托福備考從100分到110分經(jīng)驗分享

托福備考從100分到110分,閱讀還需要怎么練?天小編給大家?guī)硗懈淇紡?00分到110分,希望能夠幫助到大家，下面小編就和大家分享，來欣賞一下吧。

托福備考從100分到110分 閱讀還需要怎么練?

進一步提升長難句應(yīng)對技巧

托?？荚嚹軌蚩嫉揭话俜?，或者說閱讀能夠拿到25分的同學，在應(yīng)對閱讀長難句方面一般都是問題不太大的，很多考生即使長難句看起來仍然有點吃力，但也會有一些能夠在避免長難句干擾的前提下正確解答題目的經(jīng)驗技巧。但如果大家還想要讓閱讀得分跟上一層樓，那么面對長難句，就必須具備能夠直接看懂的正面突破能力而不能總想著看到長難句繞著走。所以，考生在閱讀備考中，首先要做的就是學會拆分解讀長難句，并在此基礎(chǔ)上鍛煉出快速閱讀和理解長難句的能力。托福閱讀25分而不是30分，對于長難句的處理可能在細節(jié)上還有一些問題，有時候仍會出現(xiàn)一些紕漏。考生如果能夠進一步提升托福閱讀長難句的應(yīng)對能力，那么閱讀提分也會更有把握。

學會拆分各段落結(jié)構(gòu)找觀點

除了長難句外，考生另一個可以進一步提升的提分點就在于看懂段落結(jié)構(gòu)。25分階段的考生想要找到各個段落的中心句主旨句應(yīng)該已經(jīng)有一定經(jīng)驗，但能否找得快找得準，能否快速區(qū)分出每個段落中的主旨內(nèi)容和細節(jié)部分，這其中其實還是有一些提升空間的。而且托福閱讀文章也并非每篇每段都是先主旨后細節(jié)的結(jié)構(gòu)，不同類型的文章，比如議論文和說明文在文章段落結(jié)構(gòu)上就存在明顯差異，還有些比較奇葩的文章也有可能把主旨句藏頭露尾，這也需要考生掌握一定技巧才能順利找對內(nèi)容。總之，學會拆分托福閱讀文章的各個段落，準確高效地找到觀點主旨區(qū)分出細節(jié)論據(jù)，這也是考生需要努力的提升方向。

強化總結(jié)題型的得分能力

最后，很多托?？忌灾荒玫?5分而不是30分，很多時候問題都是處在閱讀的最后一題，也就是六選三總結(jié)題型上。這個題型獨特的解題要求以及和邊讀文章邊做題模式格格不入的解題思路，總是會讓很多同學遭遇挫敗。因此，如果大家的目標是進一步提分，盡可能保證和提升總結(jié)題的得分能力也是必不可缺的。了解總結(jié)題的題型特點，摸清做題的具體方式，之后通過實際訓練來分析出選項對錯并提升答題熟練度積累解題經(jīng)驗，這些方式都能夠幫助大家在面對總結(jié)題時更為游刃有余地進行解答，從而讓托福閱讀得分更上一層樓。

托福閱讀背景知識匯總之Lava

Lava

Lava is magma that breaks the surface and erupts from a volcano. If the magma is very fluid, it flows rapidly down the volcano’s slopes. Lava that is stickier and less fluid moves slower. Lava flows that have a continuous, smooth, ropy, or billowy surface are called pahoehoe (pronounced path HOH eel hob eel) flows; while a (pronounced ah ah) flows have a jagged surface composed of loose, irregularly shaped lava chunks. Once cooled, pahoehoe forms smooth rocks, while a a forms jagged rocks. The words pahoehoe and a are Hawaiian terms that describe the texture of the lava. Lava may also be described in terms of its composition and the type of rock it forms. Basalt, andesitic, decides, and hyalite is all different kinds of rock that form from lava. Each type of rock, and the lava from which it forms, contains a different amount of the compound silicon dioxide. Basaltic lava has the least amount of silicon dioxide, andesitic and deictic lava have medium levels of silicon dioxide, while holistic lava has the most.

托福閱讀背景知識匯總之吉他簡史

吉他簡史(英文版)

A Brief History of the Guitar

There is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 BC. It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or predecessor. The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved sides. What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish invasion.

It had long been assumed that it was only after this invasion and the introduction of the Arabic due in the South that a guitar-like instrument first appeared in Spain. But with the Roman cithara arriving centuries prior, we might say that although the due influenced the development of the guitar it is not the true ancestor. According to this theory, the Spanish guitar derived from the tan bur of the Hittites, kithara with a "k" of the Greeks and then the cithara with a "c" of the Romans.

However, following the arrival of the Moors, the Roman cithara and the Arabic due must have mixed and exerted mutual influences on one another for many centuries. Although there is no specific documentation, it is likely that makers of us and cithara’s would have seen each other's work, if only through presentation by traveling troubadours. By 1200 AD, the four string guitar had evolved into two types: the guitars maraca (Moorish guitar) which had a rounded back, wide fingerboard and several sound holes, and the guitars Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower neck.

In the late 1400's, the visual was born by adding doubled strings and increasing its size. It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six courses. It was the visual which became the preferred instrument of the Spanish and Portuguese courts and remained so until the late 1600's when orchestral and keyboard instruments became more prominent.

Although the guitar existed concurrently during this period, the visual and lute had overshadowed it until the end of the 17th century when the lute had acquired too many strings, was too hard to play and tune, and the visual was slowly replaced by the four and five course guitars (which had seven and nine strings respectively: one single high string, and three or four remaining courses--or pairs--of strings). It was perhaps the addition of the fifth course in the late 16th century that gave the guitar more flexibility and range and thus improved the potential of the repertoire that led to its ascent.

By the end of the 18th century and the beginning of the 19th, some guitars already used six single strings and employed fan struts under the soundboard. These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the board. Other contemporaneous developments included the use of a reinforced, raised neck using ebony or rosewood for the fingerboard, and the appearance of machine tuners in place of the wooden pegs. (It is noteworthy that the raised fingerboard had a great impact on the technique of the instrument since the strings were then too far from the soundboard to rest one's finger on the face for support.) These guitars would be unmistakably recognized by us as early classical guitars.

Beginning with the early 19th century, in the works of Agustin Caro, Manuel Gonzalez, Antonio de Lorca, Manuel Gutierrez from Spain and other European makers including Rene Lakota, and Johann Stauffer, we find the direct predecessors of the modern classical guitar. By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres Jordon. With the encouragement of Julian Arcos and his own brilliant intuitions, Torres refined the strutting of the guitar to include as many as seven struts spread out like a fan under the soundboard. He increased the body size and the width of the neck considerably. These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer repertoire. The guitar was now prepared for the demands of the solo performer and the concert stage.

Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years ago. No one can say if we have reached the end of the evolution of the guitar, but until now, many of the best guitars from the point of view of volume, projection and sheer beauty of tone were made by the great makers, Torres, Ramirez and Arias from the second half of the last century!