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TEST 1

To do well at school, college or university you usually need to do well in exams. “All students hate exams” may be a generalization, but it is fairly true one. Certainly, all of the students I’ve known disliked doing exams, None of them thought that the exam system was fair; to do well in a exam you simply had to be able to predict the questions which would be asked, This was the case as regards tow students in my class at college. Botyh of them were exceptionally bright, but in the final year “exam” neither of them got an a grade. In fact, they both got Cs. The exam had tested us on questions which had come up the previous year. They had both assumed that the same questions wouldn’t come up again, and hadn’t prepared for them.

1) Students need to do well in exams __________.

a. In order to do well at school.

b. Because they need to do well at school.

c. So that to do well at school.

d. Therefore they have to do well at school.

2) The stastement “ All students hate exams” is _________.

a. extremely true b. completely true

c. quite true d. very true

3) Which of the following sentences is not true?

a. All of the students the writer has known thought that the exam system was unfair.

b. To do well in an exam you simly had the ability to predict the questions which would be asked.

c. None of the students the writer has known disliked doing exams.

d. “ All students hate exams” is fairly true generalization.

4) Why did the two students in the writer’s class get C grades in the final exam?

a. Because the exam was very difficult.

b. Because they didn’t prepare for the questions that had come up the previous year.

c. Because they were dull students.

d. Because the questions weren’t in their lesson.

5) The writer’s main purpose of writing the passage is to _________________________.

a. describe the importance of exams.

b. discuss how exams effect on the students.

c. explain the equality in examinations.

d. criticize the exam system.

TEST 2

Every year people in many countries learn English. Some of them are young children. Others are teenagers. Many are adults. Some learn at school. Others study by themselves. A few learn English just by hearing the language in film, on television, in the office or among their friends. Most people must work hard to learn English.

Why do these all people learn English? It is not difficult to answer this question.

Many boys and girls learn English at school because it is one of their subjects. Many adults learn English because it is useful for their work. Teenagers often learn English for their higher studies because some of their books are in English at the college or university. Other people learn English because they want to read newspapers or magazines in English.

1. According to the writer. English is learn by _____________.

a. young children b. adults

c. teenagers c. all are correct

2. Most people learn English by ____________.

a. themselves b. hearing the language on television

c. working hard on the lesson d. speaking English to their friends

3. Where do many boys and girls learn English?

a. at home b. in the office

c. in evening class d. at school

4. Teenagers learn English because ___________.

a. It’s useful for their higher studies b. it’s one of their subjects.

c. They want to master it. D. a and c are correct.

5. Why do many adults learn English?

a. Because they want to see movies in English.

b. Because they need it for their job.

c. Because they are forced to learn.

d. Because it’s not difficult to learn.

Read the text carefully then choose the correct answers.

To do well at school, college or university you usually need to do well in exams. “ All studens hate exams” may be a generalization,but it is fairly true one. Certainly, all of the students I’ve known disliked doing exams. None of them thought that the exam system was fair ; to do well in an exam you simply had to be able to predict the questions which would be asked. This was the case as regards two students in my class at college. Both of them were exceptionally bright, but in the final year exam neither of them got an A grade. In fact, they both got Cs. The exam had tested us on questions which had come up the previous year. They had both assumed that the same questions wouldn’t come up again, and hadn’t prepared for them.

36.Students need to do well in exams………………

a. in order to do well at school. b. because they need to do well at school.

c. so that to do well at school d. therefore they have to do well at school.

37. The statement “ All students hate exams ” is ………………

a. extremely true b. completely true c. quite true d. very true

38. Which of the following sentence is NOT true ?

a. All of the students the writer has known thought that the exam system was unfair.

b. To do well in an exam you simply had the ability to predict the questions which would be asked.

c. None of the students the writer has known disliked doing exams.

d. “ All students hate exams ” is fairly true generalization.

39. Why did the two students in the writer ’s class get C grades in the final exam ?

a. Because the exam was really difficult

b. Because they didn’t prepare for the questions that had come up the previous year.

c. Because they were dull students.

d. Because the questions were not in their lessons.

40. The writer ‘s main purpose of writing the passage is to ………..

a. describe the importance of exams

b. discuss how exams affect on the students.

c. explain the equality in examinations. d. criticize the exam system

Choose the item (A, B, C, or D) that best completes each of the unfinished statements or best answers the questions about the letter.

English is very interesting. It is not difficult to learn English well. However, it is important to find the most effective way to learn the language. I rarely look up new words in the dictionary, but I often try to guess their meanings in the reading. At first, I found it a little difficult because I could hardly understand everything that I read. But gradually I could get the general idea of th reading or the main information the reading passage gave. I never use an English-Vietnamese dictionary, instead I used an English-English dictionary, and this helps me a lot. In this way, I can use the new vocabulary correctly and naturally. I also keep my diary, and write short stories in English to improve my writing skill. As for listening, I listen to music and news programs boardcast in English on TV and on the radio. It is an interesting way to pratice listening. Modern equipment can help a lot in listening. For example, I use an iPod to record the news so that I can listen to it again and then I record voice and correct myself. I've joined an English-speaking club to better my speaking. I can make myself well understood when I speak to native speakers. I think in the future everybody in Vietnam can communicate with each other well in English.

1. What is the text mainly about?

A. Learning English is fun B. Speaking is more important than reading

C. Everyone has a way to learn English D. English plays an important role in life

2. What is the writer trying to do in the text?

A. To inform B. To complain

C. To criticize D. To teach

3. The writer improves his writing by __________.

A. writing for a newspaper B. writing novels

C. writing about his daily activities D. reading as much as possible

4. According to the writer, using a dictionary is __________.

A. a waste of time B. a waste of money

C. necessary all the time D. quite useful

5. The writer thinks that his English is __________.

A. very bad B. average

C. just OK D. quite good

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

  At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

  But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

  As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

  The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

  It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

          To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

The phrase “the hard way” in paragraph 5 most likely means ___________.

A. by working very hard

B. by having expectations of others

C. through doing things again and again

D. through difficult personal experience

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

  At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

  But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

  As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

  The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

  It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

          To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

According to paragraph 1 the writer is surprised to see that although Holiday on Ice is popular ____________.

A. people often prefer other types of show

B. most people consider it as a holiday

C. few people know someone who has seen it

D. people prefer to see a film, the ballet, or the circus

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

  At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

  But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

  As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

  The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

  It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

          To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

It is suggested in paragraph 5 that skating in shows ___________.

A. enables skaters to visit a variety of places

B. is as competitive as other forms of skating

C. allows skaters to try out a range of ideas

D. is particularly well paid

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

What does the writer highlight about the show in the third paragraph?

A. the difficulty of finding suitable equipment

B. the need for a higher level of professional support

C. the range of companies involved in the production

D. the variety of places in which the show has been staged

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions

      At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

      But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

      As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

      The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

      It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

          To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

What does the writer highlight about the show in the third paragraph?

A. the variety of places in which the show has been staged

B. the range of companies involved in the production

C. the need for a higher level of professional support

D. the difficulty of finding suitable equipment

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

  At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

  But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

  As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

  The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

  It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

          To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

It is mentioned in paragraph 3 that __________.

A. the show has been staged in many places

B. many companies are involved in the production

C. the show needs financial support

D. it is difficult to find suitable equipment