托福閱讀如何拿到28分

托福考試中閱讀如何拿高分，小編整理了一些攻略托福閱讀高分的技巧，下面小編就和大家分享，來欣賞一下吧。

托福閱讀如何拿到28分

分?jǐn)?shù)要求

想得28分以上，一般就是錯(cuò)3個(gè)左右，也就是不含加試一篇一個(gè)。我給自己的要求：不能錯(cuò)詞匯題以外的任何題

閱讀時(shí)間：

15分鐘一篇，一篇13/14道題。(官方要求是20分鐘一篇)

13道題中除了4道詞匯題(30‘’)1道多選題(1’30‘’)之外，其他題目基本(1‘)一般是在第三段/第四段，大概第8題/第9題的樣子，是一段會(huì)出2道理解題的段落。題目編排，近幾年的TPO一般第一篇第二篇文章偏難，生詞多，第三篇簡單難度類似早期TPO。

在題目上一般是(細(xì)節(jié) 詞匯，細(xì)節(jié) 作用， 細(xì)節(jié) 詞匯， 細(xì)節(jié) 詞匯 改寫， 細(xì)節(jié) 詞匯， 黑點(diǎn) 大意)規(guī)律就是每一段都會(huì)出細(xì)節(jié)題(In paragraph n...)再加一道其他題，早期一段只有一道題的情況幾乎不存在了。

簡單的文章可能會(huì)出比較難的大意題，尤其是對比型的簡單文章。用上面的標(biāo)準(zhǔn)控制時(shí)間，用下面的方法去讀的話，20分鐘一般都是夠用的。

我的閱讀障礙：

速度：1’大概150-170字，生詞量一般而且前后不出現(xiàn)感覺自相矛盾需要停下來想的情況下。

選項(xiàng)：詞匯量一般，有時(shí)詞匯題的相似詞匯不造句都感覺不出區(qū)別。

新托福閱讀真題訓(xùn)練技巧：

1，粗看下文章的段數(shù)，對每段大概幾道題有個(gè)預(yù)期。(比如只有5段，那長段肯定是3道題)粗看每段第一句話，對文章的整體意思心中有數(shù)。

2，每段段首變成中文理解，以迅速的進(jìn)入狀態(tài)，并記憶主要意思。(就算只有一道詞匯題，這段的段首也要讀)

3，每讀一段整理一次邏輯，A支持的觀點(diǎn)是，A的觀點(diǎn)的問題是B的觀點(diǎn)是。。。(記憶法，圖像幫助理解，邏輯幫助記憶，生成圖像來理解含義，對邏輯部分用色彩記憶紅黃綠記憶法，每一段的第一句作為邏輯中心標(biāo)記黃色，這段如果講倒推如原因，在腦中的邏輯框架就在紅色的區(qū)域生成記憶，如果正推將后果等就在綠色區(qū)域生成圖像，讀完全文留下來的會(huì)是每一排都是紅黃綠三色的邏輯關(guān)系，每一段都縱向羅列，如下)紅——黃——綠

紅——黃——綠

4，鑒于每段都會(huì)出細(xì)節(jié)題，如果有詞匯題等先只看一句話，做完了要看到細(xì)節(jié)題問的什么再看文章，鑒于有四個(gè)選項(xiàng)，選一個(gè)對的或者不對的，看的時(shí)候自己要邊看邊總結(jié)，比如總結(jié)出三個(gè)步驟， 解釋了三個(gè)方面的問題，或者其他。5，要檢查，每個(gè)不確定的題都標(biāo)上guess回來看，我不確定的題錯(cuò)的概率還是非常高的。如果不走神的理解全文，一般15分鐘是夠的，還能剩下幾分鐘檢查。

新托福閱讀真題做題策略：

詞匯題、句子改寫題——只讀該句不讀完整段(30‘ . + 1’.1)耗時(shí)3分鐘

詞匯題看好單詞的詞性、發(fā)出者(是人，是物)，保持一致的最對，看這一句即可。

In the past,whole cities grew from the arduoustask of cutting and piling stone upon. Some of the world’s finest stonearchitecture can be seen in the ruins of the ancient Inca city of Machu Picchu high in the eastern Andes

Mountains

of Peru.猜詞是保證不了完全準(zhǔn)了，根據(jù)意思，這道題排除BD，剩下AC很是糾結(jié)，但是看task本身，skilled task這種說法小奇怪，一般是skilled workers，所以選A

The word “arduous” in the passage is closest inmeaning to

○Difficult○Necessary○Skilled○Shared

詞匯題對于我一直是難點(diǎn)超愛錯(cuò)，猜出來的，如果有時(shí)間檢查一定要再看一下，從ETS出題的角度考慮。

托福閱讀技巧的整理

1.單詞：想要做好托福閱讀，背托福單詞是最基礎(chǔ)的。這個(gè)就是需要考生自己完成任務(wù)。但是尤為重要的一點(diǎn)是，托?？荚囍?，對單詞的考查不僅僅是背過單詞含義就可以，更重要的是要學(xué)會(huì)應(yīng)用，學(xué)會(huì)在文章中理解使用單詞。

2.句子：在托福閱讀材料中，文章中的句子多是長句，有時(shí)候一個(gè)句子就是一段。而且英文的句子多是主從復(fù)合句，以中式的思維邏輯來學(xué)習(xí)會(huì)很不習(xí)慣，不能適應(yīng)句子的語序。這就需要托?？忌谄綍r(shí)的訓(xùn)練中多讀多看，擴(kuò)大泛讀。

3.段落：托福閱讀的文章大多都是學(xué)術(shù)性比較強(qiáng)的文章，在學(xué)習(xí)中，對于段落的安排和段與段之間的的關(guān)系問題也是托福閱讀技巧中的一部分。對此，大家還是應(yīng)該選舉則一篇文章來一仔細(xì)研究，找出其中的關(guān)系之后，其他的文章就好辦多了。

4.篇章：像托福的題型之一--小結(jié)題，就會(huì)用到對全篇的把握和理解。掌握對于全文的思維路線做這類題就會(huì)比較容易了。對于全文的拐角，轉(zhuǎn)彎處把握好了，全文的意思也就差不多了。做題的時(shí)候還有注意對細(xì)節(jié)的把握。

托福閱讀推理題的解析

推理題的題干中常出現(xiàn)infer, imply , most likely (least likely) 或probably 等詞語。根據(jù)OG， 在IBT 閱讀的3篇文章中，每篇會(huì)有0-2道這類問題，一次考試總共有3-4道推斷題。

一、推理題的兩大分類：有共性的推理題和無共性的推理題。

這里所謂的有共性推理題就是說題干中有和原文內(nèi)容相同的關(guān)鍵詞(也叫線索)。根據(jù)關(guān)鍵詞回原文定位，然后進(jìn)行推理。一般來說，大多數(shù)的推理題都屬于這類題目。對于無共性的推理題，也就是題干中無線索，一般使用排除法，即根據(jù)各個(gè)選項(xiàng)的關(guān)鍵詞回原文定位，通過排除法得出正確答案。返回原文找信息點(diǎn)，采用排除法是解決這兩類題型解決的共同策略。

二、推理題的三個(gè)具體的解題思路：

1、一般對比推理：根據(jù)兩個(gè)事情的對比特征，問其中一個(gè)事物的特征，只要將與之形成對比的另外一個(gè)事情的特征否定掉就可以。

2、時(shí)間對比推理：在這種推理中，一般有兩個(gè)形成對比的時(shí)間段，它們所具有的特征一般相反。當(dāng)題干問一個(gè)時(shí)間段的特征時(shí)，只要將與之相反的時(shí)間段的特征否定掉就可以了。

3、集合概念推理 ：一個(gè)大的集合的兩個(gè)方面形成對比，兩者之間存在著互補(bǔ)性關(guān)系，也就是一個(gè)的增加意味著另一個(gè)的減少。反之，相同。這個(gè)比較抽象，我們來看一個(gè)例子：

例如：Both the number and the percentage of people in the United States involved in nonagricultural pursuits expanded rapidly during the half century following the civil war, with some of the most dramatic increases occurring in the domains of transportation, manufacturing, and trade and distribution.

What can be inferred from the passage about the agricultural sector of the economy after the Civil War?

(A) New technological developments had little effect on farmers.

(B) The percentage of the total population working in agriculture declined.

(C) Many farms destroyed in the war were rebuilt after the war.

(D) Farmers achieved new prosperity because of better rural transportation.

文中指出：非農(nóng)業(yè)人口的數(shù)量和比例都增加了。由此可知農(nóng)業(yè)人口的數(shù)量和比例下降，所以(B)為正確答案。

三、解答這類題目需要注意的信息點(diǎn)：

1.日期和數(shù)字。

2.關(guān)鍵詞： 表示多少的副詞: many , some, much of, several , a few ,most …;情態(tài)動(dòng)詞：may, can , could…;表示過去的：used to be , was, were , at one time, previously ;表示不是唯一的： not only ,not exclusively等。

托福閱讀練習(xí)：jazz的完整歷史

The roots of jazz

The folk songs and plantation dance music of black Americans contributed much to early jazz. These forms of music occurred throughout the Southern United States during the late 1800's.

Ragtime, a musical style that influenced early jazz, emerged from the St. Louis, Mo., area in the late 1890's. It quickly became the most popular music style in the United States. Ragtime was an energetic and syncopated variety of music, primarily for the piano, that emphasized formal composition.

The blues is a form of music that has always been an important part of jazz. The blues was especially widespread in the American South. Its mournful scale and simple repeated harmonies helped shape the character of jazz. Jazz instrumentalists have long exploited the blues as a vehicle for improvisation.

Early jazz.

Fully developed jazz music probably originated in New Orleans at the beginning of the 1900's. New Orleans style jazz emerged from the city's own musical traditions of band music for black funeral processions and street parades. Today, this type of jazz is sometimes called classic jazz, traditional jazz, or Dixieland jazz. New Orleans was the musical home of the first notable players and composers of jazz, including cornetists Buddy Bolden and King Oliver, cornetist and trumpeter Louis Armstrong, saxophonist and clarinetist Sidney Bechet, and pianist Jelly Roll Morton.

Jazz soon spread from New Orleans to other parts of the country. Fate Marable led a New Orleans band that played on riverboats traveling up and down the Mississippi River. King Oliver migrated to Chicago, and Jelly Roll Morton performed throughout the United States. Five white musicians formed a band in New Orleans, played in Chicago, and traveled to New York City, calling themselves the Original Dixieland Jazz Band (the spelling was soon changed to "Jazz"). This group made the earliest jazz phonograph recordings in 1917. Mamie Smith recorded "Crazy Blues" in 1920, and recordings of ragtime, blues, and jazz of various kinds soon popularized the music to a large and eager public.

The 1920's

The 1920's have been called the golden age of jazz or the jazz age. Commercial radio stations, which first appeared in the 1920's, featured live performances by the growing number of jazz musicians. New Orleans; Memphis; St. Louis; Kansas City, Missouri; Chicago; Detroit; and New York City were all important centers of jazz.

A group of Midwest youths, many from Chicago's Austin High School, developed a type of improvisation and arrangement that became known as "Chicago style" jazz. These musicians included trumpeters Jimmy McPartland and Muggsy Spanier; cornetist Bix Beiderbecke; clarinetists Frank Teschemacher, Pee Wee Russell, Mezz Mezzrow, and Benny Goodman; saxophonists Frankie Trumbauer and Bud Freeman; drummers Dave Tough, George Wettling, and Gene Krupa; and guitarist Eddie Condon. They played harmonically inventive music, and the technical ability of some of the players, especially Goodman, was at a higher level than that of many earlier performers.

In New York City, James P. Johnson popularized a new musical style from ragtime called stride piano. In stride piano, the left hand plays alternating single notes and chords that move up and down the scale while the right hand plays solo melodies, accompanying rhythms, and interesting chordal passages. Johnson strongly influenced other jazz pianists, notably Count Basie, Duke Ellington, Art Tatum, Fats Waller, and Teddy Wilson.

Fletcher Henderson was the first major figure in big band jazz. In 1923, he became the first leader to organize a jazz band into sections of brass, reed, and rhythm instruments. His arranger, Don Redman, was the first to master the technique of scoring music for big bands. Various Henderson bands of the 1920's and 1930's included such great jazz instrumentalists as Louis Armstrong and saxophonists Benny Carter and Coleman Hawkins.

Armstrong made some of his most famous recordings with his own Hot Five and Hot Seven combos from 1925 to 1928. These recordings rank among the masterpieces of jazz, along with his duo recordings of the same period with pianist Earl "Fatha" Hines. Armstrong also became the first well-known male jazz singer, and popularized scat singing-that is, wordless syllables sung in an instrumental manner.

During the late 1920's and early 1930's, jazz advanced from relatively simple music played by performers who often could not read music to a more complex and sophisticated form. Among the musicians who brought about this change were saxophonists Benny Carter, Coleman Hawkins, and Johnny Hodges; the team of violinist Joe Venuti and guitarist Eddie Lang; and pianist Art Tatum. Many people consider Tatum the most inspired and technically gifted improviser in jazz history.

The swing era flourished from the mid-1930's to the mid-1940's. In 1932, Duke Ellington recorded his composition "It Don't Mean a Thing If It Ain't Got That Swing." "Swing" was soon adopted as the name of the newest style of jazz. Swing emphasizes four beats to the bar. Big bands dominated the swing era, especially those of Count Basie, Benny Goodman, and Duke Ellington.

Benny Goodman became known as the "King of Swing." Starting in 1934, Goodman's bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. Goodman was the first white bandleader to feature black and white musicians playing together in public performances. In 1936, he introduced two great black soloists-pianist Teddy Wilson and vibraphonist Lionel Hampton. Until then, racial segregation had held back the progress of jazz and of black musicians in particular. In 1938, Goodman and his band, and several guest musicians, performed a famous concert at Carnegie Hall in New York City. Their performance was one of the first by jazz musicians in a concert hall setting.

Other major bands of the swing era included those led by Benny Carter, Bob Crosby, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Andy Kirk, Jimmie Lunceford, Glenn Miller, Artie Shaw, Chick Webb, and, toward the end of the period, Stan Kenton. The bands in Kansas City, Missouri, especially the Count Basie band, had a distinctive swing style. These bands relied on the 12-bar blues form and riff backgrounds, which consisted of repeated simple melodies. They depended less heavily on written arrangements, allowing more leeway for rhythmic drive and for extended solo improvisations.

Boogie-woogie

Boogie-woogie was another jazz form that became popular during the 1930's. Chiefly a piano style, it used eight beats to the bar instead of four. Boogie-woogie featured the traditional blues pattern for most themes. The music had an intense quality that created excitement through the repetition of a single phrase. Albert Ammons, Pete Johnson, Meade Lux Lewis, and Pinetop Smith were among its most important artists.

Jazz vocalists came into prominence during the swing era, many singing with big bands. Many fine jazz singers emphasized popular songs. These singers included Mildred Bailey, Ella Fitzgerald, Billie Holiday, Nat "King" Cole, Carmen McRae, and Sarah Vaughan. Blues singing at its best can be heard in recordings by Jimmy Rushing, Jack Teagarden, Joe Turner, and Dinah Washington. In addition to singing, Nat "King" Cole was a superb jazz pianist and Jack Teagarden was a great jazz trombonist. See also Special Reports: Ella Fitzgerald: First Lady of Song.

Bebop

In the early 1940's, a group of young musicians began experimenting with more complicated chord patterns and melodic ideas in a combo setting. The group included trumpeter Dizzy Gillespie, alto saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, and drummers Kenny Clarke and Max Roach. The style they developed became known as bebop or bop.

Most bop musicians had an exceptional technique. They played long, dazzling phrases with many notes, difficult intervals, unexpected breaks, and unusual turns in melodic direction. On slower tunes, they displayed a keen ear for subtle changes of harmony. Only extremely skilled musicians were able to play bebop well, and only sophisticated listeners at first appreciated it.

In bebop performances, musicians usually played an intricate melody, followed with long periods of solo improvisation, and restated the theme at the end. The bassist presented the basic beat for the group by plucking a steady, moving bass line. The drummer elaborated the beat with sticks or brushes on cymbals, snare drum, and tom-tom. The bass drum was reserved for unexpected accents called "bombs." The pianist inserted complex chords at irregular intervals to suggest, rather than state, the complete harmonies of the piece.

Hard bop

Bebop was followed in the 1950's by hard bop, or funk, jazz. This form emphasized some of the traditional values of jazz derived from gospel and blues music, including rhythmic drive, uninhibited tone and volume, and freedom from restricting arrangements. The hard bop leaders were drummer Art Blakey and pianist Horace Silver. Blakey led a combo called the Jazz Messengers from the mid-1950's until his death in 1990. The Jazz Messengers served as a training ground for many of the greatest soloists in jazz history. Trumpeter Clifford Brown and drummer Max Roach were co-leaders of another outstanding hard bop combo.

Cool jazz

Cool jazz originated in the works of such musicians as tenor saxophonist Lester Young, who starred with Count Basie, and guitarist Charlie Christian, who played with Benny Goodman. In the late 1930's and early 1940's, these musicians made changes in the sound and style of jazz improvisation. For example, they softened the tones of their instruments, used syncopation more subtly, and played with a more even beat.

In 1948, tenor saxophonist Stan Getz recorded a slow, romantic solo of Ralph Burns's composition "Early Autumn" with the Woody Herman band. This work profoundly influenced many younger musicians. In 1949 and 1950, a group of young musicians that included trumpeter Miles Davis, alto saxophonist Lee Konitz, baritone saxophonist Gerry Mulligan, and arranger Gil Evans recorded several new compositions. These recordings emphasized a lagging beat, soft instrumental sounds, and unusual orchestrations that included the first successful use of the French horn and the tuba in modern jazz. The recordings, with Davis as leader, were later released as Birth of the Cool.

During the 1950's, many combos became identified with the cool movement. Some of the most successful combos were the Gerry Mulligan Quartet, the Modern Jazz Quartet, and the Dave Brubeck Quartet.

The spread of jazz.

In the 1940's and 1950's, the sophisticated forms of bebop and cool jazz began to gain wide acceptance among intellectuals and college students. Jazz concerts became popular. Groups of jazz stars made a series of international tours called Jazz at the Philharmonic. The international growth of jazz resulted in many successful overseas tours by U.S. bands and combos.

The introduction of the 331/3 rpm long-playing (LP) record, which was first produced commercially in 1948, also helped spread the popularity of jazz. For 30 years, jazz recordings had been limited to 78 rpm records that restricted performances to about 3 minutes in length. The LP allowed recorded performances to run many minutes. The LP also permitted a number of shorter performances to be issued on a single record.

During the 1950's, musicians in other countries began to improve greatly as jazz performers as they were exposed to performances by American musicians through recordings and concerts. Sweden, France, Germany, Japan, and other countries developed players and composers whose work compared favorably with that of the leading Americans. The first foreign jazz musicians to influence Americans were Belgian-born guitarist Django Reinhardt in the late 1930's, and George Shearing, a blind, English-born pianist who immigrated to the United States in 1947.

In 1954, the first large American jazz festival was held at Newport, Rhode Island. Since then, annual festivals also have been held in Monterey, California; New York City; Chicago; Nice, France; Montreux, Switzerland; Warsaw, Poland; Berlin, Germany; and many other locations throughout the world. These festivals have featured almost all of the most popular jazz musicians and have introduced many extended concert works.

New directions

Beginning in the 1950's, jazz became even more experimental. Jazz music began to feature nontraditional instruments, such as French horn and bass flute. Jazz musicians began to take an interest in non-Western music, especially the modes (different arrangements of scales), melodic forms, and instruments of Africa, India, and the Far East.

In the late 1950's, John Lewis, musical director of the Modern Jazz Quartet, worked with classical musician and composer Gunther Schuller to write and play orchestral works that combined elements of modern jazz and classical concert music. Stan Kenton also played this so-called third stream music when he toured the United States with a 40-piece orchestra.

Also during this period, pianist George Russell developed a jazz theory of modes. In 1959, the Miles Davis combo, with pianist Bill Evans and saxophonists John Coltrane and Cannonball Adderley, recorded compositions and improvised solos based on modes rather than on patterns of chords.

In 1960, saxophonist Ornette Coleman reshaped the thinking of younger jazz musicians when he recorded the album Free Jazz with a double quartet. In this recording, Coleman discarded harmony, melody, and regular rhythms. He substituted unstructured improvisation played atonally (in no definite key). Pianist Cecil Taylor and bassist Charles Mingus conducted similar atonal experiments.

In the 1960's, the influence of the music of India entered jazz through the adaptations of John Coltrane. Jazz musicians also began to use more unusual meters, such as 5/4, 7/4, and 9/8.

Fusion

In the 1970's, many musicians blended jazz and rock music into fusion jazz. Fusion combined the melodic and improvisational aspects of jazz with the rhythms and instruments of rock. Electronic music played an important part in fusion. Jazz pianists began exploring the increased sound potential of synthesizers. Horn and string players began to use electronics to intensify, distort, or multiply their sounds. Many well-known jazz musicians gained new popularity by playing fusion. Some of the best-known fusion musicians were guitarist George Benson, trumpeters Donald Byrd and Miles Davis, pianist Herbie Hancock, and two combos, Weather Report and the Mahavishnu Orchestra.

At the same time, many veteran jazz musicians retained their popularity by leading groups that played in the swing, bebop, and cool styles. These leaders included Stan Getz, Dizzy Gillespie, Woody Herman, Gerry Mulligan, and Oscar Peterson.

Recent developments

During the 1980's, a number of young jazz musicians returned to mainstream jazz. Mainstream jazz includes elements of the swing, cool, and bebop styles. The most widely acclaimed young musician of the 1980's was trumpeter Wynton Marsalis, a performer of both jazz and classical music. Marsalis plays with brilliant technique and tone. He and his brother, saxophonist Branford Marsalis, have led excellent hard bop combos.

Many young musicians continued to forge ahead with fusion groups. Two of the most respected fusion artists are the brothers trumpeter Randy Brecker and saxophonist Michael Brecker. Jane Ira Bloom also displays a mastery of the soprano saxophone and the synthesizer.

In the 1990's, jazz was dominated by a blend of older values and more modern styles. Many musicians favored acoustical over electronic instruments, formal structure over total freedom, and a sense of history over harsh modernity. Music of older artists continued to gain respect and followers. For example, bands devoted to the music of Count Basie and Charles Mingus became popular. Veteran musicians, such as trombonist J. J. Johnson and saxophonists Joe Henderson and Sonny Rollins, found new audiences among younger listeners.

The young musicians who energized jazz in the 1980's had become establishment figures by the end of the 1990's. They included trumpeters Roy Hargrove and Wynton Marsalis, guitarist Pat Metheny, trombonists Steve Turre and Ray Anderson, and pianist Chick Corea. A younger group of musicians also gained popularity, focusing on "straight-ahead jazz" that reflected earlier mainstream styles. They included saxophonists Joshua Redman and Donald Harrison, bassist Christian McBride, trumpeter Terence Blanchard, and pianist Marcus Roberts. At the same time, the free jazz style of the 1960's continued strong throughout the 1990's in the playing of saxophonists Steve Lacy and Roscoe Mitchell, pianist John Zorn, and their young followers.

Today, jazz continues to feature a variety of styles. Many musicians play in historic styles, such as swing and bebop. Others seek a more experimental approach. For example, the Art Ensemble of Chicago blends free jazz, African costumes and makeup, exotic instruments, and surprise techniques into theatrical musical events. Ornette Coleman's group, called Prime Time, mixes free and fusion jazz in new and interesting ways.

Electronics technology is gaining a greater role in jazz music. Such young jazz composers as Michael Daugherty are demonstrating that live musicians can interact creatively with computer-generated sound. Some artists have attempted new fusion sounds that blended jazz with such forms as rap music.