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Practice Multiple-Choice Tests
Form 1572CPRE
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Mark only one answer to each question. If you change
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94
PASSAGE I
The Triangular Snowflake
[1]
Snowflakes form from tiny water droplets,
following
a specific process of chemical bonding as they freeze,
which results in a six-sided figure. The rare “triangular”
snowflake, similarly,
confounded scientists for years
because it apparently defied the basic laws of chemistry.
[
A
] The seemingly triangular shape of those snowflakes
suggests that forming
through a different process of
chemical bonding. [
B
] By re-creating snowflake formation,
a discovery has revealed to scientists Kenneth Libbrecht
and Hannah Arnold the cause of this apparent variation.
[2]
Snowflakes begin to form when water in the
atmosphere freezes it causes
the water molecules
to bond into a hexagonal shape. During the flake’s
descent from Earth’s upper atmosphere, other water
vapor molecules bumps
into the hexagonal structure.
1. A. NO CHANGE
B. form, from tiny, water droplets,
C. form from tiny, water, droplets
D. form, from tiny water droplets
2. F. NO CHANGE
G. for example,
H. additionally,
J. however,
3. A. NO CHANGE
B. the manner in which formation
C. which had formed
D. that they form
4. F. NO CHANGE
G. the discovery of the cause of this apparent variation
has been made by scientists Kenneth Libbrecht and
Hannah Arnold.
H. scientists Kenneth Libbrecht and Hannah Arnold
have discovered the cause of this apparent variation.
J. the cause of this apparent variation has been dis-
covered by scientists Kenneth Libbrecht and
Hannah Arnold.
5. A. NO CHANGE
B. freezes, causing
C. freezes, it causes
D. freezes, this causes
6. F. NO CHANGE
G. has bumped
H. bumped
J. bump
ENGLISH TEST
45 Minutes—75 Questions
DIRECTIONS: In the five passages that follow, certain
words and phrases are underlined and numbered. In
the right-hand column, you will find alternatives for the
underlined part. In most cases, you are to choose the
one that best expresses the idea, makes the statement
appropriate for standard written English, or is worded
most consistently with the style and tone of the passage
as a whole. If you think the original version is best,
choose “NO CHANGE.” In some cases, you will find in
the right-hand column a question about the underlined
part. You are to choose the best answer to the question.
You will also find questions about a section of the pas-
sage, or about the passage as a whole. These questions
do not refer to an underlined portion of the passage, but
rather are identified by a number or numbers in a box.
For each question, choose the alternative you consider
best and fill in the corresponding oval on your answer
document. Read each passage through once before you
begin to answer the questions that accompany it. For
many of the questions, you must read several sentences
beyond the question to determine the answer. Be sure
that you have read far enough ahead each time you
choose an alternative.
GO ON TO THE NEXT PAGE.
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Bypassing the liquid water phase,
those molecules
condense directly onto the established hexagonal pattern.
As a result, the flake grows outward into bigger and more
complex hexagonal arrangements surrounding the original
hexagonal shape at the center of the flake. [
C
]
[3]
In 2009, Libbrecht and Arnold’s experiments
revealed that triangular snowflakes begin with the
same process of chemical bonding and forms
a hexagonal
shape. The triangular shape is an illusion resulting from
one significant addition to the process
dust.
[4]
Triangular snowflakes begin to form when a tiny
dust particle or other such impurity collides with the
flake as it falls, thereby pushing one edge upward. [
D
]
The downward edge of the snowflake encounters more
wind resistance than the rest of the flake. The greater
the pressure from the wind,
causes bonds to form
quick
at this edge than in the rest of the snowflake.
[5]
The resulting snowflake has three long sides and
three sides that are so short they are difficult to detect.
Although these snowflakes appear to have a triangular
shape—
they actually have a hexagonal pattern. Such
snowflakes offer evidence that even when impurities
interfere, the basic laws of chemistry still apply.
7. If the writer were to delete the underlined portion
(adjusting the capitalization as needed), the sentence
would primarily lose:
A. an explanation of the process water molecules
undergo to change from liquid to vapor to solid.
B. a detail that mentions a step some water molecules
skip in changing from vapor to solid.
C. a visual description of what water vapor molecules
look like.
D. an explanation of how molecules react to various
air temperatures.
8. F. NO CHANGE
G. were they to form
H. if they formed
J. form
9. A. NO CHANGE
B. process is
C. process:
D. process;
10. F. NO CHANGE
G. pressure from the wind, which
H. the pressure, as the wind
J. pressure from the wind
11. A. NO CHANGE
B. more quickly
C. most quickly
D. quickest
12. F. NO CHANGE
G. shape,
H. shape;
J. shape:
13. Which choice most effectively concludes the sentence
and the essay?
A. NO CHANGE
B. scientists can be certain that a solution to even the
most confusing event will be found.
C. snowflakes will still fall if atmospheric conditions
are favorable.
D. snowflakes come in many different shapes and
sizes.
GO ON TO THE NEXT PAGE.
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14. The writer is considering adding the following sen-
tence to the essay:
This growth can take the form of either
branching (which forms stable, symmetrical
shapes) or faceting (which forms unstable,
complex shapes).
If the writer were to add this sentence, it would most
logically be placed at Point:
F. A in Paragraph 1.
G. B in Paragraph 1.
H. C in Paragraph 2.
J. D in Paragraph 4.
PASSAGE II
Climbing Mt. Fuji
[1]
Bundled up in wool sweaters and thick
coats, and we watched
the sun setting on Mt. Fuji
in Japan. It was August and our clothes were stifling,
but we would have needed
the warmth from our bodies
sealed around us as we hiked into the high altitudes.
Three friends and I stepped away from the crowd of
other hikers and spoke our intention: “Sunset at the
base, sunrise at the top.” [
A
]
[2]
As we hiked, a patchwork of clouds swept across
the darkening sky, hiding all traces of our surroundings
outside our flashlights’ beams. The trail gradually changed
from compact dirt to a jumble of volcanic rocks. [
B
]
15. Suppose the writer’s primary purpose had been to offer
an example of a discovery that changed the way scien-
tists viewed the basic laws of chemistry. Would this
essay accomplish that purpose?
A. Yes, because it describes how the observation of
triangular snowflakes has led scientists to discover
that their understanding of the basic laws of chem-
istry is flawed.
B. Yes, because it describes how scientists have
applied the knowledge they’ve gained through
studying snowflakes to other areas of chemistry.
C. No, because it focuses on how scientists are strug-
gling to determine how triangular snowflakes are
formed.
D. No, because it explains that triangular snowflakes
appeared to, but don’t actually, violate the basic
laws of chemistry.
16. F. NO CHANGE
G. coats while watching
H. coats, we watched
J. coats watching
17. A. NO CHANGE
B. would need
C. will need
D. need
GO ON TO THE NEXT PAGE.
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Questions 14 and 15 ask about the preceding passage as a whole.
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17
14
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We tried to steady ourselves with our
walking sticks but slipped and stumbled
because of the jumbled rocks we were slipping on.
[3]
Every thousand feet, we came to a small station
constructed of tin and cement, barely able to block
the wind. At each one, we noted the roof piled high on
fallen rocks and felt both unsettled and reassured by this
evidence of the station’s protective ability. We rested
uneasily for a moment as a clerk burned the station brand
into our walking sticks which it was proof of
our progress
through the darkness.
[4]
As we neared the summit, the whole group of
hikers—thinly spread across the mountain for most
of
the route—condensed, forming
an illuminated line along
the trail. [
C
] Our pace slowed. Progressing along the trail,
we reached the summit just five minutes before dawn. [
D
]
In the half-light of the rising sun:
we began to make
out the dark lines of the cliffs’ at the crater’s
edge.
18. F. NO CHANGE
G. even though we used our walking sticks.
H. despite any efforts to remain steady.
J. with each step.
19. A. NO CHANGE
B. piling high with
C. piled high with
D. piling high on
20. F. NO CHANGE
G. sticks, it was proof of
H. sticks, proof of
J. sticks proved
21. A. NO CHANGE
B. the most part
C. majority
D. more
22. F. NO CHANGE
G. they formed
H. there was
J. we saw
23. Which choice emphasizes the slowness of the ascent
and supports the idea that the narrator’s group of
friends did not set their own pace?
A. NO CHANGE
B. Able to advance only a few steps at a time,
C. Moving forward with each step,
D. Climbing higher in altitude,
24. F. NO CHANGE
G. sun—
H. sun,
J. sun;
25. A. NO CHANGE
B. cliff’s at the craters’
C. cliffs at the crater’s
D. cliffs at the craters
GO ON TO THE NEXT PAGE.
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26. If the writer were to delete the preceding sentence, the
paragraph would primarily lose:
F. a restatement of an idea that emphasizes the
hikers’ anticipation when they reached the summit.
G. a statement that introduces the idea of waiting,
which is the focus of the following paragraph.
H. an unnecessary detail that contradicts information
presented earlier in the paragraph.
J. a clear image that conveys what the hikers saw
when they reached the summit.
27. A. NO CHANGE
B. Furthermore,
C. Once again,
D. Finally,
28. Which choice most dramatically emphasizes the
ruggedness of the landscape?
F. NO CHANGE
G. shattered over
H. smothered
J. went over
30. Suppose the writer’s primary purpose had been to
describe the experience of doing something difficult.
Would this essay accomplish that purpose?
F. Yes, because it tells about a variety of challenges
the hikers faced along their journey.
G. Yes, because it focuses primarily on the hikers’
need for walking sticks and other tools to make it
up the trail.
H. No, because it focuses on the rewarding nature of
the experience but does not describe the hike as
challenging.
J. No, because it focuses mainly on the beauty of the
surrounding landscape.
31. A. NO CHANGE
B. boy named Juan Quezada
C. boy, named Juan Quezada
D. boy named Juan Quezada,
GO ON TO THE NEXT PAGE.
ACT-1572CPRE
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We crouched down on jutting pieces of rock and waited for
the shifting clouds to clear. We waited for the sun. :
[5]
Generally,
a sudden gap in the clouds left us blinking
as the sunlight squelched out
the severe landscape of
gray volcanic rock. We leaned against each other, spent.
Perhaps there is truth in the old Japanese saying: A wise
man climbs Mt. Fuji, but only a fool climbs it twice.
29. The writer wants to add the following sentence to the
essay:
We clipped small flashlights onto our coats,
picked up our walking sticks, and started up
the trail with the other hikers as the sun
dipped below the trees.
The sentence would most logically be placed at Point:
A. A in Paragraph 1.
B. B in Paragraph 2.
C. C in Paragraph 4.
D. D in Paragraph 4.
PASSAGE III
The Pottery of Mata Ortiz
In the early 1950s, a twelve-year-old
boy named, Juan Quezada,
gathered firewood
in the mountains near the village of Mata Ortiz
in Chihuahua, Mexico. Though he dreamed of
becoming an artist, Quezada spent all of his free
time selling firewood to help support his family.
Questions 29 and 30 ask about the preceding passage as a whole.
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28
31
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In the mountains, Quezada found shards of
pots, and an occasional complete pot,
painted with
intricate red and black designs. These were artifacts
from his ancestors, the Paquimé (or Casas Grandes)
Indians, who lived in the area from about AD 1000
to AD 1400. Fascinated by the geometric designs,
Quezada wondered, if he could make pots like these?
B
He dug the clay, soaked it, and tried to shape it
into a pot. In time, he figured out how his ancestors had
mixed the clay with volcanic ash to keep it from cracking
and had used minerals found nearby to create paints. When
it was time to paint his pots, Quezada designed his own
complex geometric patterns.
As an adult, Quezada found a job with the
railroad, but he always made time for his art. By 1976
he was selling pots to travelers and had taught
several
members of his family how to make pots. Three of
Quezada’s pots were discovered in a junk shop in
New Mexico by anthropologist Spencer MacCallum,
who at first thought they were prehistoric. D
His search for their creator led him
to Mata
Ortiz and an eventual
partnership with Quezada.
32. Which of the following alternatives to the underlined
portion would NOT be acceptable?
F. pots—along with an occasional complete pot—
G. pots, along with an occasional complete pot,
H. pots, (and an occasional complete pot)
J. pots (and an occasional complete pot)
33. A. NO CHANGE
B. wondered if he could make pots like these.
C. wondered, if he could make pots like these.
D. wondered if he could make pots like these?
34. Which of the following true statements would provide
the best transition from the preceding paragraph to this
paragraph?
F. The village of Mata Ortiz is only three streets wide
but stretches for a mile between the Casas Grandes
River and the railroad tracks.
G. The patterns on Mata Ortiz pottery that Quezada
admired are based on the techniques of the ancient
Paquimé.
H. Quezada began working with clay from the
mountains.
J. Quezada’s painted designs became increasingly
complex.
35. A. NO CHANGE
B. a dedication to teaching
C. a teacher of
D. has taught
36. In the preceding sentence, the clause “who at first
thought they were prehistoric” primarily serves to
indicate:
F. how closely Quezada had created his pots within
the Paquimé tradition.
G. that Quezada’s technique as a potter wasn’t very
well developed yet.
H. how strikingly simple Quezada’s pots were in
shape and design.
J. that the style of Quezada’s pots was outmoded.
37. A. NO CHANGE
B. lead himself
C. led himself
D. lead him
38. Which choice most strongly suggests that Quezada’s
partnership with MacCallum was not formed right
away upon MacCallum’s arrival in Mata Ortiz?
F. NO CHANGE
G. a circumstantial
H. a momentary
J. a timely
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MacCallum showed Quezada’s pots to art dealers in the
United States, the places in which
art galleries were soon
offering Quezada thousands of dollars for them.
[
1
] Quezada helped his village with the money he
earned selling pottery, but he wanted to do more so.
[
2
] So
he taught people from Mata Ortiz to make pots. [
3
] Today
there are more than four hundred potters around,
all of
which
make their pots by hand, following the traditions
of the Paquimé Indians. [
4
] The village is thriving, and
many museums proudly display the pottery of Mata Ortiz.
[
5
] Each artist brought something unique to they’re
creations. L
39. A. NO CHANGE
B. and it would happen there that
C. where
D. DELETE the underlined portion.
40. F. NO CHANGE
G. more then that.
H. more of them.
J. more.
41. A. NO CHANGE
B. people creating art now,
C. potters in Mata Ortiz,
D. DELETE the underlined portion and place a
comma after the word hundred.
42. F. NO CHANGE
G. whom
H. them
J. who
43. A. NO CHANGE
B. his or herselves
C. hers or his
D. his or her
44. For the sake of the logic and coherence of this para-
graph, Sentence 5 should be placed:
F. where it is now.
G. before Sentence 1.
H. after Sentence 1.
J. after Sentence 2.
45. Suppose the writer’s primary purpose had been to write
an essay summarizing the history of pottery making in
Mexico. Would this essay accomplish that purpose?
A. Yes, because it discusses ancient pottery shards
and complete pots from the Paquimé Indians and
compares that pottery to modern designs.
B. Yes, because it demonstrates the quality of the
ancient pottery of the Mata Ortiz area.
C. No, because it focuses instead on how one artist
based his creations on ancient pottery techniques
and shared those techniques with other artists.
D. No, because it focuses instead on describing the
Casas Grandes culture in ancient Mexico.
GO ON TO THE NEXT PAGE.
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Question 45 asks about the preceding passage
as a whole.
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40
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42
43
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46. F. NO CHANGE
G. they’re
H. their
J. its
47. A. NO CHANGE
B. alike, regularly filling
C. alike, regularly fill
D. alike regularly fill
48. F. NO CHANGE
G. consequently,
H. however,
J. in fact,
49. A. NO CHANGE
B. there to
C. whom
D. they
50. F. NO CHANGE
G. frieze; into which are carved
H. frieze. Into which are carved
J. frieze, carved into it are
51. The writer is considering adding the following
sentence:
Masks figured prominently in classical Greek
theater performances, in part due to the fact
that one actor would usually play several
characters.
Should the writer make this addition here?
A. Yes, because it connects the paragraph’s point
about theatrical masks to the larger subject of clas-
sical Greek theater.
B. Yes, because it explains the masks’ significance to
classical Greek theater and architecture.
C. No, because it only addresses classical Greek
theater and doesn’t include information about
Roman theater.
D. No, because it deviates from the paragraph’s focus
on the Lyceum Theatre’s architecture.
GO ON TO THE NEXT PAGE.
ACT-1572CPRE
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PASSAGE IV
Beaux Arts Architecture in the Spotlight
On West 45th Street in New York City, wedged
between buildings more than twice it’s
height, stands
the Lyceum Theatre. Tourists and New Yorkers
alike regularly filling
this theater to its 900-seat
capacity. Most are there to attend a performance;
a few, for example,
are likely to be architecture buffs
they come to
admire the stunning building itself. Built in
1903, the theater exemplifies the Beaux Arts architectural
style, which fuses elements of classical Greek and Roman
design with Renaissance and Baroque details.
The Beaux Arts revival of classical Greek and Roman
architecture is apparent on first view of the theater. The
Lyceum’s facade—the exterior front, or “face,” of the
building—features half a dozen Corinthian columns.
Above the columns extends a horizontal stone band
called a frieze; carved into it are
the classical theatrical
masks that represent comedy and tragedy. S
46
47
48
49
50
76
Demonstrating the Beaux Arts infusion of
Renaissance and Baroque details, tall, arched French
windows, symmetrically placed between the columns,
lighten the imposing gray limestone structure. [
A
]
Above the windows and frieze, an exterior balcony spans
the width of the gray
building. [
B
] The balcony is fenced
with a balustrade,
a stone railing supported by a row
of waist-high, vase-shaped pillars. [
C
] The ornate
interior of the building is consistent with its elaborate
exterior. [
D
] Not just one but two marble-finished
grand staircases lead from the foyer to the midlevel
seating area, called the mezzanine. Inside the theater
itself, elegant chandeliers illuminate
rose-colored walls
that have gold accents
.
In keeping with sumptuous
Beaux Arts style, curved rows of plush purple chairs
embrace the stage. X
Y
52. F. NO CHANGE
G. gray limestone
H. limestone
J. DELETE the underlined portion.
53. A. NO CHANGE
B. balustrade. Which is
C. balustrade. It being
D. balustrade, this is
54. F. NO CHANGE
G. elegantly chandelier illuminates
H. elegantly chandelier illuminate
J. elegant chandeliers illuminates
55. Which choice maintains the essay’s positive tone and
most strongly mimics the elaborate style of decor
being described at this point in the essay?
A. NO CHANGE
B. embellished with myriad gold accents.
C. marred with gaudy accents of gold.
D. accented with gold.
56. If the writer were to delete the preceding sentence, the
essay would primarily lose details that:
F. illustrate one of the Lyceum Theatre’s features that
deviates from Beaux Arts architecture.
G. contribute to the description of the Lyceum
Theatre’s elaborate interior.
H. support the essay’s claim that Beaux Arts architec-
ture was most popular in the twentieth century.
J. clarify an unfamiliar architectural term used in the
essay.
57. The writer wants to divide this paragraph into two in
order to separate details about the building’s outdoor
features from details about its indoor features. The best
place to begin the new paragraph would be at Point:
A. A.
B. B.
C. C.
D. D.
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