Formula b2 Coursebook and Interactive Ebook With Key

 

with key

FOR EXAM SUCCESS and

Interactive eBook

Pearson Practi En�ish Ap

 

FOR EXAM SUCCESS

with key and

Interactive eBook

 

CONTENTS

UNIT

OPENER

READNG AND USE OF ENGLSH - READING READING AND USE OF ENGLSH  VOCABULARY

1

nguge ocus: Phasal vebs p5 pc: Histoy of the oou blue an olor associaions

Pt 5 Mutpe hoe pp6-7 k ocus Ienifyin attte an opinon oc Unusual natua phenoena

BLUE

Pt  Mutpechoe oze p8 nguge ocus Phases wth pepostions opc a Casa Azul ocbuy e pp99

onunaton Wo stess (sfxes) Eam ile xam referee

Lgge : Veb + noun ooatons p13  Film xam file  xam referee

11

p 3 

Pt6ppedtet p4 k ocus nestnn efeene ves opc Kn's Day

Pt 3 Wodton Wodton p6

p13

p 7 

gge  Neatve pexes T istoy of tannn    e e pp9697 Ponuniaton Wo stess pefxes

Review Uit 12 (RAN AN US O NSH art 4) pp22 nguge ocus ocus Phases wth

and do p3 opc Sat histoy an uses make

Pt 7 Mutpe thn pp425 k ocus: Reain fo speifi infoation oc onesy an white es

Pt  Mtpeoe oze p6 nguge ocus ocus hasa vebs opc Blak an hie photoaphy ocbuy e pp9899

Ponunaon Wo stess phas vebs

xam fie  xam referee

Lgge : Phasa vebs p3 T Canyfoss

xam fe xam referee

1

3

Pt 5 Mtpe hoe pp333 k ocus Den the eanin of

Pt  odoton odoton p34 nguge ocus oun suffixes

unfa voaby unfa opc: Ebaassent 1

opc he ocbuy ocbu yPn  e Cty pp000

onuniation Wo sess noun suffixes 

Review Uit 14 (RAN AN U S O NSH Review NSH art 4) p3940 nguge ocus Ajetve

noun ooatons p41 opc Vantablak®

xam file  xam referee nguge ocus Copoun wos p49 opc Re hlles

Pt6 Pt 6ppe tet pp4243 k ocus x stut an oheson p Fshon n blak

Pt  Mutpeoe oze p44

ggee  eb pattens gg  Coffee ultue  e pp1003 Ponunation Wo stess vowel souns

13

3

Pt  Me thn pp0  ocus Unsanin pliation op Re lete days

Pt 3 odoton odoton p nguge ngu geocus  ocus Aetive suffxes  opc Supens ocbuy e pp104105 Ponuniation Ponuniatio n Wo stess aetive suffxes

xam file  xam referee





Review Revie w Uit U it  (REAN AN US O NSH art 4) pp78

gge  hasa vebs p59 T Vitoan anes

Eam fle  xam referee referee

gge  Aveb  ajetive olloations p67 pc oney bees

xam fle  xa referee

Pt6pped Pt6 ppedtet tet pp606 k ocus Rephasin, eeplifyn an

oentn opc Geen seen an tehnooy p13 

Pt  Mtpe thng p6869 k ocus Paaphasn in questons pc avote seasons

p15 

Pt  Mtpehoe oze p62 nguge ocus asily onfused wos opc usness/oney een pots ocbuy e pp0607

onnaton Sent onsonants 3 Pt  odoton odoton p0 nguge ocus Aetve suffxes 2 opc: os; onaton ocbuy e pp080 Wo stess vowel souns onuniaton 7

Review Uit 8 (RAN AN US O NSH art art  4) pp7577

893 RAMMAR FE I p949 VOAUL VOAULARY ARYFE F E  39 RTNG FIE 44 AUDOSRPTS   ANSR KEY (with mt awe) 73 EENG Mie Mi e  em

 

ISTENING

READNG AND USE OF ENGSH - GRAMMAR SEAKING

Part 1 utiple choce p9 Skllfos: sten Skllfos: stenng ng for

art 2 pen doze p10 Langagefos Langage fos Pesent tenses op Seep ammarfle ammar fle esent tenses 78-79

RIING

art  ssay p12 Part 1 Inervi p1 Skllfos Extendng answers Skllfos Audene, stte

and tone

Ponunaton: Wod stess (vebs)

wth appopate appop ate deta and exmples op Rotnes and meda

p29

p

p

Part 2 Sentence ompeton p7

Part 4 ey wor transormatons p8 Langagefos ast tenses

Part 2 Iniviual ong tu p9 rtng Part 2 Artce p20 Skllfos Compang Skllfos Skllfos ngagng the eade

ageement op Out of the bue

Skll fos stenng Chdhood op mpkn spiefo ues op ammafle amma fle astbeefs tenses pp808

onnaton used to p9

p3

pe n doze p28 Part 3 ultpe ult pe matcng p27 art 2 pen Langage fos tre forms Skllfos Skll fos Identfyng atttde op Expedons op Wht elephant ammafle ute foms pp82-83

p39

p9

Part 3 Colab Colaboratv oratve e task p29 Skllfos Skll fos Askng fo and

Part 2 ma or letter letter p30 Skllfos Common

gvng opnons  p T h hseekng seekng spots

p33 

p

p41

Partt 4 ultipe coe Par {logtext) p35

Part 4 ey wor transorat transorations ions p36

Part 4 isusso isusson n p37  c Gvng fl answers wth exampes and ustfatons op Optmsm p4

Prt 1 ultple oie p45 Sklfos Intfyng a Sklfos

Part 2 pen doze p46 Langagefos Condtona foms  p Cabs and abbs ammafle amma fle Condtonal fos pp868

p

 p Geat dfferent but eated statons Wtngfle gfts p14 op Fe Wtng fle Ate

onunaton Wod stess moda vebs)

 c Identfyng the man dea op Coous and gender p

prefeenes

Wtng fle Essay p13

ojets

L c Reported speeh c Memoabe sghts ammafle amma fle Repoted speeh pp84-85 ronunaton Stress and ntonaton p9

op Tave optons and

expessons  p aty sggestons Wtngfle Wtng fle Ema Ema o etter p56 p2 Patt 2 Review p38 Pa  c Developng deas n a paragaph op  festva tngfle tng fle Revew p17 p2

art 2 nvual long long turn p47 Part 1 ssay 48 Skllfos Wtng Skllfos Skllfos Skll fos Makng

p29

p

p39

ntrodutons and onsons c Redng a pollton pollton n tes   Essay p 13 p

Part 2 Sentece copion p53 Sk fos tnng for

Part 4 ey wor transormatons p54 Langagefos Compaatve foms p he red apet amma le Compaave forms pp8889

art 3 Colaboratve task p55 Skllfos Skll fos Showng how fa

art 2 Report p56 Skllfos Ogansng deas n

p4

p2

speake's ppose

op Blak day

speatons

 p Ngh

onunaton onunat on ntonaton

spef dets op Seng ed

yo agee or dsagee op Red tape and les

a repot  p Rasng money Wtngfle Repot p8

p

Pronunaton Intonaton p9

Part 3 utple matng p63 Skllfos stenng fo gst op he grass s away awayss

Part 2 pen doze p64 Langage fos Reatv auses op Coo bndness ammafle Reatve ases pp90-91

art 4 susion p65 Skll os Addng deas and

deveopng a dssson op Geen spaes

Part 2 Story p66 Skllfos Sequenng events Skllfos  p emmas Wtngfle Wtng fle Story p9

p

Ponunaton Pases p

p43

p2

geene ... geene

at 4 ultpe coce ong text p7 Skllfos Undestandng

opnons op rends

p3

Part 4 ey wor transformatons transformatons p72 Langagefos assve foms op ood stes ammafle assv assvee foms foms pp92-93

trn

a paagaph

op Coths and tte

onnaton Word stress s tress aary verbs p9

p Spendng tme otdoos Wtng le Essay p13

p9

p p

�

ar 2 nviua long turn p73 Part 1 ssay p74 Skllfos Skll fos Ogansng a ong Skll os Connetng deas 

EXA IE pp2 n     n t   pp6-2 Wt W t ts  n 2 I pp28- tnn t 4

pp6-4 pn t -4  p44 xm vvw

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KAO Two KAO Park HockhamWay Harlow, Essex CM179SR England and Assocated Companies throughout the world. https://englishcom/portal © Pearson Education Limited 2021 Written by Lynda Edwards and LindsayWarwck LindsayWarwck The right of Ashley Lodge to be identified as author of the mindfulness section secti on of this work has been asserted by him n accordancee with the Copyright, accordanc Copyright , Designs and Patents Act 1988 All rights reserved; no part of this thi s publication may be reproduced, stored in a retrieva system, or transmitted in any fom o by ay meas, eectoic, mechanical, photocopying recording, or otherwise otherwi se without the prior written writte n permission of the Publishers First published 2021 ISBN 978-1292-39141-0 Set in Avenir Next LT Pro Prnt and bound in tay, by LEGO Sp.A Acknowledgements

The publishers are very grateful to the followng advisers and teachers who contributed to the initial research and commented on earier versions of this mateia Jacky Newbrook Becerra, B. A, Mariana Gavilan, Charlotte Rowe, ernando Scelzo, Cecila Vega vila, ZacharyWallace ZacharyWallace Image Credt(s): 1Z3RF.com cloud7days 18, Natalia Natykach 31, oeandra 34, Praphan ampa ampaaa 10, smspsy 24; Aamy Stock Photo

DavdWillams Davd Willams 47, Derek Dere k Trask 29, Dinodia Photos 73, Drling Kndersley ltd 30, Eric Gevaert 4, Ewelina Kowalska 64, Jack rog ro g 112, Jacob Lund 52, Jason Langley 14,Jochen Tack 15, 15,Johan Johan Nyander 27, Kathy deWitt deWitt 3, makasana photo 5, Marmaduke St.John 47, Nick Savage 56, NPS Photo 28, Paul Marriott 73, Pictorial Press Ltd 39, 39 , PjrTransport 73, PRSMA ARCHVO 64, robertharding 65, RossHelen editoral 19, StellaPhotography 11, Susie Kearley 63 Getty mages Aashish Gautam/ EyeEm EyeEm 26, ac productions 74, Africalmages 52, Andrew Bret BretWallis Wallis/Stockbyte /Stockbyte 32, Ariel Skelley/ DigitalVision 9, Bartos Hadyniak 49, Bettmann 8, Bloomberg 45, borchee I E+ 33, Catherine Cat herine Ledner/ Dgital Vision 68, Chrs Cr 2, cihatatceke/ cihatatceke/ E 53, Code Nast Colecton 43, cristinairanzo/ cristinairanzo / Moment 35, Cultura Cultu ra/ Monty Rakusen 111, DavdPrado/ iStock 51, Denver Post 24, DougalWaters Dougal Waters I Stone 110, DreamPictures/ DreamPictures/ Stockbyte 90, Edward Miller/ Huton Archive 8, Eijah-ovko/ Eijah-ovko/ iStock 8, fdastudilo/ fdastudilo / Stock 46, fotoVoyage/ fotoVoyage/ iStock 99, Gery Cranham/ Cranham/ Hulton Archve 16, GlobalP / iStock 6, GMVod 172, Hashira Leon/ Eye Em 51, holgs 68, Hramovnick Hramovnick/ / iStock 48, HRAUN/ HRAUN/ E 19, van Pantic/ Pantic/ iStock 11, lzzet Ker bar/ Stone 5,Jason JasonWayne Wayne Bown/ EyeEM 2,Jovanmandic 2,Jovanmandic/ / iStock 29, kaadaev/ kaadaev/ iStock 20, Kisa_Markia / iStock 68, Kwangmooaa I iStock 109, Levente Bodo I Moment 82, Lorna Rande/ Rande/ Design Pis 19, martindm/ martindm/ E 57, Michieru/ Moment 36, Mint mages 103, Mundusmages / E 73, oxygen/ Moment 3, Peter Cade/ Stone 25, Peter Daeley/ Daeley/ The mage Bank 23, PhotoAlto / rederic Cirou 77, RichVintage / E 62, Rob Ball/Wireimage Ball/ Wireimage RM 38, Roberto Machado Noa/ Lightrocket 59, Ron and Patty Pat ty Thomas I  7, seraicus/ seraicus/ E 72, Segio Balivia/ Balivia/ OOpx Prime 23, Simon Mcill/ Moment 55, Stephen Lux/ Cultura 68, Ulrike Schmtt-Hartmann 111, Valengilda / iStock 67; brary of Congress: Gardne Gardner, r, A., photographer. (1865)Washington Navy Yard, District of Combia ews Paye  sweate, seated and manacled manacled  Unted States, 1865. [Photograph [Photogr aph Retrieved from the Library of Congress, https//wwwlocgov/item/2018672091/ 26; festraw 62 Mary Evans Photo brary The National Archives, London. Engand 59 Pearson Education Asia td Coeman Yue 47; Shtterstockcom AmyLv 44, Andre Boukreev 37, ANGUK 31, Bran AJackson A Jackson 75, Denis Makarenko 54, Diego D iego Cerv 58, Don Pabo 13, Ekaterina Kupeeva 15, Erlant R 80, lakov ilimonov 47, Kristin . Ruhs 22, Maen 93, MicheleB 89, Moviestoe 60, nd3000 19, nikkytok 68, OHishiapply OHishiappl y 10, Pixel-Shot 31, 31, Romrod Romrodphoto photo 112, Sony So ny Pictures Animation/ Koba 61, tsyhun 101, 1 01, wavebreakmedia 88, Yellow 17 Text Credt(s)

Article on page 5 rom hey aise the wod wod's 's happiest happiest chidren  so is i t time you went Dutch? Dutch?,, The Tlegrph, 07/0/2017 07 /0/2017 (Rina Mae Acosta and Mchele Hutchson, copyright© Telegraph Media Group Limited All other images© Pearson Education

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I·E:i)Jf; 0 Work in groups.

 Complete the questions with h� correct form o phrasal phrasa l verbs  rom Ex 3 Ask and answer with a paner.

Name five thngs you have seen oday that are blue and where you saw them. 2 What eelngs or emoies do you assocate wih he colour blue? Give details 

E ( 1

Work in pairs. Listen to to two people talking about the the colour blue Take turns to choose one of the ideas below and el your paner about it

0

 th e way pe pepl pl e see blue

e wh ist se the l  ste a w

  f why th e lu i't i't have a ae  a lg tie

e

why e shae  be is alle yal blue

  th e assia ass iats ts  the  ble

beo w which reate to the conversation in Ex 2 e Look at sentences -8 beow Match the prasal verbs in bold wih he meanings in he box. dscovered exains found by chance invented originated in read read about te ast represe represens ns resect  2

I came across an aticle about the origins and associations of dierent coours If we look back we can trace the history of colours

Egytans  ound out ow to creae a blue aint. 3 The Ancient Egytans ound 4 The name 'royal blue came from Egypian times. 5

Desges came up with be jas i the 19th cetuy

6 The woman wants o check out the out the article 7 The article goes through some associations we have wth the colour bue and what it stands or 8  look up to eole in blue uniforms

 Whch faos eso do yo os _·  ?Why? 2 Do you spend more tme    at thing thingss you have done, or looking forward to  h future? 3 Wha's te most interesing news ar ticle le   yo you u've· -       this week?

Do ou have a friend who a diferent country? Gve details 5 Whats the most interesting ew ac about blue tha you  from the conversation in Ex ?

4

6 Which of your fiends  the bes ideas for thngs to do?

8 Work n pairs. Take turns to tell a sory ogether usng phrasal verbs  from Ex 3 and others that you know Your turn ends when you use a phrasa verb

5

 

1

0 ( 12 Listen to two

people discussing rare natural events. What eents do they mention?

f Tell your paner about something unusual that you have seen or heard about recently Compare your answers  with the class Think about: in your area on V at colege or work on online line

e Read the Exam focus. For statements -5, choose the corre option (A or B) that best its 1

He felt sympathe sympathetc tc towards the woman who arrived too ate. A It must have been frustratng for the woman to mss the event.  She should have made sue she got here on tme.

2

He was dsappointed by the experence experence..   reay ddn't enjoy t at al B t wasn't as nterestng as 'd expected

3

4

5

ID··#itW ID #itW Identifing attitude and opinion he opnon or attude of a wrter or a person mentioned n a text s not aways ntroduced by words ke I think/ I believe/ in my opinon Look or ways an opnon or atude has been ephased Use of a synonym or expresson: I was rustrated by he phone phone cal = t was a complete waste of tme. Use of a dferent structure and more deta  was pessed by the colours.   certainy hadn't hadn' t thought the reds and blues woud be so efectve. Use of an expanation I doubted his honesty = I wasn't convinced he he was  teng the truth It s aso mporant to dent whether what you read refects the autho's opnon or whether t s reportng reportng a fact. ook for words or phrases to ndcate  ths: statstcs show/ t poves/ rerds reva

 Read the aicle again. For questions 6 choose the answer (A B C or D  which you think fits best according to the text



The wrter was concerned about possbe eye damage A We wore speca glasses to protec our vson.  We couldn't see that well  through the protective glasses

What pont s the wrter makng n the frst paragraph? A He oen takes photogaphs of fowes n dferent dferent gardens gardens B He s more nterested n hs photography than what he photogaphs C He is photographing something that s unusual because of the clmate. D He needs to be flexible when he's working

2

He is astonshed by the raty of such events  hese events are amazng to watch be eve ths happens only once   can't beeve

How does the wrter fee about his work? A mpressed by the amount of money he earns earn s  supsed at how oen he has to trave ra re events C grateful or the opportunty to obseve rare D proud to be so we-experienced

3

What s the wrter's atitude towards tabloid newspapers? A He thnks they ae too nfuental  He suspects they exaggerate to atract readers C He beeves they do not check ther acts D He wonders why they contradct each other.

4

When takng about Fre Ranbows the wter egets that A he cannot expan the reason or re Ranbows  he has never seen a photograph o one C he s unawae how they got ther name D hs chances chances of seeng one are very ow

5

he wrter repeats the word treated' n paragraph  A  to ndcate tat tat the experence experence wasn't mmediately mmediately enoyabe   to show that the event had neve neve happened befoe. befoe. C  to emphasse emphasse how amang the sight was was D  to stress how how speca the the event made hm fee.

n a bue moon Surely, it's neary mpossb mpossbe e for the mvement of the rocks to be notced A t has been poven that onlookers do not notce when the rocks move  'd say t  t was unkey that people watchng could spot any movement of the rocks

EXAM BOOST p10

0 Complete Exam file SECTION A on page 0 Read the title o the acle andthe at photos. Why do you think thlook e title   the has a question mark? Read and check  your ideas

 6

What does the wrter beeve about the scence behnd are natural events? t's always important to know why an event occurs  Scence cannot always explain these types of events. C t's nteestng but not as mpoant as the visual eects D Understandng the scentfc reasons reasons s not pa of his job.

A

6

1  

ONCE INA

LU M?

Nature photogapher David Smart reects on his job and the rarity of some of the unusual natural phenomena he photographs.

I tread carefully, trying to rush s w o the beautiul ower a poibe. But  eed to get n the bst positio to photoraph thi stuig disly o blue, volt d yellow hat lls the vew Where m I? I oe o he royal Lodo parks i sprig? Mayb h aous Kawachi Fuji ower garde  Jp? No 'm  te t e driest pac  he orld, he Atcam Dest n Chil A i rn o e is the wderul sight know s Desert Bloom. I agle my camera, ocus ad cck Jo doe  ca  stad back reat  the sct f mllis mllis of lowers a oy he momet Seig a re tura phoe lke he Deser Boom is i s not a o-o r r e; I've I'v e photoraphed photorap hed the iagra Falls wh they were partia partia frze ve; I'v xpeced te ir ad woderu rsh f dakss din a oal eclps I lucky tha my work as a prfessinal ature phtogaphe phtogaphe taks

'The oly ota eclise you'll ee i yur lifee',', shut aother ad 'Miracle o lifee lower i he dert' dert' say a hird I I  fact thse phom, although uusual,  ot s ulikly as h hype sugess iagra Flls hae partially roze over seveal times  wh wid frm frm the North Ple brug arctic tempratures furher south ( sympom o cmate chg) Ad athough aparety iexlibl hose stuig owers i he deser wll owe aga i aher ve or ve yeas Th eed lie  he oil ad will grow whever thee is a lot o raifall. Ra, oceiabuemo evet  hppe ut t is oly y chce ta hey r ever s or recrded. For example, ther's o spectaular eve that I would esplyy lve to se. It' ko as espl a Fre Ribow, ut s aually either either oeted to re, or a abow! Sad,

 ot m wish oce,  lke th Deert Bloom t wa i Chile. I was hre o lm a volcic erupi atVolca Calbuco, a very agrous activ volco While lmig, I ws tet t a ae dispay of volcaic lighig. Ths Th s i a uique type type o elecrical reactio ha happe iide a great cloud o ash othese kw as as a 'dity tudrstor' I say 'treatd' but the xeriec ws so teriyig tht my rs istics were o ru like a T tracio o photoraphig oe  he greaest lih show o earh was however very rog ad hose pictes are amo the best  hae eer take. I thik my osssio ith thee rare atural pheoma shoud be quite lear b ow I'm very fortuate to have a jo which allows e to trve to record a may as I ca The cieti rao behd such evet are certail faciatig bu for me i ill

me o world soe of most amazi paces in the ahe ad d pays reasoaly well Howe i's the really uusal sghts whch ature ccasonay prvds r us tha rally ascinate me. As A s one o my phoograph phoographr r rieds says, It fels a real priviee' But n reali, jt ar e evets lke thse? Tabloid headlins eed to sel copie ad iply that hey re oceiablue mn evets 'Nagara Fa cmpetely on vr', souts sout s e wspaper,

Im vr to se oe aywhere apar omikey i a photograph. Thee incredible optl pheomea, which whic h appear o e amazg combinatio  colours i he sky, ly occr whe here i a ry pecic combiato o atmsphe combiato atmspherc rc codii. I aditio aditi o o thi they are ly visible from hih altiude altiudes.s. Beg i te riht place at the ight time is what a nature photograr lk m os fo t t does't apen very ofte

alway be aot heir agnice The powerul urprie hat naure beut cotius to delver wil ever cease o maze e. Wheher the are jus usal or truly oce  a ietime experienes I ca't se myl eer getig ired of chasig te Now, mayb ust oe mor poo f these cedible fowers 

how

Speaking or o r writing

0 Work in pairs and discuss the questions. 1

Which of the natural evets in the aricle woud yo most like to t o experiece? Why?

2

Tell the class abot the most memorabe atural event yo have seen.



Research another rare event and write a fa sheet about it Present it to the class.

EXAMTRINE  pp23-24 � 7  

Work in pairs and discuss the questions.

0 1 Which aists do you ke? Why? 2

Who is the ost e-knon aist in your country? Why do peope ke ther art

3 The phoo shos artst Frida Kahlo's hoe. What do you kno about Frida Kahlo? Kahlo?

EXAM BOOST p2

2  Complete Exam file SECTION A on page 2

f � ·1

Listen to a radio broadcast about Frida Kahlo and her home What three things did the presenter notice about her home?

Q For questions -8 read the text beow and decide which answer (A,  C or D} best fits each gap There is an exampe at the beginning (0)

e ( J 4 isten again and choose the correct prepositions. What does the speaker refer to when she uses each  verb + prepositiona phrase?

1

2

beonged  fom/ to ovng at/ to

3

devoted for/ to

4

conssts  from/ of

5

ork at/ on a painting) 6 added for/ to appeas at/ to 7 8 succeeded from / in

sentence ce haves  Match the senten 

The deep blue colour of La L a Casa Azu is in contrast

2 Kaho had 30 operations on her back and as in 3 his pain contnued  for the rest 4 Kahlos on painings are on 5 Kahlo Kah lo used he gaden to thnk about her at in addition 6 Kaho oen ore foers fro her garden in her hair  at  of her ie. B to the hte hte and yelo hoes around it.

What our homes say about us  ome   mo      (0) _ B  B    w    w o ee o e ee e   eee   e o eme me  wo we e o  (} __ oe o   exae,  we ow    we ome e o o mo o  qe ome oe m ee (2)__ o  e we m ee o e   oe  o eoe o e (3)    o o e.

 , ee oje  ()  o  e  o ao  wo e a a e we ae m  (5)   ow e  ee oe oe  o ome  ome ome ao ao ow we  wa oe oe o ee   we e e oee w e ee,       o exame we m  e    wo o ()  oe o ee O,  we eee   moe o   ome  o  o e ex   oae oae o ome m (7) ' oo o a omoae omo ae e  (8)   o   o ,  moe   oe omoe ee ee

 dispay hroughout the house D

considerable pain

E  to teaching her students. F

least that appears to be he case in her sefporaits sefporaits

 Work n pairs. Complete the questions with the correct

 form of preposition prepo sitiona a phrases phras es from Exs 3 and  Then The n ask and answer.



Does a visit visit to a Casa Azul    you you

2

In ha career or hobby oud you ost like to

3

4

 ? What do you have_ have _ your hoe? Which pace do you ee that you  the ost?

on the alls around

0

A

site

B

place

C

venue

1

A

litle

B

east

C

iniu  ess

A

appeal

B

2 3

A

 final ons

B

4

A

5

A

6

A

ehbiion

B

7

A

consst

B

8

A

opposie

B

 fuherore  fuheror e

B B

C

   tota C ast possesses C occupies  addition C  togethe   galery C dispay  include C contain  contrast C variety inspire

C

atract

poston nterest rest belongs etra pubic involve dierence

 Work in groups Us at east five phrases on this page to discuss these questions.



What do you think your hoe or your roo says about you?

2

Ho do you thnk your chidhood hoe nfuences your ife?

Would you ike to     

5

a dierent area?

EXAM  T TRAINR 

8

  I pp7S  Exs 1_2  � �  1

 

0 Work in pairs and discuss the questions.

1 When was the last time you received some surprising news? What happened? 2 Has anything unexpected ever happened to you? What was it?

E � 1.5

Listen to a conversati conversation on What unexpected  thing happened? Has it ever happened to you?

f Complete Exam ile SECTION A on page 28

8 (  You will hear people talking in seven derent situations For questions -, choose the best answer (A, B or C)



A

Listening fr agreement

We oen recognise if people agree/disagree with each other, or feel the same when we hear phrases like 'Yes, youre right' and Me too. However, they may agree or disagree by simply stating a smiar or diferent view In this case we have to listen carefully to the speakersrs eg  I'm prety ure thats not going to work speake B: No doubt omething wi g wrong= agreement

C

2

A

C

3

  16 Read the Exam focus Then listen to six 

A

sho conversations. Do the speakers agree (A) 1

or disagree (D)?

4

2

5

3

6

C

4

  ..77 Listen to the conversation from Ex 2 again  Answer question  below How do you know?

1 You hear two people talking about a visitor What do they agree on? It's good to see old friends  They like unexpected event The visitor was impolite

5

A

A

C

You hear a manager talking to an employee Why is she talking  to him?  to tell hm about a promotion   to persuade him to do some overtime  to suggest that he does some training You hear two peope talkng about surprise paries They both  think that surprise paries are rarely successful  hard to keep secret  time-consuming to organise You hear a voicemail message Why is the speaker calling?  to give an invitation   to recommend a restaurant a favourtalking about a film What did they both You tohearasktwofor people  think about it? A The ending made no sense  One character acted strangely C The dialogue was too quiet You hear a man talking about someone Who is he talking about? a close friend  a coleague a neighbour You hear two people talking about a news arcle What do they both think about it? It's embarrassing to readwas unfair time of publication  The It could easily mslead reader You hear two people talking about some news theyve heard about a frend How does the woman feel about it? jealous of the plan worried about the timing shocked by the decision C

6

A

C

7

A

B

C

Speaking or wrtng

e Work in pairs Think of a sho story about an unexpeed or  surprising event ory Read the stories aloud in class Whose sto Q Write your ory is the most surprising?

EXM TRAIN

 � E 

I

9

1  

Would you say you are an eary bird or a nght owl? How many hours' sleep a night do you need?

0 Complete the questionnaire about sleep on

How often a week do you get fewer hours than you would ike?

 te right. right. Compae wit your your pane

How oftn do you seep durng th day?

f ( 19

Do you usually all aseep qucy?

Lsten to two peope talking about  ther seep seep paerns paerns and answer te questio questions. ns.

Which questo on he quesonnare are he speake hheer conve a  h e beg n   g of How aseeepshaehablskangnwgosn?abou speake s d  e e n  e ga d  n g ? ow does  h e oy aoy h s pa e  s ? Wha  s  h e g   ' s p o  e m and how has she 5 Wa ed osugges solve o?ns has she had?

Do you have a set routine efore ed? If yes, what is it?

1

Do you swch your phone off dung the night?

2

3

Do you sometimes go through periods when you hae probems seeping?



Do you usualy remeber our dreams?

4

e Read these answers to the questionnare and complete tem with the correct form of the vebs n brackets. T ha's an interesng interesng qeson. qeson. 1 1

_

(always (always/ / hn ha I need longer n bed b n ac I 2_ (saly / fee) errble aer  moe han egh hors I 3_ (never/ hn) abou ha I 4  (no/ end) o analyse my seep paens! I sppose  5 (depend) I 6 (ge) js he rgh amon a he momen b some nghs,  I 7 _ (nsh) an assgnmen or college  8 (only/ ge) abo  ve hors. ha's qe rare, b  deney 9  (afec) me he nex day

 For questons -8, read te te below and a nd think of te word wic best fits each gap. Use only one word in each gap Thee is an example at the begnnng (0)

A cure for insmna? Yes say. B when my bohes home om 0  (always/ pay) nversy he 0 msc lody on hs phone lae a ngh and hen  can ae a whle Is a pan Somemes  (deam) a lo abo my m y old school recenly hey 1    (bld) a bock of flas on he   (sr p se and  sppose ha  some old memores 

jmv uuo Im Iv  v.I!mYv, v_ mo, h,lm            m  m mm   e      , u    -  -   ·       m                                  v  m Mmmv           mn m Im                T x    v     v   me                     ,      m M  w   C 1Do you sped  a lo ovmem elook mng a scmeesdudugheday and be o  e bed? Do yo  h   k   aec s you  n ay way way? ? 2 Would  be dcul o change you scee abs? GGve easons (0)

T _

()

(2)

()

(4) (5)

(6)

No enogh Too mch ae-ngh V 4 mean) ony he bare mnmm B  15 (ge) beer a swchng o eae Also   (c) back on

7

coee bed as I  (hear) ha sn a beore good hng

EXM BOOST p4

 Compete Exam fie SECTION A on page 4.

(7) .

(8)

Work n pairs and dscuss te questons.

EXAM RAINR

0

   � p12 Ex 1

0 1

 

0 Work in pairs. Follow the instructions

6

1 Take two pieces o pape and wte down your avourte colou on one and you avoute numbe on the othe 2 Guess what you pane has wten, then revea you choces. 3 Can you explan why they ae you avoutes? 4 Take a class suvey to nd the most popular colou and number 

1.0

E

1

Listen to people taking about colour sueys What's the name of the phenomenon? What reasons are given for the choices? Listen to three peope pe ope responding to this question about colours Which two speakers agree?

Do you per bght or pale colous o a droom? Extending answers with appropriate detail and examples

Gvng sho oneone- o twowod answers to a personal queston can appea abupt Look to eend you answes n n these ways: • Gve a eason o you answe • Gve an example to llustate you answe • Gve an nteresting detal  possble • Do not gve ahs longcandetaled answe and don't do n't gve elevant nomaton bore you lstener (

Read the Exam focus. Lsten again agai n and decide which speakes response is the most approprate Why? 1.12

    E f       36 8  1. 1.3 3 Y     f     

     A          f       Y      W   f      W       f!  E         E f Q I    f   W            U     ellll me ab e abou outt   Do you pree to  lms books ood clothng musc weathe Books

l me out  boo youv youv d cnly n Dolron you peere o redhy pntd bo or on

C Change paners and ask your questions.

 Work in pairs and take tus to ask and answer the questions below Remember to:

• answe the ueston • gve a reason • gve an example and/o nteestng detal Routines

Hw  y   n yr w y) D y y y   g y / y n  D y  rgl v ly ly  y  y  y / yw   0  y)  di

D y    l  w     y) Tll    g V grm y  ly w    y  l g  y 0  y w  y r  lr   l w 0y)

EXAM TRAINER

 p75

-

 

1

WRITING

- Par Partt 1 Essay

0 Rank these thing i ordr of impoanc to you wen going on hoiday (1 = mos impoant impoant) . .

food shops and markets sightsng spots viws nightlif bach f Compae yo iea with a paner A your  prtie mar?

8 Read th ssay tasks A and B an the student essay. Which task is i answering? Wat da has he suden added?

In your English class, you hav bn taking about travl Now your Engish tachr has askd you to writ an ssay.

II I I II II II I I I II II A Is it better to travel in your own country  than abroad? Wrte about: 1 adenture 2 cuture 3

_ _  (your own idea)

B s a trip to the ocean better than a trp  to the mountans?

omplete e student's essay pa wth he wos beow

bach tip njoyab aciitis ightif spors summr varid viws 1 Iodcton Bothviw My popu = 2ar in _ is b br wath coudss coud ss bu sky br  Reaon 1 3 mor4  and intrsting activitis Reason 2 cafs rstaurants mor eaon 3  mor Conuso Sa food 7 8 trip 5

t

Audience, sructure and tone

Whn ths dtrmins writing txt structur itton is impoant andAs ton toAnconsidr ssay iswho radinormation wiby ad tachrs itcar as y thfor it hasanyatsorma it ds to cony t is organisd into an ntroduction main bod and concusion  Read he Exam focus Thn ook a the anguge fatures beo.

Wrte about

Whih can ou usuy fid n a s

1 cate 2 actvties 3

 Ra the eay again

(your own idea)

abbrviations contractions simp sntncs complx sntncs infora vocabuay forma voca vocabu buary us of 'I and w us of you an an pop

Student essay

            W    y  y     y         T      Y    y       y                     y      W o         q     Fy    o           .  .   o yo   y      y   .  i          y       o    o       o y      

t omple Exam fie SION  on page 16

 or i ps Look t ea tk  in x 3 nd n d do these thing  Add a third ida 2 Dcid what you coud say about ach da. 3 Discuss your own answr to th ssay uston 4 Mak an ssay pan ik th on in Ex  Q ie o eay n 140-190 wod.

• Structur Us for Us forma mayour  ang a nssay gssay uag ua g.accord . ngto your pan n ExE x 6. ( Swap say wth a paner evew them un e ceks  x 7

EXM TRIN

 pp

 

·i:MfNl,H¥H 0 Work in pairs. What do you associate with the colour oange? f � 21

Work in pairs. Listen to a ecture about the coour orange in lms Does it mention any of your ideas from Ex ?

alternatives to complete these etras from E � 22 Choose the correct alternatives  the lecture in Ex . sten again and check. Underine the whole phrase phrase including the verb.

 Write questions using the prompts and  the collocations collocations in Ex 3 1

What other colours/ messages/ in films?

2

you/ ever/ conclusio/ you should give up/ wacg/ a f?

3

What types o film/ you/ endecy  watch?

4

What/ a role i/ atracing/ you/ to t o the ciema?



. it's not surprising that orange plays a sigificat act/ role i film, 



 blockbusers have a habit/ tendency to use blue and orage to add depth to a scene 

5

you/ thik/ CG / he focus/ of too

3

 the orage in the ski tone of the actors stads out and the actors become the focus/ target

6

 film crtics have come to the conclusion/ consequence  that orange ad blue is oveused

many films? ow scared/ you feel/ whe someone/ danger/ in a film?

7

 orange isn't oly used i cotras to bue It's also used to convey a paricular message/ notice without the eed for words

Wa/ sog eacto/ eacto/ ro you/ you/ we/ we/ you watch a film?

8

What/ you/ the impressio/ a film s woh watchig?

4 5

6

He uses orage clothes and objects  to give the impact/ impression that  here's warmth betwee characters

7

 orage might appear in scenes where characters are about to face some kind of danger/ disadvantage

8

Ths ca provoke both a positive ad a negative neg ative answer/ reaction among viewers

C Work in pars. Take turns to ask and answer the questions in Ex 4

 Think of a well-known film and write  fou sentences to describe it using collocations from Ex 3 Shae them wit your paner. Can they guess the fim?

13

 

 Read the Exam focus. Identify forms of reference in sentences ces from the post in Ex 4 and say sa y what  these senten  they refer to. 1

ow relable are they?

2

And what does ths reay mean?

3

owever sometmes an acle comes along whch maybe gves us somethg to thnk about

4

I fond ths one recently  

5

Check t ot and see what you thnk

0 Talk about the photo above. Say how the people might be

BOOST

 feeing, what what type of occasion it might be and where the celebration might be.

 Compete Exam file SEON A on page 1.  You are going to read an aicle about happiness in

f ( 23

Listen to people at the same celebration as the people in the photo above and check your ideas from Ex 1. How were  they smilar or dierent? dierent?

 the Netherlands Netherlands Match each each paragraph heading (1-7) wth a paagaph (AG)

e Work in pairs and an d discuss the questions Whch celebraton would you most lke to atend in another country? Why?

1

Note down fve thngs that you y ou have enjoyed n the ast week. Compare yor lst wth yor partner's Do smlar thngs make you both happy?

2

C

p12

1

Sharng s carng

5

Too good to be true?

2

An otdoor scene

6

Not the oy oes

3

Content wth less

7

Less pressre

4

Thnk for yorsef

 Read sentences AG Six of these have been removed  from the aice aice Work Work in pais and discuss what the sentences might might be referring to or clarifying

Read the post on a forum about happiness sueys What is the writer's opinion? Do you agree?

 Unusuay Dtch chde do not appea to be overly aected by ths cocern

 vy vy  hn ll h h H l ll l  hy  h ny nn nr n n hrn h n ny  hr I h I  hn nh An h    h lly n In v uny  h    h     h   , h h   hn h n  h  J nh ly! Hv  n l  ln hh y v   hn   hnk  W  u   n xl h h u h l   hn r n h v  hy hy  fun f un h n ny u h uh nn u hy hl hln n hk   n  h y hnk!

B

Ths s renforced by the Dutch Du tch edcaton system



Instead of ths the Dtch beleve n nsprng chldren to eplore the world arond them



Mms dont do for ther chldren thngs they are capable of dong themselves

E

Perhaps the clmate s good or maybe the standard of lvng s eceptonal

F

Accordng to surveys t efecs the cam that the Netherlands s a very happy naton

G They look aer ther kds on ther days o and help put the lttle ones to bed

Understanding efeence devices A wte oen uses ways of referng back to somethng n a prevos sentence sentence or to t o somethng that s comng up later Ths avods the need for repetton We need to recognse these referencess when we read Types of reference nclude: reference • pronouns eg. he he they they t - reerrng to a person or thng •

t/  t / ths ths  referr referrng ng to a cause cause

• •

here/there  referrng to a place

•

a nkng word or nta comment adverb that contrasts or nks back eg however nfortnately nfortnately unusually a eampe o cafcato of what has been mentoned before

 Choose from the sentenc sentences es A-G in Ex 7 the one which fits each gap (16) There is one extra sentence which you do not need to use

,

Speaking or witing in pairs Look again at some points mentioned  Work in the aicle and discuss your opinions 

Prmary school chldren are not gven homework



Dads play an equal role n brngng up chldren

3

School age chldren chldren play p lay outsde unsupervsed



 

t o the top of a climbing Two toddlers have just chased each other to  frame and are pushng to get down the the slide frst. frst. her her mothers are chattng on a nearby park bench. In the distance a little boy wobbles along on hs bke, folowed by hs grandfather who is pushng a buggy.. A gang of older chdren comes racng along the bike path, buggy aughing and okng okng hey overtake a young mum who s cyclng more slow, balancing bal ancing a baby n a seat on the front of her bke and a toddler on the back A group of grls s playing on the grass and not far away, some boys are perfectng ther skateboardng skateboardng moves And none of the schoo-age chidren is accompaned by an adult. Ths happy scene sn't from a move t's just a normal Sprngtime afternoon in the Netherands. s t too perfect? Realistc? deastc? (1) _ heir teenagers are sad to be among the happest in the world and even newborn babes are supposed to be far more contented and smling than ther counterparts coun terparts in diferent countries Of course, course , the big queston s why? And can Dutch parenting skls, the educaton system and their general

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Security is vtal for a happy happy chd, and the Dutch try to  forge strong strong famly famly bonds. For example ts tradtona  for the the whole famy to eat breakfast together every sngle day Dutch Du tch dads aso play a big part n brnging up the chldren, takng an equa role in childrearng and dong household chores. {3)  You're just as lkely to see a dad pushng a pram or wearng a babycarrier as a mum! Another nteresting pont is that ndependence ndependenc e in Dutch chldren is encouraged early on. {4)  

priorties n life teach the rest of us anythng important? One signfcant factor could be the Dutch parents' atttude towards achievement. For them achievement doesn't necessarily lead to happness, but happines can ead to achievement. Success starts with happness hey do not push ther kids to earn quicky; the chdren are allowed to to develop n ther own tme {2)  Prmary schoo chldren are not gven homework, and readng and wrting skills are not usualy taught until the age of six. Learning L earning to pay together s of frst importance. Carefree chdhood asts ust that bt onger.

They are taught to be selfsufcient and accept responsbty at an approprate age. Playng outside unsupervised unsupervise d often consdered noisy and dsruptve in other cultures s seen as an mportant stage in the growng up process One common cause of dssatisfacton in many peope peop e today s an obsesson wth materal thngs. {5) _  or the Dutch, practcalty usualy tops uxury and chldren often grow up wearing secondhand clothes and playing wth used toys. toys. Check out Kings Kin gs Day celebrations celebrati ons n Amsterdam  a maor attraction s the enormous secondhand market where children become traders for the day, buyng and seling old toys Of course, many countres clam to be the happest places to lve' or have the most contented people' for a variety of reasons. {6)  However, However, n the end, most happy adults start of as happy chldren. And whle there may be some thngs about Dutch parenting or educaton that we do not competey agree with wi th they are undoubtedly dong something right!

� Do you agree with the statement below? Why?/ Why not? Give some examples from your own experience.

Achi evemennessdoesn' lead o. happiess, bu happ ca etadnecessari o acielyvemen

 Wite a comment to post on the website in esponse to  the aice. Sha Sharere your comments with the class.

EXAM TRAINR

I pp30-31 �� 5

2  

VOCABULARY: Negative prefxes

0 ( 2.4 You are going to listen to a person reviewing a fake-tanning product. What might it mention? Listen  to the review review and compare compare your ideas. What happened to the speaker

 ( 5

Read these sentences then listen

 to the review review in Ex 1 again Complete  the sentences sentences with words that you hear 1

Pepe ren't lwy ptient when they pply  ke-tnning prut They re en _

2

Se ke tn nt lk nturl They lk   

3

It int gve  regulr veing It gve n _ veing

4

Uing the prut n be iult i yu ren't experiene experiene t n be hr i yure 

5

Mny pepe werent tiie with the eut They were with  the reut

 For question questionss 8, read the text below Use the word given in capitals at the end of some of the lnes to form a word that fits in the gap n the same line. There s an example at the beginning (0)

 -- -- --- ----.. r�,

J >   \,,  \

GETTING THE LOOK "==  =         �- �---- --

8 Add these words to the corre lines. rble ppeling ntente rret helthy ntereting beient plite pible pbbe relevnt epbe repnible reverible entve  tlerble 1

UN relibe

2

IM prtil  

3

IN nvenient _

4

IR: rtnl  

5

IS: hnet

 What general rule do you think might apply to adjectives which take the prefxes pref xes i and ?

 Choose one word with its prefix from each line and wrte a sentence about a popular product using the word to show its meaning I think t ipible t n  beer  ke tnning prut pru t thn 

f Complete Exam Exa m file SECION A on