国内托福有阅读加试么

托福加试题不能说的秘密!加试题是托福考试的一大特色，不是在阅读部分就是在听力部分，要么就是双试，所以同学们千万不要大意。

举个例子来说明：ETS会找到他们所认为的全球考生平均水平(例如做加试题平均水平应为20分)在随后的一次阅读考试中，如果大家的正题平均分是20分，而阅读加试部分也做的是20分，那么ETS认为此次阅读难度适中，不必加权平均。

如果正题20分，加试10分，ETS则认为是这次考生水平普遍较低，考试难度偏小，所以会相应减少每个人的阅读得分。

反之，如果正题10分，加试25分，那么ETS就认为在考生水平那么高的情况下阅读平均分还那么低，一定是因为题目难度偏大,所以会给每个考生平均加上几分。 这也是为什么托福考生普遍反映难度不太稳定，分数却较为稳定的原因。

托福阅读加试的位置

有的同学认为阅读加试的位置放在最后一篇，其实不是这样。托福阅读加试是一篇，但你并不知道是哪一篇，有可能是第三篇，也有可能是第二篇，极少部分可能是第一篇。

但是，加试分为经典加试(占绝大比例)和非经典加试。

也就是说，你一上考场开始做题了并且发现有三篇文章，这时如果你遇到了经典加试，则很可能为加试题;如果三篇都未曾见过，则三篇中有一篇是加试题，你三篇都要做好。

托福加试算分吗?

ETS官员曾经就这个问题回答过网友，其实总结起来就是：即使你知道了哪些题是ETS在之前的托福考试中经常出现的，也就是即使出现了所谓的经典加试，但你不能就认为之后计算机抽分时就一定不把这些题当做正题来算分。也就是存在这种可能性：你以为出现了经典加试所以乱填一气，对于你认为的正题认真的做，分数出来之后还是可能惨不忍睹，因为计算机可能抽中你所谓的“加试”当做正题算分了。所以结果是随机的，没有定论。

为了帮助大家高效备考托福，熟悉托福阅读加试，为大家带来遇到托福阅读加试怎么办一文，希望对大家托福备考有所帮助。

首先，阅读加试普遍比听力加试难。

原因在于：

1.连续4篇阅读比听力耗费更多体力，头晕眼花在所难免

2.即使你碰上的是经典阅读加试，但与听力比起来，范围太大太笼统，很难把握。

那么碰到阅读加试，我们该怎么办?

1.考场上，调整心态。可以告诉大家，第一加试题位置不固定，不一定是最后一篇，所以别花时间猜测，把每篇都保证做到最好。第二，加试虽有新题，但整体难度还是很稳定的，不要害怕~

2.平时一定要训练自己15分钟做完一篇文章的能力(这也是我在阅读真题班里会教给大家的)，那么即使遇到阅读加试，也会成为你的优势。

基础不好的同学，前期多精读练习，后期再配上做题技巧方法，分数就能成指数型增长啦。

有20分的基础的同学，可以侧重学习做题技巧方法，直接冲刺高分!

托福阅读考试中，速度是每个同学都离不开的问题，对于具体的要不要通读全文，很多同学也给出了不同的见解。为大家整理了一些告诉浏览文章的方法，供大家参考学习。

要不要读全文因人而异，但是“读全文”还有另外一种方法，高效浏览文章，分三步!

1、先看标题，从标题中可以把文章的主题给确定，也能对文章结构进行有效猜测

托福阅读标题大致分为三种类型。

第一种：“A and B” 型

TPO26 Energy and the Industrial Revolution

TPO5 Minerals and Plants

TPO7 Ancient Rome and Greece

TPO11 Orientation and Navigation

TPO19 Succession, Climax, and Ecosystems

只看标题我们可以了解到文章中必定有两个讨论的对象，而且是分类阐述的，因为两个对象的重要性相当，在作者命名标题的时候会把两个对象都放在标题中。

但是两个对象的讨论也不是占用完全相同的篇幅，这就要看标题中的两个对象的具体概念。

这种情况下，小概念会是更主要的讨论对象。

以上面的标题TPO26 Energy and the Industrial Revolution以及TPO7 Ancient Rome and Greece为例，标题中的两个讨论对象是罗马和希腊，是同级的概念，只看标题，我们可以推测文章会是在讲罗马和希腊的关系和对比。真实情况确是如此：文章中围绕着罗马与希腊发展模式的不同以及罗马受到的希腊文明的熏陶来讲。TPO26 Energy and the Industrial Revolution两个对象是能源和工业革命，看概念可以知道能源是小概念，工业革命是大概念，那么推测文章的主要对象是能源。事实上，文章的内容就是在讲工业革命中能源的作用。

第二种： “A ” 型

TPO3 Architecture

TPO4 Petroleum Resources

TPO6 William Smith

TPO10 Chinese Pottery

TPO13 Biological Clocks

这类标题看上去很简单，只涉及一个概念，那么文章必定围绕着这一个对象来讲。但是这点信息好像对我们的帮助不大。还有哪些特点呢?其实，一般情况下，这类文章在行文时文章会分为两部分，文章一开始会给出这一个概念的定义，即“什么是A?”;接下来“A有什么特点?”或者“A的起源”等等。

以TPO3 Architecture为例，文章讨论的对象是建筑，文章第一段也是第一部分讲的是建筑的定义和文化价值;接下来的内容则围绕着建筑的质量、建筑的特点进行。

第三种：“带限定的A” 型

TPO21 The origin of Agriculture

TPO18 The Mystery of Yawning

TPO3 The Long-Term Stability of Ecosystems/

TPO8 Extinction of the Dinosaurs

TPO24 Breathing During Sleep

和“A ” 型标题对比，可以看出这种类型的标题对讨论的唯一对象进行了修饰或者称限定。给出大家一个推断的范围。所以对文章的接下来的内容推测也容易的多

比如TPO21 The origin of Agriculture就是在讲农业的起源而不会是农业的其他方面。TPO24 Breathing During Sleep讲睡觉时的呼吸。

这种文章类型会是我们最希望看到的，因为可以直接看出文章讨论的话题。

2、读首段

托福阅读文章属于议论文或者说明文，多采用总分(总)文章结构，利用首段往往可以概括出全文主旨。在阅读首段时，注意内容中如果出现however,while,but等转折逻辑指示词，往往后面的内容就是重点!

3、读每段的中心句

学生面对一个托福阅读段落，肯定一开始很难确定主题句，有的段落主题句也并不是明显的某一句话。但是一般情况下，托福阅读段落主题句会是前1-2句，或者是最后一句，要注意的是每个段落大致采取Topic话题 + Aspects方面 + Attitude态度的结构，这三要素加起来就是标准学术论文体的"T+A+A篇章结构"。托福文章大都遵循这种结构，考生通过这种结构抓住文章的各个段落主旨，便可洞悉整个文章脉络和逻辑结构。

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!