托福阅读可以返回吗

托福阅读可以返回吗?这个当然完全可以，但是操作有点不便吧。

现在托福没有加试的话阅读一般是考三篇，总共大概42题，有时按题型变化而减少一两题。三篇阅读一起计时，同属于一个相同的模块，所以只要你完成了最后一篇的阅读有时间的话，完全可以倒回去检查修改自己不确定的题。

考试的软件上方会有个review点进去会有你的答题记录，但是点题目并不能跳转，似乎也不能标记自己不会的题。这些有待改进，不过可以手动按back跳到你草稿纸上记下来的不确定的题，再思考，修改就可以啦。

托福阅读考试中，时间是非常关键的因素，如何能够更好地节省时间，是考生不得不面对的问题。那么今天我们就来讲讲，在答题的阶段，怎样节省时间，希望对大家有更好地帮助。

很多托福考生都说，也许在托福阅读中，最影响人的实力发挥的恐怕就是要求55分钟内做完50道阅读题。托福阅读不同于CET4，CET6，与高考也是有区别的，因为这些都是大约4-5篇阅读，20题，而且这些考试都没有要求做完没门考试所用的时间。因此很多同学在一开始做托福阅读的时候，十分不适应托福阅读的时间限制，有的人甚至在考前都没有克服这个问题。

1 托福阅读即先阅读文章的首段前4行 ，注意这里不是前2行，因为现在很多文章首句通常是由专业名词组成或者是一些习语组成，大多数中国学生只知道看完首句，然后他们就崩溃了，因为专业词汇和习惯用语一次性将他们打懵。因此这里建议首先读完前4行来了解文章主题方向。

2 托福阅读应该直接做题 ，然后在题中找关键词回到原文进行点查。不过这里点查也是有技巧的。第一题通常是文章的主题题，跳过不做，放到最后来做，其他的很多试题都是标记了行号或者可以通过特殊字符来辨认，比如数字，大写字母，拼写十分怪异的单词等等，当一道题没有这些标示的时候要通过邻近的其他试题来定位本题在原文中的位置。

托福阅读考试中，题目的类型是最多的，具体的不同的题型也有不同的技巧。今天我们重点来讲解的是图表填空题的解题技巧，通过实例的解析，让大家更好地掌握相关的技巧。

托福阅读题型：图表填空题例题解题方法

Directions: Complete the table below by indicating which features of fishes are associated in the passage with reducing water resistance and which are associated with increasing thrust. This question is worth 3 points.

Features of Fishes

1. The absence of scales from most of the body

2. The ability to take advantage of eddies

3. The ability to feed and reproduce while swimming

4. Eyes that do not protrude

5. Fins that are stiff, narrow, and smooth

6. The habit of swimming with the mouth open

7. A high, narrow tail with swept-back tips

这道托福阅读题要求对比文章中的某两个部分的内容，有的托福阅读文章是全文的对照对比，有的文章是重点段落的对照对比。这种题目需要先识别要求对比的内容，并且从原文中搜寻对应的文章段落。本题要求对比REDUCING WATER RESISTANCE和INCREASING THRUST，因此我们先通过读每段的关键句来确定对比内容所在段落。通过检索我们发现以下两个段落对应本题：

第三自然段：Tunas, mackerels, and billfishes have made streamlining into an art form. Their bodies are sleek and compact. The body shapes of tunas, in fact, are nearly ideal from an engineering point of view. Most species lack scales over most of the body, making it smooth and slippery. The eyes lie flush with the body and do not protrude at all. They are also covered with a slick, transparent lid that reduces drag. The fins are stiff, smooth, and narrow, qualities that also help cut drag. When not in use, the fins are tucked into special grooves or depressions so that they lie flush with the body and do not break up its smooth contours. Airplanes retract their landing gear while in flight for the same reason.

本段重点陈述了减少水阻力的几种设计，通过对于本段的精读我们发现阴影处信息可对应选项145.

第八自然段：There are adaptations that increase the amount of forward thrust as well as those that reduce drag. Again, these fishes are the envy of engineers. Their high, narrow tails with swept-back tips are almost perfectly adapted to provide propulsion with the least possible effort. Perhaps most important of all to these and other fast swimmers is their ability to sense and make use of swirls and eddies (circular currents) in the water. They can glide past eddies that would slow them down and then gain extra thrust by "pushing off" the eddies. Scientists and engineers are beginning to study this ability of fishes in the hope of designing more efficient propulsion systems for ships.

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 contests Buddy Bolden and King Oliver, cornets and trumpeter Louis Armstrong, saxophonist and clarinetist Sidney Bechtel, and pianist Jelly Roll Morton.

Jazz soon spread from New Orleans to other parts of the country. Fate Marble 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 them 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 McFarland and Muggy Spinier; cornets Box Beiderbecke; clarinetists Frank Tastemaker, Pee Wee Russell, Mezzo, and Benny Goodman; saxophonists Frankie Rombauer and Bud Freeman; drummers Dave Tough, George Wetting, and Gene Krupp; 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 choral 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 "Fatah" 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 Venetia 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. In 1932, Duke Ellington recorded his composition "It Don't Mean a Thing If It Isn’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 Lunsford, 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.