a kingfisher's favourite spot. I 12 I ]

But it took another four years, he reckons,

before he got his first decent picture. In the

meantime, the European kingfisher had begun

to dominate his life. He spent all the time he

could by a kingfisher-rich woodland stream.

The trouble was, school cut the time available

to be with the birds. So he missed lessons,

becoming what he describes as an ‘academic

failure’. Í 13 I I

At 16, he was hired as an advisor for a nature

magazine. Work as an assistant to the editor

followed, then a gradual move to life as a

freelance wildlife film cameraman. W hat he’d

really like to do now is make the ultimate

kingfisher film. I 14 I I 'I ’m attracted to

the simple approach. I like to photograph parts

of kingfisher wings

The sentence trails off to nothing. He's

thinking o f those colours o f the bird he's spent

more than half his life getting close to, yet

which still excites interest. I 15 I I Bui,

as Charlie knows, there's so much more to his

relationship with the kingfisher than his work

can ever show.

10

Paper 1 Reading

A This is why a kingfisher may appear to

change from bright blue to rich em erald

green w ith only a slight change in the

angle at which light falls on it.

B But his interest in this, the world's m ost

w idespread kingfisher and the only

m em ber o f its cosm opolitan family to

breed in Europe, was getting noticed.

c A sure sign o f his depth o f feeling for

this little bird is his inability to identify

ju s t what it is th at draws him to it.

D T h e m ovem ent sends a highly visible

signal to rivals, both males and females,

as it defends its stretch o f water against

neighbours.

E T he bird cam e back within m inutes and

sat only a m etre away.

F T he photographs succeed in

com m unicating som ething o f his

feelings.

G ‘N o speech, ju st beautiful im ages which

say it all,’ he says.

H T here is some scientific tru th in that

story.

11

Test 1

You are going to read a magazine article in which various people talk about their jobs. For questions

16-30. choose from the people (A-D). The people may be chosen more than once.

Mark your answers on the separate answer sheet

Which person says their job involves

large amounts of paperwork?

training high-level staff in their area of work?

taking measures to protect public safety?

accepting certain financial limitations?

encouraging visitor participation?

listening to disagreements?

doing considerable background research?

introducing problems that require solutions?

balancing supply and demand?

producing advertising literature?

organising trips designed to increase people’s awareness?

constant updating of their own materials?

corresponding with the public?

working in an area that has personal meaning for them?

working with a team of colleagues?

Part 3

12

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

Paper 1 Reading

My line of work

F o u r p e o p le ta lk a b o u t th e ir jobs.

Lisa - Exhibition Programmes

Organiser, Science Museum;

I'm responsible for putting temporary

exhibitions together. This includes planning

and designing th e exhib ition and prom oting

it. I have to read up about th e subject of the

exhibition beforehand and then talk to

im p o rta n t people in th e area so th a t I can

establish the main themes and aims of the

exhibition, and plan what objects and pictures

should be displayed. I have to make sure the

public can understand the thinking behind

the exhibition, which means planning

interactive displays, workshops and theatre. I

also have to bring in engineers and

electricians to make sure the final display is

not dangerous to visitors. Before the

exhibition opens, I help design and w rite the

brochures and Ieaflat*4hat w e'll use to tell

people about it.

Sarah - Marine Conservationist

B

Janet - Teacher of London

Taxi Drivers

I live by the coast and work from home. This

involves responding to telephone enquiries,

producing educational resources and setting

up training courses. Occasionally, I go into our

main office but generally I am on the coast. I

also work w ith schools and study centres and

run courses fo r coastal managers and those

involved tn making decisions about the fate of

the seas. I do things like take them out to sea

in a boat in an attem pt to make them think

more about the life underneath them. This

often changes their views as it's very different

from making decisions using a computer

screen. I am extremely lucky because

conservation is my hobby, so the job has many

highs for me. The downside of the job is th a t I

work for a charity, so there is a constant need

fo r more money. This means I'm always

looking for more resources and I'm not able to

achieve everything I want.

The first thing I do when I get here at

7.30 a.m. is check the accounts. Then I see

w hai new mapsand documents need to be

produced in order to learn the 'runs’ or routes

necessary to pass the London taxi-driver test.

By midday, about 50 students are in school,

working out how to make the journeys. They

w ork out the most direct route, using the

correct one-way streets, and right- and left￾hand turns. I get involved when there’s a

difference of opinion - like whether you can

do a right turn at a particular junction. When

they're close to the test, I'll give them a simple

route and no matter what way they say they’ll

go, I'll tell them they have to use another

route because the road is closed. The next

student w ill have to find a third route and

again I'll come up w ith a reason why they

can't go that way. It's just to make them think.

C hris - Map and A tlas P ublisher

My work is pretty varied. I have to make sure

that the publishing programme matches

market requirements, and ensure th a t we

keep stocks of 300 or so of the books th a t we

publish. We have very high standards o f

information and content. We receive many

letters from readers on issues such as the

representation of international boundaries

and these in particular require a careful

response. I discuss future projects and current

sales w ith co-publishers. I w ork as part o f an

enthusiastic group which makes the job that

much more enjoyable. The negative side, as

w ith many jobs, is that there is far too much

administration to deal with, which leaves less

tim e to work on the more interesting tasks

such as product development and design.

/

\

13