Virginia SOL-style Practice Test 1 — Reading (Grade 8)
A free Virginia Standards of Learning (SOL) tests practice paper for Grade 8 in the format of the real test: 40 questions in 90 minutes, covering Section A — Passages 1 and 2; Section B — Passages 3 and 4; Section C — Passage 5 and Paired Passages 6 and 7. Suggested time 90 minutes (the real test is untimed). Read each passage carefully, then choose the best answer or write a one-word answer. You may look back at the passages. Answer every question. Attempt it online — every question is marked instantly and the correct answers are shown at the end.
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For three weeks, the audition piece had followed me everywhere. I heard it in the hum of the refrigerator, in the squeak of my sneakers on the gym floor, even in the rhythm of my little brother's spoon against his cereal bowl. Sixteen measures of Mr. Alvarez's choosing, with a high B-flat perched at the end like a bird that might fly off if you breathed on it wrong.
The prize was first chair in the Honor Band: the seat on the end, the solos, the nod from Mr. Alvarez before every concert. Only two of us had a real chance at it, me and Jonah Pike.
Jonah and I had been trading places since fifth grade. When he got a new mouthpiece, I saved my birthday money for one. When I learned double-tonguing, he learned it the next week, faster. We were friends the way two runners in neighboring lanes are friends: close enough to hear each other breathing, never quite looking over.
On audition day, I got to the band room twenty minutes early. My case held everything I needed: my trumpet, two copies of the music, a pencil, and the little bottle of valve oil my grandfather had given me when I started playing. "A sticky valve can ruin a perfect note," he'd said, pressing it into my palm. "Always carry your own." I had never once needed it.
Jonah was already there, warming up in the practice room across the hall. Through its narrow window I watched him run the piece, and my stomach dropped. His high B-flat didn't wobble or crack. It floated, round and easy, as if it had been waiting there all along.
Then, on his second run-through, something went wrong. His third valve stuck halfway down, and the note came out as a strangled honk. He pressed it again. Stuck again. He pulled the valve out, stared at it, and looked around the empty practice room as though the answer might be taped to the walls.
"Jonah Pike," Mr. Alvarez called from the band room door. "You're up in five minutes."
I knew exactly what I had in my case. I also knew, with a clarity that embarrassed me, what would happen if I left it there. Jonah would walk in with a valve that stuck, and I would walk in after him with nothing to lose.
I told myself it wasn't my job to fix his trumpet. I told myself he should have brought his own oil. I told myself a lot of things in about ten seconds, and none of them sounded like anyone I wanted to be.
I crossed the hall, opened the practice-room door, and held out the bottle. "Three drops," I said. "Work it in slowly."
He looked at the bottle, then at me, for a long moment. "Are you sure?"
"Just take it before I change my mind."
He took it.
Jonah played first. Through the door I heard the whole piece, and the B-flat soared the way it had in the practice room, maybe better. When he came out, he pressed the bottle back into my hand without a word, but his ears were bright red, and he wouldn't meet my eyes.
My turn went fine. Not perfect (I rushed the second line, and my B-flat was more of a careful landing than a flight), but fine.
The list went up on Friday. Jonah Pike, first chair. Lena Ruiz, second chair.
I read it twice, waiting to feel the sting. It came, a little. But it was smaller than I expected, like a splinter instead of a cut.
At rehearsal that afternoon, Mr. Alvarez stopped beside my chair. "Jonah told me about the valve oil," he said quietly. "Talent is common, Ms. Ruiz. The other thing isn't." Then he walked back to the podium and raised his baton as if he'd said nothing at all.
Jonah pulled his chair a little closer to mine, and for the first time all year, we shared a music stand.
Q1. The narrator says the high B-flat is "perched at the end like a bird that might fly off if you breathed on it wrong." This comparison suggests that the note is
Q2. Read this sentence from the story.
We were friends the way two runners in neighboring lanes are friends: close enough to hear each other breathing, never quite looking over.
What does this comparison reveal about Lena and Jonah?
Q3. Why does the author include the grandfather's advice, "A sticky valve can ruin a perfect note. Always carry your own"?
Q4. Read this paragraph from the story.
I told myself it wasn't my job to fix his trumpet. I told myself he should have brought his own oil. I told myself a lot of things in about ten seconds, and none of them sounded like anyone I wanted to be.
What does this paragraph reveal about Lena?
Q5. When Jonah returns the bottle, "his ears were bright red, and he wouldn't meet my eyes." These details most likely show that Jonah
Q6. The story is told from Lena's first-person point of view. How does this affect what the reader learns?
Q7. Mr. Alvarez says, "Talent is common, Ms. Ruiz. The other thing isn't." What is "the other thing" he is referring to?
Q8. Which sentence best states a theme of the story?
In 1812, in the small French village of Coupvray, a three-year-old boy wandered into his father's workshop. Simon-René Braille made harnesses and saddles for horses, and his workbench was covered with sharp tools. Young Louis picked up an awl, a pointed tool used to punch holes in leather, and tried to copy his father's work. The tool slipped and struck his eye. An infection followed and spread to his other eye, and by the age of five, Louis Braille was completely blind.
In the early 1800s, few blind children received any schooling at all. Louis was fortunate. His parents were determined that he would learn, and a local priest and teacher helped him attend the village school, where he memorized his lessons by listening. He was so bright that in 1819, at the age of ten, he won a scholarship to the Royal Institute for Blind Youth in Paris, one of the first schools of its kind in the world.
The school owned a small library of books for blind readers, but the books were difficult to use. Their letters were embossed, raised from the page, in the same shapes that sighted people saw. Readers had to trace each large letter slowly with their fingers to tell an "O" from a "Q." The books were enormous and heavy, and a single story might fill several volumes. Worst of all, students could read these books, but they had no practical way to write in the same system.
In 1821, a retired army captain named Charles Barbier visited the school. He had designed a code called "night writing," which used patterns of raised dots to stand for sounds. Barbier hoped the code would let soldiers pass messages in the dark without speaking or lighting a lamp. The army had found the system too complicated, but the students at the institute were eager to try it. Louis discovered that dots were far more tactile, or easier to recognize by touch, than the curves of printed letters.
Barbier's code still had serious problems, however. Each symbol could use up to twelve dots, arranged in two columns of six, which was too large to feel with a single fingertip. It also stood for sounds rather than spelling, so it had no way to show punctuation or numbers. Louis, then only twelve years old, began experimenting. For three years he worked on the problem in every spare moment: at night, during holidays, even on visits home to Coupvray.
By 1824, when he was fifteen, Louis had created a system based on a cell of just six dots, arranged in two columns of three. A cell was small enough to be felt all at once by one fingertip, and the six positions could be combined in 63 different ways, enough for every letter, punctuation mark, and number. Later, Louis adapted the system for mathematics and music as well. Because a simple pointed tool called a stylus could press the dots into paper, blind students could at last write as easily as they could read.
Surprisingly, the new system was not welcomed by everyone. Some teachers at the institute preferred the older raised letters because sighted people could read them too. At one point, a director of the school even banned the dot system, and students continued to use it in secret. Louis, who became a teacher at the institute, kept improving his code for the rest of his life.
Louis Braille died in 1852, at the age of forty-three. Two years later, the institute officially adopted his system. Today, braille is used in countries around the world and has been adapted for dozens of languages. It appears on elevator buttons, medicine boxes, and restaurant menus, and it can now be read on electronic devices that raise and lower tiny pins to form the dots. Nearly two centuries after a boy in a French village set out to solve a problem, his six dots remain one of the most important inventions in the history of reading.
Q9. Which sentence best states the central idea of the article?
Q10. The author mainly organizes the article by
Q11. Read this sentence from the article.
Their letters were embossed, raised from the page, in the same shapes that sighted people saw.
Which words from the sentence best help the reader understand the meaning of embossed?
Q12. The Latin root tact means "touch." Which word comes from the same root as tactile?
Q13. Read the dictionary entry.
cell (noun)
1. a small room in which a prisoner is kept
2. the smallest unit of a living thing that can carry out life processes
3. one small space that is part of a larger pattern or grid
4. a device that produces electricity from chemicals
Which meaning of cell is used in the phrase "a system based on a cell of just six dots"?
Q14. According to the article, why was Louis's six-dot cell an improvement over Barbier's code?
Q15. Which sentence from the article is an opinion?
Q16. The article says that when a director banned the dot system, "students continued to use it in secret." What can the reader infer from this detail?
It sticks, of course. You have to lift, then pull,
then jiggle twice, the way my mother does,
until it groans and opens like a yawn:
a flashlight that has not worked in years;
three birthday candles, bent from other cakes;
a ball of string that no one ever cuts;
the spare key to a car we sold last May;
a coupon for a pizza place, long closed;
a book of matches, soft around the edges.
My brother says we ought to dump it out,
the whole jumbled mess, and start again.
My mother only smiles and shuts it tight.
I used to side with him. Then came the storm
that swallowed every streetlight on our block,
and all the careful drawers were no help at all.
My mother reached into the junk and found
the matches and the crooked candle stubs,
and lit them, one by one, upon a saucer,
and we sat close around the kitchen table,
three faces floating in a little light,
and no one minded that the power was out.
Some drawers are made for keeping things in order.
This one was made for keeping us.
Q17. In the first stanza, the drawer "groans and opens like a yawn." These words make the drawer seem
Q18. What do most of the objects listed in the second and third stanzas have in common?
Q19. What does the line "I used to side with him" reveal about the speaker?
Q20. The poet writes that the storm "swallowed every streetlight on our block." This personification shows that
Q21. How does the mood change from the fifth stanza to the seventh stanza?
Q22. Which statement best expresses the theme of the poem?
When rain falls on a forest or a meadow, most of it soaks into the ground. Leaves slow the falling drops, and roots and soil act like a giant sponge. But when rain falls on a town, the story is different.
Where Does the Rain Go?
Roofs, driveways, parking lots, and roads are impervious surfaces, hard surfaces that water cannot pass through. Rain that lands on them has nowhere to go, so it rushes downhill as stormwater runoff. Along the way, it picks up whatever it finds: oil from cars, fertilizer from lawns, pet waste, and litter. Storm drains carry this dirty water into nearby streams and rivers, often without cleaning it first. In heavy storms, the rushing water can also wear away stream banks and flood low-lying streets.
How a Rain Garden Works
A rain garden is a shallow, bowl-shaped garden filled with hardy plants, usually native species. It is placed where it can catch runoff from a roof, driveway, or lawn. Instead of racing into a storm drain, the water collects in the garden and slowly soaks into the ground, usually within a day or two. As it filters down through the soil and roots, many pollutants are trapped or broken down. The deep roots of native plants also open channels in the soil, helping even more water sink in.
A rain garden is not a pond. Because the water drains away quickly, the garden does not become a breeding ground for mosquitoes, which need standing water for about a week to develop.
Planning Your Rain Garden
1. Choose the spot. Look for a low area at least 10 feet from your home's foundation so that water does not seep into the basement. Avoid places above septic systems or underground utility lines.
2. Test the soil. Dig a hole about 8 inches deep and fill it with water. If the water has not drained away within 24 hours, the soil holds water too long, and you should choose a different spot.
3. Dig the bowl. Most home rain gardens are 4 to 8 inches deep. Pile the extra soil on the downhill side to form a low wall called a berm, which helps hold water in the garden.
4. Plant for wet and dry. Put plants that can handle wet roots in the center, where water collects, and plants that prefer drier soil around the edges.
Did You Know?
One inch of rain falling on a 1,000-square-foot roof produces about 620 gallons of water. That is enough to fill about a dozen large bathtubs, and without a rain garden, most of it may end up in a storm drain.
Small Gardens, Big Results
One rain garden will not solve a town's stormwater problem. But when many neighbors build them, the results add up. Some communities now help residents pay for plants or offer free advice on design. Each garden also provides food and shelter for butterflies, bees, and birds. In my view, few projects a family can take on do as much good in a single weekend.
Q23. According to the article, how can stormwater runoff harm streams and rivers?
Q24. The prefix im- in impervious means "not." In which word does im- have the same meaning?
Q25. Why does the author include the information that mosquitoes "need standing water for about a week to develop"?
Q26. The "Did You Know?" section mainly helps the reader understand
Q27. According to the article, what is the name of the low wall of soil piled on the downhill side of a rain garden? Write one word.
Q28. The author's main purpose in writing this article is to
CHARACTERS
MAYA, an eighth grader, the understudy
RUBY, an eighth grader, the lead actress
MS. OKAFOR, the drama teacher
SETTING: Backstage in a middle school auditorium, fifteen minutes before opening night. Costumes hang on a rolling rack. Through the curtain, the audience can be heard chattering.
(MAYA sits on an overturned crate, clutching a script so tightly that its pages are crumpled. RUBY enters wearing a scarf wrapped twice around her neck. She carries a small notepad.)
MAYA: Ruby! Finally. Ms. Okafor said you were running late, and I thought... (She notices the scarf.) Why are you wearing that? It's seventy degrees.
(RUBY opens her mouth. Only a faint rasp comes out. She shakes her head, writes on the notepad, and holds it up.)
MAYA: (reading) "Laryngitis. Doctor says no talking for three days." (She stands up too fast, and the crate tips over.) Three days? The show is tonight! It's tonight and tomorrow and...
(MS. OKAFOR hurries in with a clipboard.)
MS. OKAFOR: Maya, good, you've heard. You're on in fifteen minutes.
MAYA: I can't. I mean, I know the lines, but I've only ever said them to my bedroom mirror. Ruby's the one who's been rehearsing with everybody for two months. She knows where to stand. She knows when to... everything.
MS. OKAFOR: Ruby, can you walk her through the stage movements? I have to go explain to the lighting crew why our lead's voice sounds like a rusty gate. (She exits.)
(RUBY writes quickly and holds up the notepad.)
MAYA: (reading) "You know it better than I did in week one." (She laughs shakily.) That's not saying much. You forgot your whole second scene in week one.
(RUBY grins and nods, then writes again.)
MAYA: (reading) "Exactly. And look how that turned out." (Pause.) Ruby, those people out there bought tickets to see you.
(RUBY takes MAYA by the shoulders and turns her toward the costume rack. She pulls down a blue cloak, the lead's costume, and holds it out. MAYA doesn't take it.)
MAYA: What if I freeze? What if I get to the lighthouse speech and my mind just goes blank?
(RUBY thinks. Then she tears a page from her notepad, writes on it, folds it small, and tucks it into the pocket of the cloak. She taps the pocket twice.)
MAYA: What is that?
(RUBY puts a finger to her lips and points to the clock on the wall.)
MAYA: (taking a deep breath) Okay. Okay. (She takes the cloak and swings it around her shoulders. For a moment she stands straighter, as if it has changed her.) If I fall off the stage, I'm blaming you.
(RUBY gives a silent thumbs-up. The house lights begin to dim. MAYA walks toward the curtain, then stops and slips her hand into the pocket. She does not unfold the note. She only holds it.)
(Lights fade.)
Q29. Which stage direction best shows that Maya is nervous at the beginning of the scene?
Q30. Ms. Okafor says Ruby's voice "sounds like a rusty gate." This comparison means that Ruby's voice is
Q31. After Maya reminds her that she forgot her whole second scene in week one, Ruby writes, "Exactly. And look how that turned out." What does Ruby most likely mean?
Q32. What is the main conflict in this scene?
Q33. When Maya puts on the cloak, she "stands straighter, as if it has changed her." This detail suggests that
Q34. At the end of the scene, Maya holds the note but does not unfold it. What does this action most likely suggest?
Passages 6 and 7 are a paired set. Read both passages, then answer the questions that follow.
Each February, one of the largest animal migrations in North America takes place, and it happens on highways. Beekeepers from across the United States load their hives onto flatbed trucks and drive them to California, where more than a million acres of almond trees are about to bloom. Almond flowers must be pollinated to produce nuts, and the orchards need far more pollinators than the local area can supply. Without the traveling honeybees, the almond harvest would fail.
Honeybees are especially valuable to farmers because they can be managed. A single colony may contain tens of thousands of workers, and beekeepers can move colonies wherever and whenever crops need them. After the almond bloom, many hives travel on to apple orchards in Washington, blueberry fields in Maine, or clover fields in the Midwest.
Honeybees are not native to the Americas. European colonists brought them to Virginia in the 1620s, and the bees soon spread across the continent. Today, honeybees help pollinate dozens of crops, from apples to cucumbers. For many farmers, the rented hive has become as important a tool as the tractor.
When most people picture a bee, they imagine a honeybee. Yet North America is home to about 4,000 species of native bees, and many of them are expert pollinators in their own right.
Most native bees live very differently from honeybees. They do not make honey or live in large hives. Instead, the majority are solitary: each female builds her own small nest, often in a tunnel in the ground or inside a hollow plant stem.
Some native bees can do jobs that honeybees cannot. Tomato and blueberry flowers hold their pollen tightly and release it only when shaken. Bumblebees grab these flowers and vibrate their flight muscles rapidly, shaking the pollen loose in a technique called buzz pollination. Honeybees do not do this. Squash bees, meanwhile, begin work at dawn, visiting squash and pumpkin flowers before most honeybees have left the hive.
Native bees face serious threats, including the loss of wildflower habitat and the use of pesticides. Scientists warn that depending too heavily on a single kind of bee is risky: if honeybee colonies are struck by disease, farmers with healthy populations of wild bees will have a backup. Planting native flowers and leaving some bare ground undisturbed are simple ways to help.
Q35. According to Passage 6, why are beehives trucked to California each February?
Q36. Passage 6 says, "For many farmers, the rented hive has become as important a tool as the tractor." The author makes this comparison to show that
Q37. Which detail from Passage 7 best supports the claim that "some native bees can do jobs that honeybees cannot"?
Q38. Which idea is supported by both passages?
Q39. How is the focus of Passage 7 different from the focus of Passage 6?
Q40. Which sentence from Passage 6 would the author of Passage 7 most likely point to as an example of a risk?
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