Name: ___________________________

IELTS INTERMEDIATE

LISTENING

Week 10

SUMMIT EDUCATION SERVICES Hanoi SUMMIT EDUCATION SERVICES HCM City

No. 101 Lang Ha – Dong Da District. No. 215 Nam Ky Khoi Nghia, Ward 7, District 3.
No. 32A Dai Co Viet – Hai Ba Trung Dist. No. 198 Nguyen Thi Minh Khai, Ward 6, District 3.
No. 302 Cau Giay – Cau Giay Dist. SUMMIT EDUCATION SERVICES Danang
No 564 Nguyen Van Cu – Long Bien Dist. No.150 Nguyen Van Linh – Thanh Khe Dist.
 LISTENING
I. SKILL REVIEW

Listening Section 1
Action plan for Form/Table completion

▪ read the instruction before the recording starts;

▪ know how many words you have to write;
▪ spend time looking at all the questions before the recording starts;
▪ predict the answers based on the words around the gaps;
▪ check the spelling of your answers thoroughly.

PRACTICE 1

C1 Questions 1-6
Complete the form below.
Write NO MORE THAN TWO WORDS for each answer.

PRIME RECRUITMENT
Employee record

Example Answer
Surname Riley .

Email 1........................ Advice

Nationality 2........................ Q2. Be careful to write a

nationality, not the name of a
Reference Name: John Keen country
(professional) Job: manager of 3 . . . . . . . . . . . . . . . . . . . Q3. What kind of word(s) do
you need here?
Reference Name: Eileen Dorsini Q4. Is this the same kind of
(personal) Job: 4 . . . . . . . . . . . . . . . . . . . . . . . . word as for Q3?

Special current 5. . . . . . . . . . . . . . . . . certificate

qualifications certificate of competence in 6. . . . . . . . . . . .

1
 C1 Questions 7-10
Complete the table below.
Write NO MORE THAN ONE WORD for each answer.

PRIME RECRUITMENT CHILDCARE VACANCIES

Location
Name Children Special requirements

London Benton girl and boy be keen on 7 . . . . . . . . . . . . . . .

8...............
near Oxford Granger be animal-lover
boys

be willing to 10 . . . . . . . . . . . . .
9.............. Campbell four girls
. . when camping

Post-listening

Work in pairs. Read the script for the recording and highlight the part that helps you find the
answer for each question.

Listening Section 2
Action plan for Map labelling

▪ look at the map and read the instructions;

▪ try to understand what the map shows and describe the location of each of
the places marked;
▪ use the places already labelled on the map to help you follow the
recording;
▪ make sure you know where you are on the map at the beginning;
▪ listen for words and phrases to indicate positions and directions;
▪ write the names of the places on the map as you listen.

2
PRACTICE 2

C2 Questions 15-20

Label the map below.

Write the correct letter, A-I, next to questions 15-20.

15 The exhibition centre ………

16 The High Street ………

17 The farmhouse ………

18 The coal mine ………

19 The Manor House ………

20 The Railway Station ………

Post-listening

Work in pairs. Read the script for the

recording and highlight the part that
helps you find the answer for each
question.

Listening Section 3
Action plan for Flowchart completion
▪ read the instructions and check how many gaps there are in the flowchart;
▪ look at the heading of the flowchart to find out the topic of the discussion;
▪ look through the lines of the flowchart and predict what type of
information is required for each gap.
While you’re listening,
▪ listen for signpost words and phrases commonly used to describe process
and use them to help you follow the discussion;
▪ listen for synonyms and paraphrases of the words before the missing word,
and use them to help you write the correct words in the gaps;
▪ check your answers carefully and transfer them to the answer sheet at the
end of the Listening test.

3
PRACTICE 3

C3 Questions 21-26

Complete the flowchart below.

Choose SIX answers from the box and write the correct letter, A-I, next to questions 21-26.

A actors
B furniture
C background noise
D costumes
E local council
F equipment
G shooting schedule
H understudies
I shopowners

FILM PROJECT

visit locations and discuss 21 ...........................

contact the 22 ........................... about roadwords

plan the 23 ...........................

hold auditions and recheck availability of the

24 ...........................

choose the 25 ........................... from the volunteers

rehearse

collect 26 ........................... and organise food and transport

4
 Listening Section 3
Action plan for Diagram labelling
▪ look at the instructions and check how many parts of the diagram you have
to label.
▪ look at the heading of the diagram to find out the topic of the discussion.
▪ look at the labels for all the parts of the diagram and try to describe the
parts in relation to one another.
▪ In case you are given a list of parts, read the options and think about what
you might hear.
▪ Listen for frequent expressions to describe positions to help you follow the
recording.
▪ write the names of the parts on the diagram as you listen.

PRACTICE 4

C4 Questions 27-30

Choose four answers from the box and write the correct letter, A-G, next to questions 27-30.

A lights
B fixed camera
C mirror
D torches
E wooden screen
F bike
G large box

Advice
Q27 Where is the first object you have to label – inside or
outside the mill?
Q28 This is near a labelled object. What is the object?

Post-listening

Work in pairs. Read the script for the recording and highlight the part that helps you find the
answer for each question.

5
 Listening Section 3
Action plan for Multiple choice
▪ read the questions before the recording starts. They will help you predict
what the recording will be about and what information you should listen for.
▪ listen to the introduction, which tells you what the recording is about.
▪ listen out for key words so that you know which question to answer.
▪ listen for synonyms and paraphrases of the options to choose the most
correct ones.
▪ check your answers carefully and transfer them to the answer sheet at the
end of the Listening test.

PRACTICE 5

C5 Questions 21-25

Choose the correct letter, A, B or C.

21 What is Chloe concerned about? Advice

A her knowledge of maths Which speaker is thinking of
B her ability to write essays doing the course? What kind of
C her lack of business experience course is it?

22 Which of the following does Ivan feel he has Q21 What does Ivan say which
improved? tells you that you need to listen
A his computer skills for the answer?
B his presentation skills
C his time management Q22 Ivan mentions all of the
options but he only feels one
23 What does Chloe especially like about the course? has improved.
A She won’t have to do a final examination.
B She can spend time working in a business. Q23 What words does Chloe
C She can study a foreign language. use to say she especially likes
something?
24 Ivan is pleased that the university is going to have
A more lecture rooms.
B a larger library.
C more courses.

25 What does Ivan advise Chloe to do?

A contact his tutor
B read about some other universities
C visit the university

6
 C5 Questions 26-30

What does Chloe decide about the following subjects?

Write the correct letter, A, B or C, next to questions 26-30.

A She will study it. Advice

B She won’t study it. Only put A or B if Chloe is definite in what
C She might study it. she says.

Subjects Q26 Listen for Chloe’s final opinion.

26 Public relations ........ Q27 Chloe sometimes disagrees with Ivan

about whether a course is useful or not.
27 Marketing ........ Listen out for languages of
agreeing/disagreeing.
28 Taxation ........
Q29 What expression does Chloe use
29 Human resources ........ which matches A, B or C?

30 Information systems . . . . . . . . Q30 When a speaker makes a statement

followed by ‘but …’, listen carefully to
what comes after ‘but’ as that will
probably give you the answer.

Post-listening

Work in pairs. Read the script for the recording at the end of the handout and highlight the part
that helps you find the answer for each question.

7
 Listening Section 4
Action plan for Table completion

o Look at the instructions and check how many words you must write in each gap.
o Look at the table heading which tells you what the recording is about.
o Read the column headings
o Look at each row of the table in turn and think about the kind of word(s) you
need to complete it.
o Listen and complete each gap.
o Move on to the next row each time the speaker talks about something new.

PRACTICE 6

C6 Questions 31-40

Complete the table below.

Write NO MORE THAN TWO WORDS for each answer.

THE HISTORY OF THE ELECTRIC GUITAR

Date Maker Name of Guitar Features

1890s Orville Gibson no name similar in shape to a 31 . . . . . . . . . . . . . . . .

1925 John Dopyera The National Guitar made of metal, good for playing 32 . . . . . .
. . . . . . . . . . . music

1930s C. F. Martin The Dreadnought strings made of 33 . . . . . . . . . . . . . . . . .

Company

1931 George The 34 . . . . . . . . . . . . used two 35 . . . . . . . . . . . . . . . . . shaped

Beauchamp ..... like horseshoes to increase sound

1935 Adolph The Rickenbacker made from 36 . . . . . . . . . . . . . . . . .

Rickenbacker Electro Spanish

1941 Les Paul The Log the first to be completely 37 . . . . . . . . . . . .

.....

8
 1950 Leo Fender The Fender its simplicity made it ideal for 38 . . . . . . . .
Broadcaster .........

1951 Leo Fender The 39 . . . . . . . . . . . . easy to carry around

.....

1952 Ted McCarty The Gibson Les Paul 40 . . . . . . . . . . . . . . . . . in colour

1954 Leo Fender The Fender double cutaway design

Stratocaster

Post-listening

Work in pairs. Read the script for the recording at the end of the handout and highlight the part
that helps you find the answer for each question.

II. FURTHER PRACTICE

PRACTICE 7

C7 Questions 11-15

Choose the correct letter, A, B or C.

11 What does the charity Forward thinking do?

A It funds art exhibitions in hospitals.

B It produces affordable materials for art therapy.
C It encourages the use of arts projects in healthcare.

12 What benefit of Forward thinking’s work does Jasmine mention?

A People avoid going to hospital.
B Patients require fewer drugs.
C Medical students do better in tests.

13 When did the organisation become known as Forward thinking?

A 1986
B in the 1990s
C 2005

9
14 Where does Forward thinking operate?

A within Clifton city

B in all parts of London
C in several towns and villages near Clifton

15 Jasmine explains that the Colville Centre is

A a school for people with health problems.

B a venue for a range of different activities.
C a building which needs repairing.

C7 Questions 16-20

Who can take part in each of the classes?

Write the correct letter A, B or C next to questions 16-20.

Class participants

A children and teenagers

B adults
C all ages

16 Learn Salsa! ………..

17 Smooth Movers ………..
18 Art of the Forest ………..
19 The Money Maze ………..
20 Make a Play ………..

10
 TRANSCRIPT
PRACTICE 1

C1
Clive: Hello, Edwina, is it? Have a seat.
Edwina: Yes, Edwina. Thanks. I'm looking for a job as a nanny. I like working with children. I
talked to you yesterday?
Clive: Oh, yes. Well, we covered most of the ground on the phone yesterday. I've got a form I
need to complete for my records. So, (Example) you're Edwina Riley, and how should we contact
you?
The woman’s name is Edwina Riley, so ‘Riley’ has been written in the space. Now we shall begin.
You should answer the questions as you listen, because you will not hear the recording a second
time. Listen carefully and answer questions 1 to 6.
[repeat]
Edwina: By email. I check it regularly.
Clive: What’s the ad dress?
Edwina: (1) It's Edwina like my name then R-I, the first two letters of my surname, at worldnet
dot com.
Clive: E-D-W-I-N-A-R-I at worldnet dot com?
Edwina: Yes
Clive: Good. And you’re from Australia?
Edwina: (2) Actually, I'm a New Zealander.
Clive: Oh, I’m sorry. I bet it's really irritating being told you're an Australian. Like Canadians
being asked what part of the States they’re from.
Edwina: I’m used to it. It happens to us all the time.
Clive: And now, you said on the phone that you could bring me some references? One from
someone who's known you in a professional capacity and one personal one?
Edwina: Ah, yeah. Here's one from (3) John Keen, who was the manager at the play centre in
Wellington where I worked for three years after I left school. It's got all his contact details on.
Clive: Thank you. So this was your last employer?

11
Edwina: Yes, apart from a bit of waitressing recently, but that was just temporary. I'm sure John
will answer any questions if you contact him.
Clive: We do run checks, yes. And a personal reference?

Edwina: Ah, you can contact the friend of my mother’s I'm staying with here in London: (4) Eileen
Dorsini. She's a professor. She's known me all my life because she used to be our neighbour back
home when she was a primary school teacher there. Now she’s working here at the Institute of
Education.
Clive: Oh good!
Edwina: I’ve got her contact details here for you.
Clive: Thanks. I think I have some jobs to suit you. Oh, do you have any practical qualifications,
by the way? Life-saving, music, anything?
Edwina: Um, (5) I’ve got an up-to-date first aid certificate. I did a course when I was working.
Clive: That's good. First aid. Anything else?
Edwina: Well, I've got a driving licence, as I told you or the phone. But that’s not special, you
said, almost everyone needs that really. (6) I’ve got a sailing qualification, it’s a certificate of
competence.
Clive: So you're a yachtswoman?
Edwina: I love sailing.
Clive: Well, I'll note you have a certificate. Hmm.

Before you hear the rest of the conversation, you have some time to look at questions 7 10.
[Pause the recording for 30 seconds.]

Now listen and answer questions 7 to 10.

Clive: Now, as I mentioned yesterday, there are three families and the job description is much the
same for all of them, as I explained. There are a few other things you need to know. Anyway, the
first family's here in London.
Edwina: Yes, I did make a few notes. London, er, that's the Bentons? With two children?
Clive: Yes. That's right, a girl of three and her brother who's sight. The little boy has a quite serious
food allergy. Did you learn about things like that on your course?

12
Edwina: Oh, well, I know what to do if someone has an allergic reaction.
Clive: Good, but (7) what they mainly want is someone with an interest in sport, as that's the kind
of family they are.
Edwina: Oh that's OK. I'll enjoy that.
Clive: Good. Now the next people are in the country, near Oxford.
Edwina: Oh yeah, the Grangers?
Clive: So, (8) they have twin boys of five, who are a bit of a handful, I suspect, but it's a lovely
place, quite a grand house, and the family is extremely welcoming. They keep horses. Do you ride?
Edwina: I did when I was younger. I like animals generally.
Clive: Well, ‘animal-lover’ was their special request, so you'd be fine there. The last family …
Edwina: Yes?
Clive: I don't think I told you (9) they live in Scotland.
Edwina: Really? What's their name?
Clive: Campbell.
Edwina: Oh, yes. And they have four girls under ten?
Clive: That's it. They have a lovely city flat, and they own a small island.
Edwina: Wow!
Clive: Actually, you might get on with them very well. (10) They particularly wanted someone
who would be prepared to cook when they go camping on the island.
Edwina: Camping would really suit me and I’m used to taking my turn doing the food. But it is a
long way from London.
Clive: Mm, yeah, well, you can think about it. Um, then as soon as I’ve checked your references,
we can arrange for you to talk to all the families.
Edwina: Right. Thanks very much!
Clive: Thank you. I’ll email you as soon as I can.

That is the end of section 1. You now have half a minute to check your answers.

13
PRACTICE 2

C2

Now listen and answer questions 15 to 20.

Now if you'd like to look at your map, we'll begin our tour. The site is a bit like a circle with the
railway going round the edge. You can see where we are now by the entrance and we're going to
start by walking to the High Street. (15) We'll go to the crossroads in the middle of the map and
go straight on, making our way between two buildings on either side of the path. The larger one is
an exhibition centre but it's not open today, unfortunately. The other building is offices. (16) The
path leads directly to the High Street building which is at the opposite side of the site to the
entrance. Here you're free to wander around and take a ride up and down on a tram. (17) We'll then
take the path which follows the railway line and crosses it to the farm. If you wish, you can have
tea in the farmhouse and there'll be time to look at the animals and the machinery. (18) Then, we
cross the railway fine again and visit our special attraction which is the coal mine. It’s just in front
of us here at the entrance. (19) We'll return to the crossroads and walk through a small wooded
area to the Manor House. This is one of the original buildings on the site and belonged to a wealthy
farmer. You can look round the house and gardens and talk to our guides who can tell you what it
was like to live there. (20) We will then follow a path which goes past the pond and will take us
to the Railway Station which is situated between the path and the railway line. Finally we'll take
the steam train back around the site, passing alongside the High Street and the Coal Mine back to
the entrance. So if you'd like to follow me …

That is the end of section 2. You now have half a minute to check your answers.

14
PRACTICE 3

C3

You will hear three students on a media studies course talking about a film they are planning to
make. First you have some time to look at questions 21 to 26.
[Pause the recording for 30 seconds.]
Now listen carefully and answer questions 21 to 26.
Reza: Hi Mike.
Mike: Hi Reza, this is Helen.
Helen: Hello!
Mike: We're really pleased you've agreed to join us on this film project.
Helen: Yes, your experience is going to be so useful.
Reza: Well, I hope so. It’s the technical side I know best - lighting, sound and stuff.
Mike: But you think the script is OK?
Reza: Yes, I think it's great! Um, have you decided where you're going to shoot?
Helen: Well, there's the water-mill scene at the end. And we've thought about some locations in
town we can use. They're behind the shopping mall and on a couple of residential streets. And in
an empty shop on campus. It means we don’t have to worry about getting permission from a
shopowner.
Mike: So (21) do you think we should go to all the locations with you?
Reza: It would be a good idea. We need to talk about the levels of background noise so we know
they're all going to be reasonable places to film.
Mike: But the sounds of traffic will make it more natural.
Helen: I think Reza means things like aeroplanes, trains and s0 on that would mean we have to
stop filming.
Reza: Exactly. And also I'll make notes for myself about what lighting I’m going to need. I think
the university department has a good range of equipment, but I'll need to make a list for each
location for my own reference. Anyway, once we've had a look round, (22) you can do the
roadworks check.
Mike: What do you mean?

15
Reza: You need to find out about building work or roadworks. Because you could start filming
one day and come back in the morning to find one of the roads has been dug up! The local council
have to be informed about things like that so you can find out from them.
Mike: OK. Then I think we need to work from the script and put together a list of all the scenes
and decide which ones we're going to film when. We need to (23) prepare the shooting schedule,
day by day.
Reza: You're right. Then when you know how long filming is going to last, you can tell everyone
when they're needed.
Halen: OK, so as soon as we can, we'll audition, and then when we contact people to offer them
parts we can send the exact dates and (24) make really sure they are free. Because often the actors
are all enthusiastic but then when you try to pin them down about whether they're really free at
that time, you find they've got exams or something, or they're off to a festival. Just before and you
have to rush about looking for replacements.
Mike: Then, we need people who can take over the main parts if one of our stars falls ill or
something.
Reza: Yes, I agree. So offer the main parts to the people we really want, and at other volunteers
who were OK.
Helen: (25) Yes. We can select the understudies once the main roles have been confirmed, So,
once we've got that sorted and we've held all the rehearsals of the main scenes, we'll be ready to
start filming.
Reza: Yes, that sounds good. Anything else?
Mike: Er, well, just housekeeping, really. We don't actually need costumes because actors will
wear their own clothes. (26) My family has agreed to lend us some pieces of furniture which we
need, so we'll go and fetch those the weekend before we start.
Helen: We'll provide food and drink during shooting so I'm going to borrow some cool-boxes.
Mike: And I've got a little van. Most of the locations are within walking distance of the halls of
residence anyway. The only one further away is the water-mill.

Reza: Ah, yes, can you tell me about that?

Mike: Um, OK. Er, hang on a minute, I'll get my notes. There's a plan in them.

16
PRACTICE 4

C4

Now listen and answer questions 27 to 30.

Mike: Here's the mill. You see, basically you have a vertical water wheel which was used to power
the grinding stones.
Reza: Mm, it sounds really interesting. Will we film inside?
Helen: Yes. That's where the final scene between the girl and the man takes place. Our plan is to
(27) fix one camera outside by the window next to the door, to film through the window, and then
have another handheld camera inside the mill. That means we can get two views of the same scene.
We were going to do something using a mirror, but we decided that would be too complicated.
Mike: Yes, by doing it that way, (28) all we'll need is lights on the inside, next to the wall behind
the wheel which can shine across to the opposite wall.
Reza: Hmm. Will that give enough light?
Helen: I think so, because the scene is in the evening; it shouldn't be too bright. The actors will be
carrying torches too.
Mike: And (29) we'll have an old screen made of wood just inside the door, because it's a new
door and it'll look wrong. The lights won't shine directly on it so it'll be fine.
Reza: So you won't actually show the door open?
Mike: No. (30) There's a huge box on the floor against the wall farthest from the wheel. We'll see
the girl approaching the mill on her bike. Then we see through the window and the man is inside
looking at it, then the next shot is the girl, in the room with him, opening the box.
Reza: So it'll be a mysterious ending! Well, I think it's going to be a great project.
Mike: Good.
Helen: Thanks!

That is the end of section 3. You now have half a minute to check your answers.

17
PRACTICE 5

C5

You will hear two people called Chloe and Ivan talking about a business studies course. First, you
have some time to look at questions 21 to 25.

[Pause the recording for 30 seconds.]

Now listen carefully and answer questions 21 to 25.

Chloe: Oh, hi Ivan.

Ivan: Oh, hi Chloe.
Chloe: I’m glad I bumped into you because I've been looking at this prospectus about courses at
the university, I'm thinking of doing a business studies degree. Isn't that what you're doing?
Ivan: Yes, I'm about to start my third year, I think you'd enjoy it. Is there something on the course
that you're not sure about?
Chloe: Well, you know I've been working for a publisher for the last four years as a production
assistant…
Ivan: That will be really valuable experience because a lot of people go to university straight from
school and don't have that kind of background.
Chloe: Yeah I know and I'm used to dealing with figures and percentages and things, but (21) it's
been a while since I've sat down and put my ideas into an essay. I was never that good at it and I'm
not sure I can do it now.
Ivan: But you did OK at school, so I'm sure you'll soon get into it in. I was worried about different
things when I started, like if I’d be able to use all the computer programs, but you only really need
the basics. You have to do a lot of presentations and I thought that would be hard, but we'd actually
had such a lot of practice at
school it was fine.
Chloe: But did you find writing essays easy?
Ivan: It was OK but (22) I was hopeless at getting them in by the deadline and I was always late
for lectures, so I had to work hard at that and I tend to be early now.

Chloe: It's good that you've sorted yourself out before you go and get a job or you might not have
it very long! I think the course looks really interesting.

18
Ivan: It is and it also gave me the chance to spend six months working in a local business last year.
Chloe: That's not so important for me unless I could go abroad to use my foreign languages but
that doesn't seem to be on offer, which is a shame. (23) What really appeals to me, though, is the
idea of being assessed throughout the year. I think that's a much productive way of learning instead
of everything being decided in an exam at the end.
Ivan: It's good for people like you who are hard-working all year round. You'll be spending all
your time in the library. They've just expanded it too.
Chloe: That's good.
Ivan: Well, yes and no. They've made the study area bigger but it means they've taken some of the
magazines and periodicals away, so l think it was better as it was. The university's expanding all
the time and (24) there are lots of new courses coming next year.
Chloe: Well, that's great news, isn't it? It means the college will have a better reputation as more
people will hear about it, so that's good for us.
Ivan: Mm, I agree but they really need to add more lecture rooms as we often have lectures in tiny
rooms.
Chloe: Well, you obviously think overall it's a good place to do a degree. I should probably go and
have a look round.
Ivan: Well, it's holidays now and there's not much going on there.
Chloe: Oh, so it's probably not worth going in now.
Ivan: But (28) you could email my tutor – I know he'd be happy to answer any questions. I can
give you his email address. I looked at quite a lot of other universities and read loads of
prospectuses but I thought this one was the best.

Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.
[Pause the recording for 30 seconds.]
Now listen and answer questions 26 to 30.
Chloe: I was a bit unsure about all the different subjects you can choose on this course.
Ivan: Well, I can tell you a bit about them. There are some subjects you have to do and some that
you can choose. The most interesting course I've done is (26) public relations.
Chloe: From what I've read it doesn't look very demanding – some of it is really just common
sense.

19
Ivan: But it will be really useful if you want to go into marketing or advertising.
Chloe: That's true, but I need to find out a bit more about it first before I decide – if it will really
help me. It’s difficult to tell from the prospectus.
Ivan: But you are interested in marketing?
Chloe: Oh, yes.
Ivan: Well, you can choose a (27) marketing course. I wasn't very impressed with that course
actually. The tutor didn't make it very interesting.
Chloe: Mm, it's good to put on your CV that you've done a marketing course, though, so that would
be a definite for me and maybe I'd get a different tutor. What other courses did you choose?
Ivan: I'm doing (28) taxation as I was thinking of training to be an accountant but I'm not sure
now.
Chloe: Oh, that will be a good option for me because I enjoy working with figures. Although I
don’t want to be an accountant, it’ll be good to have an understanding of taxation, especially if I
ever run my own business.
Ivan: Then there's the most popular course, which is (29) human resources and a lot of people
seem to get jobs in that field.
Chloe: My friend works in human resources and she's really good at it, but I don’t think I’ve got
the right personality so I’d give that one a miss. I'm more interested in how businesses actually
work – the structure.
Ivan: That's a compulsory course – the structure of business – but you might find (30) information
systems helpful.
Chloe: Is that kind of computer programs?
Ivan: Some of it is, but also databases, project management, and other things.

Chloe: Oh, sounds useful, but I'll have to look at some of the other possibilities first, You know,
Ivan, this course sounds as though it would suit me. I'm going to apply.
Ivan: Great! If there's anything else you want to ask me, you've got my number.
Chloe: Thanks!

That is the end of section 3. You now have half a minute to check answers.
[Pause the recording for 30 seconds.]

20
PRACTICE 6

C6

You will hear a lecture talking about the history of the electric guitar. First you have some time to
look at questions 31 to 40.
[Pause the recording for one minute.]
Now listen carefully and answer questions 31 to 40.

During today’s lecture in this series about the history of music, I'm going to look at the different
stages the electric guitar went through before we ended up with the instrument we know so well
today.
The driving force behind the invention of the electric guitar was simply the search for a louder
sound. In the late 1890s Orville Gibson, founder of the Gibson Mandolin-Guitar Manufacturing
Company, (31) designed a guitar with an arched or curved top, as is found on a violin. This made
it both stronger and louder than but it was still hard to hear amongst other louder instruments.
During the 1920s with the beginnings of big-band music, commercial radio and the rise of the
recording industry, the need to increase the volume of the guitar became even more important.
Around 1925 John Dopyera came up with a solution. He designed a guitar known as ‘The National
Guitar, with a metal body which had metal resonating cones built into the top. (32) It produced a
brash tone which became popular with guitarists who played blues but was unsuitable for many
other types of music.

Another way of increasing the volume was thought of in the 1930s. The C. F. Martin Company
became known for its ‘Dreadnought’, (33) a large flat-top acoustic guitar that used steel strings
instead of the traditional gut ones. It was widely imitated by other makers.
These mechanical fixes helped, but only up to a point. So guitarists began to look at the possibilities
offered by the new field of electronic amplification. What guitar players needed was a way to
separate the guitar's sound and boost it in isolation from the rest of a band or the surroundings.
Guitar makers and players began experimenting with electrical pickups which are the main means
of amplification used today. The first successful one was invented in 1931 by George Beauchamp.
(34) He introduced to the market a guitar known as ‘The Frying Pan’ because the playing area

21
consisted of a small round disk. The guitar was hollow and was made of aluminum and steel. (35)
He amplified the sound by using a pair of horseshoe-shaped magnets. It was the first commercially
successful electric guitar.
So by the mid-1930s, an entirely new kind of sound was born. Yet along with its benefits, the new
technology brought problems. The traditional hollow body of a guitar caused distortion and
feedback when combined with electromagnetic pickups. Musicians and manufacturers realised that
a new kind of guitar should be designed from scratch with amplification in mind.

In 1935, Adolph Rickenbacker produced a guitar which took his name – ‘The Rickenbacker
Electro Spanish’. (36) It was the first guitar produced in plastic, which, because of its weight,
vibrated less readily than wood. It eliminated the problems of earlier versions which were plagued
by acoustic feedback. ‘The Electro Spanish had its own problems, however, because it was very
heavy, smaller than other guitars of the period, and was quite awkward to play. Developments
continued and in 1941 Les Paul made a guitar which he called ‘The Log’, and true to its name,
(37) it was totally solid. All previous guitars had been hollow or partly hollow. it looked slightly
strange but the next step had been made towards the modern electric guitar.

The first guitar successfully produced in large numbers was made in 1950 by Leo Fender. His
Spanish-style electric guitar, known as a ‘Fender Broadcaster’, ha a bolt-on neck, and was initially
criticized by competitors as being very simple and lacking in craftsmanship. Yet it was
immediately successful and (38) was particularly suited to mass production, spurring other guitar
to follow Fender’s lead.

In 1951 Leo Fender revolutionised the music world yet again when he produced an electric bass
guitar. This was the first commercially successful bass model to be played like a guitar, It was
easier for players to hit an exact note: (39) that's why it was called ‘The Precision’. Although there
had already been electric standup basses, this was much more portable. It is now standard in the
line-up of any rock band and some historians suggest that entire genres
of music, such as reggae and funk, could not exist without it.
In 1952 the Gibson company became Fender's first major competitor when Ted McCarty created
‘The Gibson Les Paul’ guitar. It was distinctive because (40) it was coloured gold. The reason for
this was to disguise the fact that it was made from two different kinds of wood. In 1954 Leo Fender

22
responded to this successful instrument by introducing ‘The Fender Stratocaster’. It is easily
identified by its double cutaway design and three pickups. This model may be the most influential
electric guitar ever produced. The modern guitar as we know it was here to stay.

That is the end of section 4. You now have half a minute to check your answers.

FURTHER PRACTICE

PRACTICE 7

C7

You’ll hear a radio programme in which a presenter called Jasmine tells her colleague Fergus
about a charity. First you have time to look at questions 11 to 15.
[Pause the recording for 30 seconds.]
Now listen carefully and answer questions 11 to 15.

Fergus: And now here's Jasmine, who's come to tell us about this week’s charity.
Jasmine: Hi Fergus. This week I'm going to talk about Forward thinking and their plans for the
Colville Centre.
So in recent years people have realised how useful the arts can be within healthcare. (11) The idea
behind Forward thinking is to use the arts to promote wellbeing. The charity develops projects for
people with special needs and health problems, and also delivers training to healthcare
professionals in using the arts, as well as supplying them with information and advice. Forward
thinking doesn't just run art and craft classes to distract people who are ill, or recovering from
illness, but arranges longer-term projects and courses, as it's been shown that the arts can bring all
sorts
of positive changes in patients, including (12) benefits such as shortening the length of stay in
hospital and reducing the amounts of medicine they need.
Fergus: I see

23
Jasmine: Forward thinking has experience of working with a broad range of people from young
adults with learning difficulties to older in homes or daycare centres, and people with physical
disabilities.
The organisation’s been around since 1986, and it gradually expanded during the 1990s. Then, in
the new millennium, it was decided to find a memorable name, (13) so it's been operating as
Forward thinking for several years, er, in fact since 2005.

It’s quite a locally based charity, mainly for people in (14) the southern part of this region, which
includes all rural and urban communities outside the city of Clifton, which has its own
organisation. There are of course some similar charities in other
parts of the country, in London and so on.

Fergus: Mm. And what's the present fundraising in aid of?

Jasmine: Yeah. Well, the charity needs funding in order to buy the Colville Centre. This is a
former village school, which was built in 1868. It was modernised and refurbished by the present
owners last year, so (15) it's ideal for art classes and for small social events, performances seminars
and so on. Forward thinking is fund-raising to purchase the building so they can use it to continue
running classes and so on for the general public and eventually also for some of the people they
help.

Before you hear the rest of the talk, you have some time to look at questions 16 to 20.
[Pause the recording for 30 seconds.]

Fergus: Right, so can you give us a few ideas about what classes people might do there? Is it all
art classes?
Jasmine: Um, well, there are some good art classes, but there are lots of other things going on as
well. So, for example, there's ‘Learn Salsa!’ with Nina Balina’s team. They say that salsa is an
easy dance to learn. It's also an excellent form of exercise,
according to Nina, and (16) that class is for both men and women, of course. It's ideal for beginners
and what they call ‘refreshers’. That's £100 for ten sessions.

24
Then another class is called ‘Smooth Movers’. It's with Kevin Dennett and (17) it's for you if you
don't have the same energy levels as you used to when you were a teenager. It's a gentle exercise
class, geared to the needs of whoever is in the group in a particular session. And Kevin is qualified
to teach classes to people getting over injuries and so on, and balance training. That's £60 for
ten sessions.

Then there's a day called ‘Art of the Forest’, with Jamie Graham, where you discover Upper Wood,
a short walk from the Colville Centre, and learn how to design in 3-D with natural materials. It's
an unusual and exciting way to be creative.

Jamie is an artist, with a background also as a country park ranger. (18) For this day, youngsters
must be accompanied by a parent or guardian and the costs are: adults £40, under-14s £10, but it’s
best value at £80 for a family of four.

The next one is ‘The Money Maze’, and this is (19) a series of talks about managing by Peter
O’Reilly, an Independent Financial Advisor. He gives advice on family finances, things like
everything parents need to know about managing the costs of bringing up children, sending them
to university, and actually, also, about care for elderly relatives. It's £10 per talk, which will all go
to support Forward thinking.

And as a final example of what's on offer, there's ‘Make a Play’. (20) That's for 8-14s and this
activity is such a hit that it usually sells out within days of being announced. Basically what you
do is write, rehearse and perform a play in just two days and it doesn't require any previous
experience. I gather there's lots of fun and silliness along the way and the best bit perhaps is that
there's a performance for family and friends at the end. It's just £50 for two days.
Fergus: Pretty good range of activities, I think. And all raising money for a good cause.
Jasmine: Yes! And the all-important contact details are: colville© forwardthinking.org.uk or write
to me …

THE END

25