1．慎重对待含有强调性的语言（最高级、唯一性和比较级的选项）
　　2．长选项竖读法：纵向比较所有选项，尤其是开头，找到其中相同的语言部分。如果某几个选项中相同的语言部分对这个题有用，则先看这几个选项；否则，先看其他选项或者这几个选项的差异部分。
　　例：参见类比题例
　　3．文字定位法：文（主题词）→题干（主题词）→文（主题词）
　　例题讲解
　　book 1， reading 6， p150
　　in recent years the early music movement（关键词）， which advocates performing a work as it was performed at the time of its composition， has taken on the character of a crusade， particularly as it has moved beyond the sphere of medieval and baroque music and into music from the late eighteenth and early nineteenth centuries by composers such as mozart and beethoven granted（表示让步结构）， knowledge about the experience of playing old music on now－obsolete instruments has been of inestimable（⊕） value to scholars． nevertheless（△）， the early music approach to performance raises profound and troubling questions．（大负小正）
　　early music advocates assume that composers write only for the instruments available to them， but evidence suggests that composers of beethoven’s stature imagined extraordinarily high and low notes as part of their compositions， even when they recognized that such notes could not be played on instruments available at the time．（in the score of beethoven’s first piano concerto， there is a “wrong” note， a high f－natural where the melody obviously calls for a high f－sharp， but pianos did not have this high an f－sharp when beethoven composed the concerto． because beethoven once expressed a desire to revise his early works to exploit the extended range of pianos that became available to him some years later， it seems likely that he would have played the f－sharp if given the opportunity．）（例子，长度超过5行就要读） to use a piano exactly contemporary with the work’s composition would require playing a note that was probably frustrating（负） for beethoven himself to have had to play．（评论）
　　in addition（表示与上段并列）， early music advocates often inadvertently divorce music and its performance from the life of which they were， and are， a part．（the discovery that haydn’s and mozart’s symphonies were conducted during their lifetimes by a pianist who played the chords to keep the orchestra together has given rise to early music recordings in which a piano can be heard obtrusively in the foreground， despite evidence indicating that the orchestral piano was virtually inaudible to audiences at eighteenth－century concerts and was dropped as musically unnecessary when a better way to beat time was found．）（例子）（and although in the early nineteenth century the first three movements （sections） of mozart’s and beethoven’s symphonies were often played faster， and the last movement slower than today， this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement， rather than withholding applause until the end of the entire work．． as a result（→）， musicians were not forced into extra brilliance in the finale in order to generate applause， as they are now．）（例子） to restore the original tempo of these symphonies represents an irrational denial of the fact that our concepts of musical intensity and excitement have quite simply， changed．（评价）
　　（结论解释型）
　　13． it can be inferred from the passage that by “a piano exactly contemporary” （line 30） with the composition of beethoven’s first piano concerto， the author means the kind of piano that was
　　属于直接事实题
　　designed to be inaudible to the audience when used by conductors of orchestras．
　　跨区型错误，用文章其它部分讲的内容来解答定位部分（line 30）的问题，必然错误
　　incapable of playing the high f－natural that is in the score of beethoven’s original version of the concerto．
　　是f－sharp，注意细节变化
　　unavailable to mozart and haydn．
　　跨区型错误
　　incapable of playing the high f－sharp that the melody of the concerto calls for．
　　influential in beethoven’s decision to revise his early compositions．
　　“无”型选项