提升托福閱讀能力加快做題速度
托福閱讀提高需要提升閱讀速度和做題速度，而這兩點(diǎn)是相輔相成的，沒有好的閱讀基礎(chǔ)是無法快速找到答案的，今天小編給大家?guī)砹送懈ｉ喿x提高方法，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。
托福閱讀提高方法：提升閱讀能力加快做題速度!
一. 提高托福閱讀能力：跳讀和掃讀法
很多同學(xué)都習(xí)慣于先看題，然后根據(jù)題目找答案，即便如此我們要也要提高閱讀能力，否則無法在有限時(shí)間內(nèi)找到正確答案。而提升閱讀能力的兩種方法則是跳讀和掃讀。練就這樣的快速閱讀方法可以幫助我們快讀定位信息。比如，閱讀中前三個(gè)題是根據(jù)閱讀文章第一段出的，我們可以利用跳讀法迅速把握整體段意，然后根據(jù)每道題使用掃讀法去定位段落中題目對應(yīng)的信息，這樣才能快速做對題。
這兩種閱讀方法需要大家在平時(shí)多加練習(xí)，練習(xí)跳讀法的時(shí)候，建議找一篇文章，限定時(shí)間快讀讀文章，將注意力集中在每段的首句和末句，快讀把握段落主旨大意，計(jì)時(shí)結(jié)束后，在紙上寫下你所理解的文章大意，然后等到文章讀完以后再做對比。掃讀法可以通過做題來練習(xí)，看到一道題目后找到題目的關(guān)鍵信息(比如時(shí)間，人名或地點(diǎn))，然后快速掃讀文章段落，找到對應(yīng)信息，再在你定位的區(qū)域?qū)ふ翌}目答案。
二. 托福閱讀快速做題法
1. 先易后難
托福閱讀和其他版塊不同，做完題目以后仍然可以返回修改，所以做題的時(shí)候挑揀容易的題做，比如，你的詞匯題做的很好，那就先做詞匯題再做其他題目。容易的題目做完以后，再用剩余的時(shí)間去研究難題，此時(shí)相對來說做題時(shí)間已經(jīng)比較寬裕。
2. 實(shí)在不會(huì)的題不用糾結(jié)太久
很多同學(xué)在做閱讀題目的時(shí)候容易被一道題卡住，不停地在文章中找答案，不知不覺幾分鐘就過去了，結(jié)果浪費(fèi)了很多時(shí)間到導(dǎo)致后面的題沒有時(shí)間做……每一篇閱讀只有20分鐘，所以每道題做題時(shí)間建議保持不超過2分鐘。如果平時(shí)做題總?cè)菀缀雎詴r(shí)間，建議大家在考試的時(shí)候注意屏幕上的倒計(jì)時(shí)，如果花了一分鐘仍然沒有弄懂問題，那就直接蒙一個(gè)或者先空著去做其他的題。如果后面題目做的順利，我們會(huì)有時(shí)間回頭來做這道題，如果后面題目不順利，那說明我們也不應(yīng)該在這道題上浪費(fèi)很多時(shí)間。
托福閱讀真題原題+題目
Of all modern instruments, the violin is apparently one of the simplest. It consists in essence of a hollow, varnished wooden sound box, or resonator, and a long neck, covered with a fingerboard, along which four strings are stretched at high tension. The beauty of design, shape, and decoration is no accident: the proportions of the instrument are determined almost entirely by acoustical considerations. Its simplicity of appearance is deceptive. About 70 parts are involved in the construction of a violin. Its tone and its outstanding range of expressiveness make it an ideal solo instrument. No less important, however, is its role as an orchestral and chamber instrument. In combination with the larger and deeper-sounding members of the same family, the violins form the nucleus of the modern symphony orchestra.
The violin has been in existence since about 1550. Its importance as an instrument in its own right dates from the early 1600's, when it first became standard in Italian opera orchestras. Its stature as an orchestral instrument was raised further when in 1626 Louis XIII of France established at his court the orchestra known as Les vingt-quatre violins du Roy (The King's 24 Violins), which was to become widely famous later in the century.
In its early history, the violin had a dull and rather quiet tone resulting from the fact that the strings were thick and were attached to the body of the instrument very loosely. During the eighteenth and nineteenth century, exciting technical changes were inspired by such composer-violinists as Vivaldi and Tartini. Their instrumental compositions demanded a fuller, clearer, and more brilliant tone that was produced by using thinner strings and a far higher string tension. Small changes had to be made to the violin's internal structure and to the fingerboard so that they could withstand the extra strain. Accordingly, a higher standard of performance was achieved, in terms of both facility and interpretation. Left-hand technique was considerably elaborated, and new fingering patterns on the fingerboard were developed for very high notes.
1. The word standard in line 12 is closest in meaning to
(A) practical
(B) customary
(C) possible
(D) unusual
2. The King's 24 Violins is mentioned in line 15 to illustrate
(A) how the violin became a renowned instrument
(B) the competition in the 1600's between French and Italian orchestras
(C) the superiority of French violins
(D) why the violin was considered the only instrument suitable to be played by royalty
3. What is the main idea presented in paragraph 3?
(A) The violin has been modified to fit its evolving musical functions.
(B) The violin is probably the best known and most widely distributed musical instrument in the
world.
(C) The violin had reached the height of its popularity by the middle of the eighteenth century.
(D) The technique of playing the violin has remained essentially the same since the 1600's.
4. The author mentions Vivaldi and Tartini in line 19 as examples of composers whose music
(A) inspired more people to play the violin
(B) had to be adapted to the violin
(C) demanded more sophisticated violins
(D) could be played only by their students
5. The word they in line 22 refers to
(A) Civaldi and Tartini
(B) thinner strings and a higher string tension
(C) small changes
(D) internal structure and fingerboard
6. The word strain in line 22 is closest in meaning to
(A) struggle
(B) strength
(C) strategy
(D) stress
7. The word Accordingly in line 23 is closest in meaning to
(A) However
(B) Consequently
(C) Nevertheless
(D) Ultimately
8. According to the passage , early violins were different from modern violins in that early violins
(A) were heavier
(B) broke down more easily
(C) produced softer tones
(D) were easier to play
9. According to the passage , which of the following contributes to a dull sound being produced
by a violin?
(A) A long fingerboard
(B) A small body
(C) High string tension
(D) Thick strings
10. Which of the following terms is defined in the passage ?
(A) resonator (line 2)
(B) solo (line 7)
(C) left-hand technique (line 25)
(D) fingering patterns (lines 24-25)
11. All of the following are mentioned in the passage as contributing to the ability to play modern
violin music EXCEPT
(A) more complicated techniques for the left hand
(B) different ways to use the fingers to play very high notes
(C) use of rare wood for the fingerboard and neck
(D) minor alterations to the structure of the instrumentANSWER KEYS
PASSAGE 100 BAACD DBCAA C
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