Understanding nyc ela c sample

UNDERSTANDING C NY ELA and Common Core Learning Standards

E L P SAM ATION C U D E !

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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Targets the Common Core Learning Standards

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

Understanding NY ELA

Understanding Complex Reading

Understanding Persuasive Text

Specific Common Core Reading Standards

Literature & Informational Text

by Theme

Reading & Argumentative Writing

WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING STANDARDS GRADES 3-8

WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING 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

• 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

WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING STANDARDS GRADES 3-8 • Persuasive text and argumentative writing

• 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 LEARNING STANDARDS GRADES 3-8

WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING 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

• Poems are presented with background information to help readers better understand the poem • Each poem is followed by comprehension questions

Entendiendo La Poesía

New Spanish poetry written specifically for Spanish-speaking students

Understanding Reading & Writing Series

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Level C Level D Level E Level F Level G Level H

3 4 5 6 7 8

Understanding Complex Reading

Understanding Persuasive Text

Understanding Drama

Understanding Poetry/English

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Applying the Common Core Learning Standards

Understanding Reading & Writing Series Includes Teacher Guide Understanding NY ELA

Grades 2-5

WRITTEN SPECIFICALLY FOR THE COMMON CORE LEARNING STANDARDS GRADES 2-5

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UNDERSTANDING C 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 ISBN 978-1-4204-7582-1 PLE B SION IS NO CED IN ANY M A S IS DU rights reserved. No part of the material Copyright All THIS©2013 RALLY! PERM EDUCATION. REPRO 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: Big Bugs © 2009, Building a School © 2009, Tap, Tap, Tap! Pounding Plants onto Paper © 2005, No One Ever Listens to Me! © 2006, It Rained Cement © 2010, Malia’s Chance to Dance © 2010.

Photo/Illustration credits: p. 6 & 7 Jennifer Mattox; p. 10, 11 & 12 Cecil Dzwowa; p. 15 & 16 Jean Kuhn; p. 23 Megan Clements; p. 25 George Tuggle; p. 28 & 29 Wayne Alfano 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 Six individual literary and informational passages Passage 1: Big Bugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

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An informational passage with multiple-choice questions Passage 2: Building a School . . . . . . . . . . . . . . . . . . . . . . . . . .10 An informational passage with multiple-choice questions Passage 3: Tap, Tap, Tap! Pounding Plants onto Paper . . . . .15 An informational passage with multiple-choice questions

ER.

ST Passage 4: No One Ever Listens to Me! . . . . . . . . . . . . .IN. E. .M.A.19 L BLACK E IS N TO B T K I O .

D O Passage 5: It Rained Cement IGH. T. E. . . .FO. R. . T.H. I.S. B. . . . . . . . . . . .23 R Y P O K IS C with AY. GIVEN NY Wquestions O An informational passage short-response T O O B N E A L S I P IN AM SION UCED . . . . . . . . . . . . . . . . . . . .27 D THIS S 6: PMalia’s O R Passage to Dance ERMIS Chance REP A literary passage with multiple-choice questions OT A

A literary 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 !

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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 and must also use textual evidence to support the ideas.

Page 4 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 .

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 !

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

Page 5 © 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 .

/ Big Bugs \ Story and Photos by Jennifer Mattox

1

Imagine walking through the park on a sunny day. You look up to see a spider twice the size of your head. It looks so real that it seems to be creeping down its web toward you.

2

Before you scream and run away, look closer. That 50-pound spider is a wood sculpture. It was made by artist David Rogers and is one of 14 bugs he has on display in parks and gardens around the United States.

3

E L P SAM ATION C U D E !

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TER. S A M KLINE C A L B NOT A K TO BE S I T I BOO monster ants.

HTEItD.includes ISthree David’s collection is called Big RBugs.

G H I T Y R P FO as long ENalmost IS COlong.

Each one stretchesO25 feet That’s V I K G O WAY. as a school bus!

T Y O B N N E A L S I P IN The collection includes UCEDmantis that weighs 1,200 pounds.

IS SAM also ISSION aPRpraying H D M T O R E P It would How heavy is that?

RE be like picking up six grown men at once.

Some of David’s other bugs are a grasshopper, an assassin bug, and a ladybug—all big enough to sit on.

4

Real bugs are tiny. So why did David build his so large?

5

David hopes his jumbo sculptures will help us to stop and notice bugs.

We may not see them working. Sometimes we may not even want them around. But David points out that bugs are an important part of nature.

They make the soil a better place for plants to grow, they pollinate flowers, they eat other insects, and they are food to many creatures.

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Bugs Under Construction 6

Making such massive art is not easy. Some of the bugs took three months to construct.

7

David began by carving pieces of wood into just the right shape and size. He used a mix of black walnut, red cedar, and black locust woods to craft each bug.

He also used young willow trees to show texture in his ladybug and ants.

8

He then connected the parts using metal rods. Finally, he gave them a coat of varnish for a smooth, shiny finish.

9

As a child, David Rogers did not get the best grades. He was not even the best painter. But he loved to make things. Using only sticks Sand TER. A M INE strings, he would build tiny villages small enough forAan CKLinsect.

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E L P SAM ATION C Sticks and Strings U D E !

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L OT A B TO BE N S I K One day when he was older, he sawTEaDbent him of . IT treeISthat OOreminded B H G H I T R Y R the backbone of an animal. beast by adding FOform a Ygiant EN to IS COPHe decided .

V I K A G O W T O B result was more branches.

ANY Goliath. Goliath was IS NOa dinosaur PLEThe N named I M N A D O I S E S C IS his first DU THISlarge sculpture.

PERM REPRO

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David has also made sculptures by welding metal. By joining together old car parts, he made a housefly and a dragonfly.

12

Does this sound like fun to you? Good news—David believes there’s an artist in everyone. Of course, you probably won’t start out by making a 25-foot ant. It took David years to come up with his huge bugs. But as David says, “There’s no right or wrong way to express yourself with art.

Let your imagination run free.”

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1

Why does the author most likely include the first paragraph?

A to warn readers to be careful of spiders B to explain why David Rogers creates his art C to get readers curious about the spider D to suggest that readers look for the big bugs

2

According to the article, what was the first large animal that David made?

A ant

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B dinosaur

C dragonfly

D praying mantis

3

Read the following sentence from paragraph 3:

TER. S A M KLINE C A L B The author uses the word monster to NOT A K TO BE S I T I TED. IS BOO H T A show that the ants movePYRIGH R EN FO WAY. IS CO V I K G O T O B suggest thatLEthe look NO IS real P B ants N ANY I M N A D O I S E S C DU MIS are dangerous C warn THIS that the PERants REPRO “It includes three monster ants.”

D emphasize the huge size of the ants

4

Which sentence from the article states an opinion of the author?

A “But David points out that bugs are an important part of nature.”

B “Some of the bugs took three months to construct.”

C “Of course, you probably won’t start out by making a 25-foot ant.”

D “It took David years to come up with his huge bugs.”

Page 8 © 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 .

5

What is the section called “Bugs Under Construction” mostly about?

A why David feels that his art is important B how hard David works to create the art C when David first started making art D what David hopes people learn from his art

6

Based on the information in the section “Sticks and Strings,” which statement would David most likely agree with?

A It is important for young people to get good grades in school.

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B To gain success, people must find their talent when they are young.

C Young people should have fun with being creative.

D Nature is the best subject to use for art.

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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/ Building a School \ Story and Photos by Cecil Dzwowa

1

2

E L P SAM ATION C U D E !

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TER. S A M Imagine that the nearest school were 10 miles from yourKhome.

LINE Perhaps C A L B your mom or dad would drive you there, or aNschool OT A busTcould BE take you.

O S I T K I HTED.a carRorTHthere IS BOOwasn’t even a road G I R But what if your parents did not have Y FO COP ENwould ISschool? . Just stay at home V I K G O WAYdo? from your house to the What you T O Y O B N N E A L S I P IN M yourSSstudies? and Tforget I ION PRODUCED HIS SAabout M R E P RE

3

The children in the new village of Mhangeni in southern Zimbabwe, Africa, were faced with a somewhat similar challenge. Mhangeni was created by villagers who moved from different parts of Zimbabwe.

When they arrived, it was summer and there was no school. All the families were busy building their huts. “Nobody thought about the school,” said Matsa, one of the village elders. “We realized very late that there was no nearby school for the kids.”

4

The villagers, along with the children, panicked. The parents held an emergency meeting but couldn’t come up with a solution.

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5

Nobody in the village had a car.

And between Mhangeni and the nearest school was a game preserve with wild animals—too dangerous for the children to travel through.

6

Then someone came up with an idea. Near the village stood an old, abandoned farm warehouse.

It could be cleaned, renovated, and turned into classrooms.

7

The parents repaired the leaking roof. Using scrap wood, they divided the warehouse into three classrooms. Still, there was much more work to do. The walls were dirty and needed to be scrubbed. The grasses and bushes outside needed to be cleared. And pits left by miners needed to be filled. But the parents had run out of time. The rains were coming, and the village elders had to go to work in the fields. Most of the TER. S A M E families survive by growing and selling maize (corn).LACKLIN

8

9

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OT A B TO BE N S I . IT theISwarehouse The children of Mhangeni decidedHTto themselves.

OOK EDfinish B G H I T R Y R O and.spades and They brought tools—slashers, the EN Fgrass, IS COP to Tcut V I K G O WAY O Y O B N N E wheelbarrows.

A L S I P AM D IN ON THIS S PERMISSI EPRODUCE R They needed to get busy. Summer had ended and other schools had already opened. The younger kids slashed the grasses. Those a little older cleared the bushes. And those without tools filled the pits with sand.

10

Things improved when two male teachers who worked for the country’s Department of Education arrived to help out—first with the construction and then with the teaching. Two Swedish visitors were also touched by the children’s determination. They donated textbooks, pens, and pencils.

11

After 10 days of hard work, the new school was ready. For the kids it was catch-up time. They were behind in their studies.

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But even more challenges were waiting for them. There were too many students and too few rooms. The three classrooms couldn’t hold them all. Some of the boys and girls had to study outside. During science lessons, plastic bottles had to serve as beakers. Four kids had to sit at benches designed for two. And as many as four students had to share one book.

13

Despite these problems, the children in Mhangeni village are happy to be in school—their school.

14

They know their school might not be the most modern in the district, but they are proud of it.

15

Their dream of having a school near their home has come true.

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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7

Which sentence is most important to the central idea?

A “Mhangeni was created by villagers who moved from different parts of Zimbabwe.”

B “‘We realized very late that there was no nearby school for the kids.’”

C “Nobody in the village had a car.”

D “Most of the families survive by growing and selling maize (corn).”

8

Based on the article, which word best describes the children of Mhangeni?

A lonely

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B determined C playful D wise

9

.

The problems that occurred after the school was complete included TERall S A M NE of the following EXCEPT LACKLI A B C D

OT A B TO BE N S I there were too few classrooms ED. IT THIS BOOK T H G I students had to shareS books COPYR GIVEN FOR I K WAY. T OO to study Y Ooutside Bhad N N E A L some students S I P IN IS SAM ERMISSION RODUCED H T the roof of the P buildingRleaked EP

10 Which of these questions is answered in the article?

A How long did it take to complete the school?

B Do the students have to wear uniforms?

C How many days a week do the students go to school?

D Had most of the students been to school before?

Page 13 © 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 .

11 What does the photograph on page 10 show?

A why the children had to build their own school B how the children worked together C what the children learned at school D how long the children worked for each day

12 The main lesson that readers can learn from the children of Mhangeni is about A taking action to solve your own problems

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B asking for help when you need it

C speaking up when something is wrong D enjoying spending time with others

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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/ Tap, Tap, Tap! \ Pounding Plants onto Paper

By Jean Kuhn 1

If you’ve ever had grass stains on your knees, you already know that the color, or pigment, in plants can end up on other surfaces. Now you can transfer that color onto paper!

Greeting Card

Getting Started 2

3

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8 8 8 Basic Steps You’ll need a hammer, a hammering surface (such as a wooden board), watercolor or construction paper, paper towels, plastic wrap, and fresh plants. Be sure to ask permission before collecting plant parts or hammering on any surface.

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 OPtop ofIVEN FO 1. Stack two paper towels IS Con .

K O O Bsurface. IS NOT G IN ANY WAY E L your hammering P AM D ON THIS S PERMISSI EPRODUCE R

4

2. Set a sheet of paper on top of the paper towels.

5

3. Place a flower, bright-side down, on top of the paper.

6

4. Lay a piece of plastic wrap over the flower. Smooth any wrinkles.

7

5. Hammer the flower using gentle taps. Try to tap evenly over the entire surface of the flower.

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8

6. Carefully remove the plastic wrap and any plant material. Allow time to air-dry.

9

7. When the pigment is dry, add more plant materials and repeat steps 3 through 6.

Bookmark

Pounding Project 1 10

Fold a piece of paper to make a card. Follow the steps for pounding flowers to make an image on the front of the card.

Magnet

E L P SAM ATION C U D E Pounding Project 3 LY! RAL 99.RALLY 888.

Pounding Project 2

11

12

Hammer a design onto a small piece of paper. Stick a selfadhesive magnetic strip to the back of the paper.

Cut a paper strip to the size you’d like. Hammer flowers, TER. S A M leaves, and stems along the length of the strip to make KLINE C A L B A a pattern.

IS NOT TO BE

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 IN AM ON UCED D THIS S PERMISSIFlower-Pounding O R Tips REP

• Before each pounding, check to be sure the plastic wrap and paper towels are clean. If they’re not, replace them.

• Experiment with using the entire flower or just petals.

• Use plant parts to make non-plant designs. For example, make a butterfly shape using petals for wings. After the pigment dries, outline your creation with a fine-point marker.

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13 Complete the web below by adding two more items.

paper wooden board

plastic wrap Items Needed

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14

ER. T S A M Why does the author include bullet points in the article?LINE LACK B A T A to list the items needed for the project IS NO TO BE T K I O .

D O IGHTE inForder B to describe the steps of the project THIS B R Y R P O O S Cplants TtoGIuse VENfor theY W K Iof AY. O C to show what types project O O B N N E A L S I P N M D Icomplete UCEto IS SAextra ISSION Pon D toTHgive information how the project D M O R R E P RE

15 Why did the author most likely write this article?

A to teach readers about plant pigments B to encourage readers to pick flowers C to show how to do an activity with plants D to explain why plant parts are different colors

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16 According to the text and art in the article, what does the art of the magnet show?

A how the plant parts must be tapped evenly B how plant parts can be used to make shapes C how insects can be used as well as plant parts D how pictures of whole flowers can be made

17 What is the main reason the author describes grass stains in the first paragraph?

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A to suggest that readers use blades of grass to make patterns and designs B to help readers understand how to transfer plant pigments C to give an example of the colors in plants being transferred D to show that the steps could be used to remove grass stains

18

TER. S A M Read these sentences from Step 4: KLINE C A L B OT A BE NSmooth S I TOwrinkles.”

T “Lay a piece of plastic wrap over theDflower. any K I O .

O IGHTE FOR THIS B R Y P O C Which of the following the these N .

K ISdescribes AYbetween GIVErelationship O W T O Y O B N N E two sentences?

N IS AMPL D IN A O I S E S C S S U I I H D M T O PERcompare EPRthings.

A The sentences Rtwo B The sentences describe two actions in order.

C The first sentence explains the reason for the second.

D The second sentence gives the cause of the first.

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/ No One Ever Listens to Me! \

By Pat Parker

1

My name is Patty Jo, and no one ever listens to me.

2

My baby brother, Daniel, doesn’t listen to me. He just lies there and drools, except when he yells. Everyone listens to him.

3

“Did my sweetie bump his head?”

4

“Oh, Angel-Love, are you wet?”

5

He can’t even answer them.

6

When I yell, “I don’t like mashed potatoes!” my dad says, “Patty Jo, keep your voice down.”

7

Or my mom says, “Patricia Josephine Boggs, go to your room until you . can stop yelling.”

ASTER

8 9

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NE M I L K C A L The only reason I’m yelling is because no one to T A Blistens Oever BE me.

N O S I T T K I O TED.ball isTfoul!

HThat IS BONo G H I R Yesterday at recess I yelled,O“Hey! fair!” No one Y R FO C P N S E I .

V Y I K A listened to me. E BOO NOT G IN ANY W L S I P M N A SIO UCED HIS S Drecess O R ERMIS who P Mrs.TUpley, thePteacher had duty, said, “Life isn’t always fair, E R Patty Jo.”

11

Why not? Why won’t people listen to me when I tell them something isn’t fair? The only reason I’m yelling is because no one ever listens to me!

12

Today I was late leaving for school because my big brother was taking up the bathroom. I had to wait and wait to brush my teeth. I yelled, “Come on, Matt! Hurry up! I’m going to be late!”

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13

He said, “Too bad, Patty Jo.” Then he took even longer.

14

When I finally got to the corner, I saw my best friend, Betsy, walking up the hill with that new girl, Jane. I ran up to them. “Why didn’t you wait for me?” I yelled. “We always walk to the bus together.”

15

Betsy said, “Patty Jo, if you’re going to yell, I’m not going to walk with you.” She walked away with that Jane.

16

I cried. I didn’t let anyone see me, but I had tears and a runny nose.

The rest of the day I didn’t even feel like yelling.

17

I didn’t feel like yelling at Ellen in my class when she bragged that she knows how to multiply.

18

I didn’t even feel like yelling when we were playing kickball. I could see the ball was foul again, but Mrs. Upley didn’t call it.

19

Everyone looked at me. Jane said, “Patty Jo, do you think the ball was foul?”

20 21 22

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TER. S A M KLINE C A “Well, yes,” I said in a regular voice.

L B NOT A K TO BE S I T I O Upley. . me—even And everyone on both teams listened HTEDto IS BOMrs. G H I T R Y R IS COP T GIVEN FO WAY. K O O Y yelling. In my regular At our cubbies NO didn’tINfeel E B school, ANlike ISI still PLafter M N A D O I S E S C IS DU waited for me this morning.” voice, THIISsaid, “Betsy, PERM I wishRyou EPROhad

23

She said, “I know. I was scared we would be late.”

24

“I’m sorry I yelled at you and Jane,” I said.

25

All three of us walked to the bus together.

26

At dinner I used my regular voice again. “I don’t like mashed potatoes much.”

27

My mom said, “All right. Just two bites.”

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28

In bed that night I thought about kickball and Betsy and mashed potatoes. I decided I was tired of yelling. I decided my regular voice works better.

29

Except at Matt’s football games. When he makes a touchdown, I yell louder than anyone.

19 In which scene does Patty Jo realize that she should not yell anymore?

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A when she gets mad at her brother for being in the bathroom too long B when Betsy tells her she is going to walk to school with the new girl C when she is eating dinner with her family that evening D when she is lying in bed thinking about her day

20

TER. S A M LINEsays that her At the end of the story, what does Patty Jo mean when Kshe C A L B “regular voice works better”?

NOT A K TO BE S I T I HTED. calmly.

IS BOO G H I T R A People listen to her when she speaks Y R IS COP T GIVEN FO WAY. K O O Y O all the B Her voice P does sore LE Bnot get IS Nfrom N ANyelling.

I M N A D O I S E S C IS her voice HIS help Pher DU C ItTwill ERMsave REPRO for football games.

D She is easier to understand when she speaks quietly.

21 Which sentence from the story best shows that Patty Jo is jealous of her baby brother?

A “My baby brother, Daniel, doesn’t listen to me.”

B “He just lies there and drools, except when he yells.”

C “Everyone listens to him.”

D “‘Did my sweetie bump his head?’”

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22 After fighting with Betsy, Patty Jo stops wanting to yell because she feels A sorry B sad C sick D angry

23 Read this sentence from the story: “I didn’t feel like yelling at Ellen in my class when she bragged that she knows how to multiply.”

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As it is used in the sentence, the word bragged means A lied B warned

C complained D boasted

24

TER. S A M KLINE C A L B What would Patty Jo most likely do if she wanted NOT A herKbrother S I TO BE to hurry T I O .

D O up in the bathroom the next day?

IGHTE FOR THIS B R Y P O IS C K door GIVEN NY WAY. A bang loudly on the O T O O B N E L N ISthe problem AMPparents D IN A O I S E S C S B yell at her about S U I I H D T PERM EPRO R C ask him nicely if he could please hurry up D trick him into thinking he is late for school

25 How would Patty Jo most likely describe the whole day?

A It taught her a lot about getting along with others.

B It made her realize who her real friends are.

C It helped her learn to accept her baby brother’s crying.

D It upset her so much that she wanted to yell at everyone.

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/ It Rained Cement \ Story and Photo by Megan Clements Art by George Tuggle

1

When I moved to Quito, Ecuador, in the 1990s, the last thing I expected to see was an erupting volcano.

2

I had read a lot about Quito. But I hadn’t come across anything about Guagua Pichincha, an active volcano a few miles west of the city. I didn’t even know it existed . . . until 1999, when it was about to erupt.

3

Guagua Pichincha had not erupted for hundreds of years. But now magma was making its way to the surface, and the pressure was causing earthquakes.

4

5

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TER. S A M In the city, we did not feel KLINE C A L B the earthquakes very often.

NOT A K TO BE S I T I But geologists were able to HTED. R THIS BOO G I R Y O OP EN Fnonstop IS Ctremors detect them. Some of the shook . six hours.

V I K G O WAYfor T O Y O B N N E A L S I P Guagua Pichincha was about AM ON to erupt.D IN THIS S PERMISSI EPRODUCE R

On the morning of September 3, 1999, I saw a huge plume of ash shoot from the volcano. The mushroom-shaped cloud rose to a height of more than three miles. As the ash settled, it covered the city in a thin layer. Even cities miles away from Quito were blanketed in ash.

6

What had set off this eruption?

7

The answer was water. As the magma came closer to the surface, it heated rainwater in the ground. The water boiled. As the water turned into steam, the steam caused so much pressure that weak spots in the surface finally gave way and exploded.

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8

One way to understand this type of eruption is to think of shaking a bottle of soda and then popping off the lid. Expanding gas in the soda creates so much pressure that it explodes out of the bottle, taking the soda with it.

9

The ash from Guagua Pichincha shot out with so much force that it traveled for miles before it settled. The finer ash hung in the air.

10

Volcanic ash is different from the ash left over from a wood fire.

Volcanic ash is made up of tiny bits of lava. The eruption blasts the bits into the air while they are still hot, and they cool as separate particles, forming a fine dust.

11

This dust can clog the works of an engine or any other machine that needs air. Cars, buses, and even airplanes could not run in Quito for days.

12

Worse, the air could carry into a person’s lungs, permanently damaging them. Schools were closed. People who had to leave home wore masks TER. S that protected their lungs.

A M E

13

14

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8 8 8 A Cleansing Rain

KLIN C A L B NOT A K TO BE S I T I HTED. R THIS BOO G I R Y O One day, dark rain clouds I thought, What a relief OP toward EN FQuito.

IS Crolled .

V Y I K A G O W T O to have the airPfinally LE B clean!

IS NO CED IN ANY M N A O I S S IS DU THIS PERM REPRO I was looking forward to the time when I could walk outside without wearing a bulky mask over my nose and mouth.

15

I had an appointment in 10 minutes. I had to walk, of course, since no cars or buses were running. As the clouds neared the city, I strapped on my mask.

16

When the rain started to fall, the water looked normal until I looked down. The water wasn’t clear. It was gray. My clothes had little drops of wet ash on them. The rain was cleaning the air as I had hoped. But it was dropping the ash as a watery mess.

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17

I walked faster. The rain fell harder. Before I knew it, I was wet from head to toe. The surprising part was that when I finally found shelter, the thin, ashy rainwater started to harden. I could move my clothes and my hair into any form and they would stay. It was as if the sky had rained cement!

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18

Minor eruptions of steam and ash continued for months. I never thought I would get used to the sight of a volcano erupting, but it became commonplace for the people of Quito.

19

By the year 2000, Guagua Pichincha finally rested again. I will never .

TERAnd forget the huge clouds of ash rising from the mountains behind us.

S A M CKLINE erupts.

I will always remember to stay out of the rain after BaLAvolcano

NOT A K TO BE S I T I HTED. R THIS BOO G I R Y COP theGIVolcano EN FO WAY. IS Inside V K O T O PLE B SION IS NO CED IN ANY M A S IS Guagua THIS Pichincha ODU called a composite cone. It’s a PRvolcano PERMis a kindREof mountain built up by two kinds of eruptions. One spews volcanic ash

and cinders. The other kind sends thick lava flowing over the ash and cinders. Each time the volcano has one of these major eruptions, it grows taller, with more layers of cinders or fluid lava or both. The eruption in 1999 was less violent than either of those types. Mostly, it ejected volcanic ash into the air.

The volcano now stands 4,784 meters (15,695 feet) above sea level.

That’s taller than 12 Empire State Buildings stacked on top of one another and about only half as tall as Mount Everest, the world’s highest mountain.

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26 What problems did the eruption of Guagua Pichincha cause the people of Quito? Use two details from the article to support your answer.

Write your answer in complete sentences.

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27 Does the information in the section “Inside the Volcano” make the 1999 eruption seem more serious or less serious than the author TER. S A M E describes? Use two details from the article to supportLAyour CKLINanswer.

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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/ Malia’s Chance to Dance \

By Beth Greenway Art by Wayne Alfano

1

2

3

I can’t be late. Not today! Malia thought as she raced across the park.

Today her hula teacher would choose students to dance at the luau.

Hawaiian Words Aloha: hello, good-bye Hula: a dance Lei: a garland or wreath, often worn like a necklace

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Malia reached the end of the park. “Aloha, Uncle Charles,” she greeted her teacher.

All the dancers called him “Uncle” in the local way.

Luau: a feast

Muumuu: a loose dress

4

5

6

Malia joined her hula sisters beneath a shady monkeypod tree. She pulled on a colorful skirt.

Ukulele: a small guitarlike instrument

TER. S A M KLINE C A L B Uncle Charles knelt on a woven mat and beatOaTrhythm N A K TOonBEa large S I T I gourd. The dancers warmed up with D. hulaHImoves.

S BOO Malia placed HTEbasic G I T R Y R her hands on her waistIS and back COPstepped EN FOand forth.

V I K G O WAY. T O Y O B N N E A L S I P IN AM UncleHCharles SION“Hip sway.”

UCED ISout, D M T IS S called O R R E P REP

7

Malia stood in one spot and swayed her hips side to side.

8

After the warm-up, Uncle took out his ukulele. It was time to practice their special dance for the luau. Malia took a deep breath and bent her knees.

9

“Remember to use expressions. You want to tell the story with your hands and faces,” Uncle said.

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10

11

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TER. S A M KLINE C A L B A She and Twang, twang went the ukulele. Malia lifted her BE her hula NOTarms.

O S I T T K I sisters danced in a row across the H grass.

TED. TheyTstretched IS BOO out their arms G H I R Y R like birds in flight. Their COP N FO the Ematched IS movements .meaning of the V Y I K A G O W T O happy song. PLE B IS NO CED IN ANY M N A O I S S IS DU THIS PERMto be nervous.

REPRO Malia was too busy watching her There was no time hand motions and remembering her footwork. She also remembered to smile.

12

“Together! Watch your line,” Uncle called.

13

Malia’s smile grew. She had made no mistakes. She spun to the strumming of the ukulele and danced over to one side, as if she were on a real stage.

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14

Oh no! Malia had danced in the wrong direction. Malia felt her face burn, but she kept dancing and smiling. She turned in time to the music and danced in the proper direction—two steps behind and two beats late.

15

The music stopped, and Malia shook her head. I’ll never be picked now.

16

Class was over for the day. Malia sighed and sat beneath the monkeypod tree to wait for her mother. She had wanted to dance on the stage with her hula sisters. She had wanted to wear a fancy muumuu, a scented lei, and flowers in her hair.

Now she would have to wait forever for her next chance.

17

18

19

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Then she heard Uncle saying, “Malia, there you are. Your mother is here. But before you go, I want to know if you would like to danceER T at.

S A M the luau.”

KLINE

BLAC A T O IS NI madeOOa Kmistake.

TO BE I went Malia blinked her eyes. “Oh yes. But,DUncle, T I .

IGHTE FOR THIS B R the wrong way!”

Y P O K IS C GIVEN NY WAY. O T O O B N E L dancing S didn’tEDgive IN Aup. You may not be the best “Yes, but Syou N Iand AMPkept O I S C S S U I I H D M alwaysEPexpress T dancer—yet—but PERyou R RO the song’s meaning. Today you showed the happiness of the song with your wonderful smile. Expression is an important part of hula.”

20

Malia was going to dance at the luau! She couldn’t wait to tell her mother. Even if she forgot a few dance steps, she would not forget to smile.

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28 Why does the author say that Malia “felt her face burn”? How does the meaning relate to the mistake Malia made? Use two details from the story to support your response.

Write your answer in complete sentences.

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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29 Read this part of the text again.

The music stopped, and Malia shook her head. I’ll never be picked now.

Class was over for the day. Malia sighed and sat beneath the monkeypod tree to wait for her mother. She had wanted to dance on the stage with her hula sisters. She had wanted to wear a fancy muumuu, a scented lei, and flowers in her hair. Now she would have to wait forever for her next chance.

Then she heard Uncle saying, “Malia, there you are. Your mother is here. But before you go, I want to know if you would like to dance at the luau.”

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Malia blinked her eyes. “Oh yes. But, Uncle, I made a mistake.

I went the wrong way!”

Describe two details the author includes to show that Malia feels disappointed.

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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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 33 and 34.

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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30 Explain why Malia is selected for the luau even though she made a mistake. Describe what is more important than doing the dance perfectly. Use details from the story to support your response.

In your response, be sure to do the following: • explain why Malia is selected for the luau • explain why Malia’s mistake does not stop her from being selected • describe what is more important than doing the dance perfectly • include details from the story to support your answer Write your answer in complete sentences.

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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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 PLE B SION IS NO CED IN ANY M A S IS DU THIS PERM REPRO

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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 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.

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 PERM REPRO