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1、托福备考从100分到110分经验分享 托福备考从100分到110分,阅读还需要怎么练?天给大家带来托福备考从100分到110分,希望能够帮助到大家，下面就和大家分享，来欣赏一下吧。托福备考从100分到110分 阅读还需要怎么练?进一步提升长难句应对技巧托福考试能够考到一百分，或者说阅读能够拿到25分的同学，在应对阅读长难句方面一般都是问题不太大的，很多考生即使长难句看起来仍然有点吃力，但也会有一些能够在避免长难句干扰的前提下正确解答题目的经验技巧。但如果大家还想要让阅读得分跟上一层楼，那么面对长难句，就必须具备能够直接看懂的正面突破能力而不能总想着看到长难句绕着走。所以，考生在阅读备考中，首先
2、要做的就是学会拆分解读长难句，并在此基础上锻炼出快速阅读和理解长难句的能力。托福阅读25分而不是30分，对于长难句的处理可能在细节上还有一些问题，有时候仍会出现一些纰漏。考生如果能够进一步提升托福阅读长难句的应对能力，那么阅读提分也会更有把握。学会拆分各段落结构找观点除了长难句外，考生另一个可以进一步提升的提分点就在于看懂段落结构。25分阶段的考生想要找到各个段落的中心句主旨句应该已经有一定经验，但能否找得快找得准，能否快速区分出每个段落中的主旨内容和细节部分，这其中其实还是有一些提升空间的。而且托福阅读*也并非每篇每段都是先主旨后细节的结构，不同类型的*，比如议论文和说明文在*段落结构上就存
3、在明显差异，还有些比较奇葩的*也有可能把主旨句藏头露尾，这也需要考生掌握一定技巧才能顺利找对内容。总之，学会拆分托福阅读*的各个段落，准确高效地找到观点主旨区分出细节论据，这也是考生需要努力的提升方向。强化总结题型的得分能力最后，很多托福考生之所以只拿到25分而不是30分，很多时候问题都是处在阅读的最后一题，也就是六选三总结题型上。这个题型独特的解题要求以及和边读*边做题模式格格不入的解题思路，总是会让很多同学遭遇挫败。因此，如果大家的目标是进一步提分，尽可能保证和提升总结题的得分能力也是必不可缺的。了解总结题的题型特点，摸清做题的具体方式，之后通过实际训练来分析出选项对错并提升答题熟练度积累
4、解题经验，这些方式都能够帮助大家在面对总结题时更为游刃有余地进行解答，从而让托福阅读得分更上一层楼。托福阅读背景知识汇总之LavaLavaLava is magma that breaks the surface and erupts from a volcano. If the magma is very fluid, it flows rapidly down the volcanos slopes. Lava that is stickier and less fluid moves slower. Lava flows that have a continuous, smooth, r
5、opy, 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
6、 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 am
7、ount 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.托福阅读背景知识汇总之吉他简史吉他简史(英文版)A Brief History of the GuitarThere is evidence that a four string, guitar-like instr
8、ument 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 modif
9、ied 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 introduct
10、ion 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
11、 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 specif
12、ic documentation, it is likely that makers of us and citharas would have seen each others 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 sev
13、eral sound holes, and the guitars Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower neck.In the late 1400s, 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
14、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 1600s when orchestral and keyboard instruments became more prominent.Although the guitar existed concurrently during this pe
15、riod, 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, a
16、nd 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
17、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
18、 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 soundb
19、oard to rest ones 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 R
20、ene 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, Torre
21、s 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
22、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 1800s, 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!
