OpenLLM-France/wikimedia huggingface dataset:
# Futurebasic/Language/Reference/long if
## LONG IF
### Description

The LONG IF statement marks the beginning of an "if-block," which must be terminated with the END IF statement. The expr can be either a logical expression (such as: personCount>17), a numeric expression, or a string. A numeric expression is counted as "true" if it evaluates to a nonzero value. A string is counted as "true" if its length is greater than zero.
If expr is "true," then only the statements in statementBlock1 are executed, and execution then continues at the first statement after END IF. if expr is "false," then only the statements in statementBlock2 (if any) are executed, and execution then continues at the first statement after END IF.
statementBlock1 and statementBlock2 may contain any number of executable statements, and may even include other "nested" if-blocks.

### Notes

To conditionally execute just a single statement, consider using the IF statement instead. To conditionally execute statement blocks based on more complex conditions, use the SELECT CASE statement.
Use caution when comparing floating point values to zero or to whole numbers. The following expression may not evaluate as expected:
LONG IF x# = 1
In this statement, the compiler compares the value in x# to an integer "1". Since SANE and PPC math both use fractional approximations of numbers, the actual value of x#, though very close to one, may actually be something like 0.99999999 and therefore render unexpected results.

### See Also

IF; SELECT CASE
Language Reference
# Futurebasic/Language/Reference/log
## LOG
### Syntax

naturalLog# = LOG(expr)

### Description

Returns the natural logarithm of expr. The natural logarithm uses the transcendental number "e" as its base. LOG always returns a double-precision result.
LOG is the inverse of the EXP function. That is: LOG(EXP(x)) equals x.
Note: To find the logarithm of expr for an arbitrary base n, use this formula:
theLog# = LOG(expr)/LOG(n)

### See Also

EXP; LOG10; LOG2
# Futurebasic/Language/Reference/long color
## LONG COLOR
### Syntax

LONG COLOR bluePart,greenPart,redPart [,foregroundFlag]

### Description

Sets the foreground color or background color for the current output window. Each of the three color components can range from 0 (darkest) to 65535 (lightest), and they combine to make any conceivable shade. If you set foregroundFlag to _zTrue, or omit the parameter, then LONG COLOR sets the foreground color. If you set foregroundFlag to _false, then LONG COLOR sets the background color.
Example: CD Example: LONGCOLOR.BAS
FB Lite behavior: When you use the "FB Lite" runtime, LONG COLOR switches to the Graphics Window before executing; you can't use it to change the color in the Text Window nor on the printer. To change the color of printed output while running FB Lite, use the Toolbox procedure RGBFORECOLOR.
Note: LONG COLOR does not immediately change the appearance of the window. If you set the foreground color, the new color will appear the next time you draw text or a QuickDraw shape (it won't affect the color of anything that's already drawn). If you set the background color, the new color will appear the next time you erase all or part of the window (for example, with the CLS statement).
You can use the Toolbox procedures GetForeColor and GetBackColor to find out the current foreground or background color for the current window.

### See Also

COLOR; PEN
# Futurebasic/Language/Reference/lprint
## LPRINT
### Syntax

LPRINT [@(col,row)|%(h,v)] [itemList]

### Description

This statement sends a line of text to the printer. The @(col,row) and %(h,v) options specify where on the page the line should be printed (see the PRINT statement); if you don't specify one of these, the line is printed at the current pen position of the printing grafPort (this is usually just under the previously-printed line).
The LPRINT statement is equivalent to the following group of lines:
ROUTE _toPrinter PRINT [@(col,row)|%(h,v)] [itemList] ROUTE _toScreen
LPRINT is inefficient if you are printing many lines to a page, because it reroutes the output each time LPRINT is executed. In such cases, it's better to execute a sequence of PRINT statements, with the entire sequence preceded by a single ROUTE _toPrinter statement and followed by a single ROUTE _toScreen statement.
FB Lite behavior: When you use the "FB Lite" runtime, the text-position parameters [@(col,row)|%(h,v)] are ignored.
Note: You should execute CLEAR LPRINT or CLOSE LPRINT in order to cause the printed page to be put out, after you have finished printing to it.

### See Also

PRINT; CLEAR LPRINT; CLOSE LPRINT; ROUTE
# Hindi/Colors
## Colors - रंग (rang)

| English | Hindi | Transliteration |
| White | सफ़ेद | safēd |
| Gray | स्लेटी/धूसर | sleṭī/dhūsar |
| Black | काला | kālā |
| Red | लाल | lāl |
| Orange | नारंगी | nārangī |
| Yellow | पीला | pīlā |
| Green | हरा | harā |
| Cyan | आसमानी | āsmānī |
| Blue | नीला | nīlā |
| Violet | बैंगनी | bainganī |
| Pink | गुलाबि | gulābī |
| Brown | भूरा | bhūrā |
| Light (as in lighter shade) | हलका | halkā |
| Dark (as in darker shade) | गहरा | gehrā |
| Light yellow | हलका पीला | halkā pīlā |
| Deep red | गहरा लाल | gehrā lāl |
| Colorful | रंगीन | rangīn |
| Colorless | बेरंग/रंगहीन | bērang/ranghīn |
Yipee! We have covered all the basic colors. Make sure you practice writing them down on a notebook and read them aloud to print them Into memory. Best of luck!
# Hindi/Core grammar

This page is part of the Hindi course.

## Word order

The word order in Hindi/Urdu is:
* The adjective is before the noun
* The verb is always at the end of the phrase
* Similar to Classical Latin and Greek in structure
Hindi: N1 A1 N2 postp1 N3 postp2 N4 cmkr3 LtV1 LtV2 VectorVerb AuxBe
English: N1 Verb prep3 N4 prep2 N3 prep1 A1 N2
The word order can change to put emphasis on a part of the sentence.
So to say My friend's pretty mother cooks food very well, Mere dost ki khoobsurat ma khana aachese banathi. Translated word for word, this is My friend of pretty mother food well cooks."
Simple way to order words in a sentence: Adjective subject object verb adverbs

## Sentence components

* case markers and compound post-positions mark the various arguments given to a verb
* many predicates are so-called light verb expressions, consisting of several words followed by a vector verb. The most common of these vectors are the verbs karnā (to do) and honā (to be or, to happen).

### Case markers

* ne - marks the subject or topic (but only in the past perfective tense for transitive verbs)
* ka/ke/ki - marks the genitive
* ko - marks the accusative or dative, although occasionally this is the subject
* se - typically means "from" or "by", also marks the passive agent
* mein, par - locative "in", "at"
Subjects, objects, and destinations are sometimes not marked at all.

### Compound post-positions

Most English prepositions (which don't otherwise translate with a case marker) will translate with a ke/ki followed by a noun. It is useful to think of the ke/ki paired with these particular nouns as being a compound post-position.
e.g. - "Anyone" + "ke khilaf" means "against" + "Anyone"
# Hindi/Consonant combinations

This page lists frequently occurring conjunct consonants of the devanagari script. The way this page displays depends on your browser's rendering support and the availability of appropriate fonts.

## Regular cases

| 1st | 2nd | Conjunct | Example | Transcription | Translation |
| क् | र | क्र | क्रान्ति | krānti | Revolution |
| क् | स | क्स | तक्षिला | takṣilā | Taxila |
| क् | ल | क्ल | क्लास | klās | Class |
| क् | य | क्य | क्या | kyā | What |
| ख् | म | ख्म | ख्मेर | khmēr | Khmer |
| ख् | य | ख्य | मुख्य | mukhya | Main |
| ग् | ञ | ग्ञ | | | |
| ग् | र | ग्र | अंग्रेज़ी | angrēzī | English |
| ग् | य | ग्य | ग्यारह | gyārah | Eleven |
| च् | च | च्च | बच्चा | baccā | Male child |
| च् | छ | च्छ | अच्छा | acchā | Good |
| ट् | ट | ट्ट | छुट्टी | chuṭṭī | Vacation/break |
| ट् | र | ट्र | ट्रेन | ṭrēn | Train |
| ठ् | र | ठ्र | - | | |
| ड् | र | ड्र | ड्राइव करना | ḍrāiv karnā | To drive |
| ढ् | र | ढ्र | | | |
| ण् | ट | ण्ट | घण्टा | ghaṇṭā | Hour |
| ण् | ड | ण्ड | पण्डित | paṇḍit | Pandit |
| ण् | र | ण्र | | | |
| त् | न | त्न | पत्नी | patnī | Wife |
| थ् | र | थ्र | थ्रो करना | thro karnā | To throw |
| द् | ध | द्ध | बुद्ध | buddha | Buddha |
| द् | र | द्र | मुद्रा | mudrā | Posture |
| द् | व | द्व | द्वार | dvār | Gate |
| ध् | र | ध्र | ध्रुव | dhruv | Firm, Stable |
| न् | त | न्त | इन्तज़ार | intazār | Wait |
| न् | र | न्र | | | |
| न् | स | न्स | फ़्रांस | frāns | France |
| प् | र | प्र | प्रेम | prēm | Love |
| फ़् | त | फ़्त | हफ़्ता | haftā | Week |
| फ् | र | फ्र | फ्रान्स | frāns | France |
| ब् | ब | ब्ब | मुहब्बत | muhabbat | Love |
| ब् | र | ब्र | क़ब्र | qabr | Grave |
| भ् | र | भ्र | भ्रान्ति | bhrānti | Illusion |
| म् | ब | म्ब | अम्बर | ambar | Sky |
| म् | ह | म्ह | तुम्हारा | tumhārā | Your(s) |
| र् | च | र्च | मिर्च | mirc | Pepper |
| र् | त | र्त | मूर्ति | mūrti | Statue |
| र् | थ | र्थ | विद्यार्थी | vidyārthī | Student |
| र् | फ़ | र्फ़ | सिर्फ़ | sirf | Only |
| र् | य | र्य | सूर्योदय | sūryoday | Sunrise |
| र् | स | र्स | कुर्सी | kursī | Chair |
| ल् | द | ल्द | जल्दी | jaldī | Quick |
| ल् | म | ल्म | फ़िल्म | film | Film |
| व् | र | व्र | व्रत | vrat | Fasting |
| ष् | र | ष्र | | | |
| स् | क | स्क | स्कूल | skūl | School |
| स् | ज | स्ज | मस्जिद | masjid | Mosque |
| स् | ट | स्ट | स्टेशन | sṭeshan | Station |
| स | त | स्त | रास्ता | rāstā | Road |
| स् | थ | स्थ | स्थित | sthit | Situated |
| स् | न | स्न | स्नान | snān | Bath |
| स् | व | स्व | स्वाभिमान | svābhimān | Self-pride |

## Special cases

| 1st | 2nd | Conjunct | Example | Transcription | Translation |
| क् | ष | क्ष | तक्षशिला | Takṣaśilā | Former name of Taxila |
| ज | ञ | ज्ञ | ज्ञान | gyān (ज्ञ is pronounced ‘gya’ instead of ‘jña’ in Modern Hindi) | Knowledge |
| त् | त | त्त | इकत्तीस | ikattīs | Thirty-one |
| त् | र | त्र | सत्रह | satrah | Seventeen |
| द् | म | द्म | पद्म | padma | Lotus |
| द् | य | द्य | विद्यार्थी | vidyārthī | Student |
| न् | न | न्न | उन्नीस | unnīs | Nineteen |
| श् | च | श्च | पश्चिम | paścim | West |
| श् | र | श्र | श्रीलंका | śrīlaṅkā | Sri Lanka |
| श् | व | श्व | विश्व | viśva | World |
# Hiking in the Canadian Rockies/Hike Index
## C

Chinaman's Peak {Day} (Kananaskis)
Cougar Creek {Day, Overnight} (Kananaskis)

## G

Goat Creek {Day} (Kananaskis)
# Hiking in the Canadian Rockies/Printable version

The current, editable version of this book is available in Wikibooks, the open-content textbooks collection, at
https://en.wikibooks.org/wiki/Hiking_in_the_Canadian_Rockies

# Day Hikes
## Day Hike Areas

* Banff National Park
* Crowsnest Pass
* Jasper National Park
* Kananaskis
* Kootenay National Park
* Yoho National Park

# Hike Index
## C

Chinaman's Peak {Day} (Kananaskis)
Cougar Creek {Day, Overnight} (Kananaskis)

## G

Goat Creek {Day} (Kananaskis)

# Bibliography
## Books

Daffern, Gillean - Kananaskis Country Trail Guide vol. 1, Rocky Mountain Books, 2002. Calgary, Alberta, Canada pages: 48, 149
Daffern, Gillean - Kananaskis Country Trail Guide vol. 2, Rocky Mountain Books, 2003. Calgary, Alberta, Canada pages:

## Websites

Canadasmountains.com - Blackrock Mountain

# Day Hikes
## Day Hike Areas

* Banff National Park
* Crowsnest Pass
* Jasper National Park
* Kananaskis
* Kootenay National Park
* Yoho National Park
# Hiking in the Canadian Rockies/Day Hikes/Kananaskis/South Kananaskis/Ptarmigan Cirque
## Information

Day Hike PD
Distance - approximately 3.6km one way.
Height Gain - approx. 250-300m

### Access

Route 40 from the Trans Canada Highway will take you to the trailhead. Look for signs for Highwood Pass after passing Peter Laugheed Provincial Park. The trailhead starts on the West side of the road before crossing into the main trail.

## The Hike

Ptarmigan Cirque is a reliatively short but sweet hike off of Highwood Pass. After a strong elevation gain to get above the tree line, the route explodes into a breathtaking circular alpine meadow complete with a glacial stream. One can continue further up towards the ever-receding glacier, but I recommend taking a lunch and having a picknick by the waterfall. Look for bighorn sheep.
# Guitar/Scale Manual
## Circle Of Fifths

The Circle of Fifths is a memory aid for learning all the keys. Here are some fundamental observations:
Clockwise direction shows all the sharp keys
Anti-clockwise shows all the flat keys
Both directions start at the key of C major which is 12 o’clock
C major is the only key that has no sharps or flats
Clockwise ends with the key of C sharp
Anti-clockwise ends with the key of C flat
C, C flat and C sharp use the same notation letters
Each successive "hour" clockwise adds a sharp
Each successive "hour" anti-clockwise adds a flat
The name "circle of fifths" refers to the interval between the root note of each successive scale in the clockwise direction.
Anti-clockwise the root note of each scale forms the interval of a fourth with the root note of the following scale.
# Guitar/Simple three-quarter beat

Navigation: Guitar | Campfire_Diploma II. Lessons:  1) Forming the D chord • 4/4-beat • D-A 2) D-G • Major Cadence • Western Strumming • 3/4-beat 3) G-C-D • Fingering • Campfire Strumming 4) G-Em-C-D 5) Quick Chord Change 6) C-Am 7) Jumps Em-D / G-Am 8) Completion
Original page translated by Google

# The simple 3/4 beat

If you come across a song in 3/4 time, you can simply use the following beat.
With 3/4 time you have a different rhythm. You always have to count to 3 and not to 4. Experience shows that beginners always have problems switching from 4/4 time to 3/4 time and vice versa.
Whether it is 4/4 time or 3/4 time, you just have to count it out. Either it works to always count to 4, or it works to always count to 3.
It is easier if you can find the information in the song itself, or if you can find the time signatures in the musical notation.
* The 3/4 time
* The 4/4 time
    or
If necessary, a 6/8 time can also be accompanied with the 3/4 beat, although you will learn more suitable strumming or plucking patterns for the 6/8 beat later.
* The 6/8 time

## Example

* YT Still Haven't Found What I'm looking for (U2) //: D - - - G - D - :// //: A G D - :// (3/4-Takt)
* YT Ich und ein Fass voller Wein (Versengold) © //:G - D - C D7 G D (4x) G - C - G - D - (2x) C D G -:// 3/4 time (original capo 2nd fret) The C comes in the next lesson.
# Guitar/Singing and Playing

There are some people who are blessed with a perfect singing voice and excellent coordination, and they sing and play the guitar like breathing. For other people, attempting to sing a single note causes them to immediately lose the rhythm.
This section is intended to help people who already play the guitar and gives advice on how to incorporate vocals into their performance .

## General Tips

Just keep singing. The worst thing you can do is stop, because stopping teaches you to stop, and only singing teaches you to sing. Start simple. Pick a song with simple chord progressions and simple, on-beat strumming patterns. Start with a very slow tempo and gradually speed up after a successful try.

## Other Artist's Songs

First learn to play the song really well. Listen and sing along with the song, over and over again. After you have a good handle on both the singing and guitar part, try putting them together. If this still proves too difficult having both parts memorized, you may try just playing the guitar while listening to the song, focusing your mind on listening to the words as closely as you can until you can think about the words while playing. This could take away some of the multitasking confusion prevalent in first attempts.
If multitasking is not the issue but certain songs are still a challenge, practice playing and singing the song without reference to the original, and when you are sure that you have memorised the lyrics and chord changes, practice along to the original version. Sometimes doing this will help you master the harder sections.
Be sure to keep a copy of the words nearby while you are learning, in case you forget a line or two. It is better to stumble through a few lines and keep the song going rather than stopping in mid verse to try to remember something.

## Your Own Songs

After writing the first few lines of a song and with an idea of how you'd like the song to be (having the basic chords and lyrics ), the next step is to explore the possibilities. The idea is to try different tones and melodies. When singing we can stretch words to fill up some space. change any words and chords, or if creating a version of a known tune, add a chord (or word), later you can decide which one sounds better. Sometimes we subconsciously create music that is a copy of our favourite artist; there's nothing wrong with this. After all, some of the greatest names in music founded their early careers with covers of the music of their heroes. After some progress show it to your friends and ask them for some opinions. Sometimes we may also forget the melody or chords, so a good tip is to record it. You don't need a professional studio, just a normal microphone and a computer will suffice. In relation to lyrics during songwriting, if a word doesn't sit well, look for a synonym. Most of the time, it's the best solution.
# High School Geometry/Lines and Angles

Parallel and perpendicular lines require you to be able to calculate the prerequisites of distance, gradient,midpoint,and taneΦ.
# High School Geometry
## Table of Contents

    Authors
* Basics of Geometry
* Reasoning and Proof
* Parallel and Perpendicular Lines
* Congruent Triangles
* Relationships Within Triangles
* Quadrilaterals
* Similarity
* Right Triangle Trigonometry
* Circles
* Perimeter and Area
* Surface Area and Volume
* Transformations

## Resources

* PDF Version (info)
* Problem Solving (info)
* Common Errors (info)
* Teacher's Guide (info)
* Differentiated Instruction (info)
* Enrichment (info)
# High School Geometry/Basics of Geometry

* Points, Lines, and Planes
* Segments and Distance
* Rays and Angles
* Segments and Angles
* Angle Pairs
* Classifying Triangles
* Classifying Polygons
* Problem Solving in Geometry
# High School Geometry/Circles

* About Circles
* Tangent Lines
* Common Tangents and Tangent Circles
* Arc Measures
* Chords
* Inscribed Angles
* Angles of Chords, Secants, and Tangents
* Segments of Chords, Secants, and Tangents
# High School Geometry/Congruent Triangles

* Triangle Sums
* Congruent Figures
* Triangle Congruence Using SSS
* Triangle Congruence Using ASA and AAS
* Proof Using SAS and HL
* Using Congruent Triangles
* Isosceles and Equilateral Triangles
* Congruence Transformations
# High School Geometry/Inscribed Angles

Inscribed Angles are angles that you can make it half or another same angle degree. EX:1 Making it half is very easy! Draw an angle, its normal how many degrees! Make a circle at the center of the angle, then you will draw points on the lines of angle from circles. Make the points A and B, then make radius from A and B once you draw it, then draw A from B. Then again from B to A, then you will make a point again when you round it. Then you just have to measure for EX its 90 degrees and you made it half it will be 45 degree that's it
# Flora of New York/Caryophyllales

| ← Caryophyllales 1 | Flora of New York — Caryophyllales | Flora of New York — Caryophyllales | Flora of New York — Caryophyllales | Flora of New York — Caryophyllales | → Caryophyllales 2 |
| ← Caryophyllales 1 | Table of contents | Genus index | Protected species index | Invasive species index | → Caryophyllales 2 |
This page has been split into:
* Flora of New York/Caryophyllales 1
* Flora of New York/Caryophyllales 2
Any links to here should probably be fixed.
# Flora of New York/TOC-Gymnosperms

| Clade | Order | Family | Subfamily | Genus | Common names | # |
| gymnosperms | Ginkgoales | Ginkgoaceae | — | Ginkgo | maidenhair tree, ginkgo | 1 |
| gymnosperms | Pinales | Pinaceae | Pinoideae | Pinus subg. Strobus | soft pine | 1 |
| gymnosperms | Pinales | Pinaceae | Pinoideae | Pinus subg. Pinus | hard pines | 8 |
| gymnosperms | Pinales | Pinaceae | Piceoideae | Picea | spruce | 5 |
| gymnosperms | Pinales | Pinaceae | Laricoideae | Pseudotsuga | Douglas-fir | 1 |
| gymnosperms | Pinales | Pinaceae | Laricoideae | Larix | larch, tamarack | 3 |
| gymnosperms | Pinales | Pinaceae | Abietoideae | Tsuga | hemlock | 1 |
| gymnosperms | Pinales | Pinaceae | Abietoideae | Abies | fir (true firs) | 4 |
| gymnosperms | Pinales | Cupressaceae | Taxodioideae | Taxodium | cypress | 1 |
| gymnosperms | Pinales | Cupressaceae | Cupressoideae | Thuja | arborvitae, white-cedar | 1 |
| gymnosperms | Pinales | Cupressaceae | Cupressoideae | Juniperus | juniper, red-cedar | 4 |
| gymnosperms | Pinales | Cupressaceae | Cupressoideae | Chamaecyparis | cedar, false cypress | 2 |
| gymnosperms | Pinales | Taxaceae | — | Taxus | yew | 3 |
# Flora of New York/TOC-Polypodiales

| Order | Family | Subfamily | Genus | Common names | # |
| Polypodiales | Dennstaedtiaceae | — | Dennstaedtia | hay-scented fern | 1 |
| Polypodiales | Dennstaedtiaceae | — | Pteridium | brackenfern | 2 |
| Polypodiales | Pteridaceae | Cryptogrammoideae | Cryptogramma | rock brake | 1 |
| Polypodiales | Pteridaceae | Pteridoideae | Pteris | brake fern | 1 |
| Polypodiales | Pteridaceae | Cheilanthoideae | Pellaea | cliff brake | 2 |
| Polypodiales | Pteridaceae | Cheilanthoideae | Cheilanthes | lip fern | 1 |
| Polypodiales | Pteridaceae | Vittarioideae | Adiantum | maidenhair-fern | 1 |
| Polypodiales | Pteridaceae | Vittarioideae | Vittaria | ribbon fern | 1 |
| Polypodiales | Aspleniaceae | Cystopteridoideae | Cystopteris | bladder fern | 5 |
| Polypodiales | Aspleniaceae | Cystopteridoideae | Gymnocarpium | oak fern | 2 |
| Polypodiales | Aspleniaceae | Asplenioideae | Asplenium | spleenwort | 10 |
| Polypodiales | Aspleniaceae | Thelypteridoideae | Phegopteris | beech fern | 2 |
| Polypodiales | Aspleniaceae | Thelypteridoideae | Thelypteris | maiden fern, New York fern | 3 |
| Polypodiales | Aspleniaceae | Woodsioideae | Woodsia | cliff fern | 5 |
| Polypodiales | Aspleniaceae | Blechnoideae | Onoclea | sensitive fern | 1 |
| Polypodiales | Aspleniaceae | Blechnoideae | Matteuccia | ostrich fern | 1 |
| Polypodiales | Aspleniaceae | Blechnoideae | Woodwardia | chain fern | 2 |
| Polypodiales | Aspleniaceae | Athyrioideae | Deparia | false spleenwort | 1 |
| Polypodiales | Aspleniaceae | Athyrioideae | Athyrium | lady fern | 3 |
| Polypodiales | Diplaziopsidaceae | — | Homalosorus | glade fern | 1 |
| Polypodiales | Polypodiaceae | Dryopteridoideae | Cyrtomium | Japanese hollyfern | 1 |
| Polypodiales | Polypodiaceae | Dryopteridoideae | Dryopteris | woodfern | 30 |
| Polypodiales | Polypodiaceae | Dryopteridoideae | Polystichum | hollyfern | 5 |
| Polypodiales | Polypodiaceae | Polypodioideae | Polypodium | polypody, rockcap fern | 3 |
| Polypodiales | Polypodiaceae | Polypodioideae | Pleopeltis | scaly-polypody, resurrection fern | 1 |
# Flora of New York/TOC-Rosoideae

|Rosoideae | Ulmarieae | Filipendula (queen) | align=right|1 | align=right|3 |- | Rubeae | Dalibarda (dewdrop) Rubus (blackberry, raspberry, dewberry) | align=right|2 | align=right|31 |- | Colurieae | Waldsteinia (barren strawberry) Geum (avens) | align=right|2 | align=right|11 |- | Sanguisorbeae | Agrimonia (agrimony) Sanguisorba (burnet) | align=right|2 | align=right|9
|-style="border-top-style:solid; border-top-color:#bbbbbb; border-top-width:2px;"
| Roseae | Rosa (rose) | align=right|1 | align=right|31 |- | Potentilleae | Potentilla (cinquefoil) Argentina (silverweed) Duchesnea (mock strawberry) Comarum (marsh cinquefoil) Drymocallis (tall cinquefoil) Dasiphora (shrubby cinquefoil) Sibbaldia (cinquefoil) Fragaria (strawberry) Alchemilla (lady's mantle) Aphanes (parsley-piert) | align=right|9 | align=right|23