OpenLLM-France/wikimedia huggingface dataset:
# Radiation Oncology/Epidemiology/Survival

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Cancer Survival Data
| Disease | Disease | Disease | Median OS | 1-year OS | 2-year OS | 5-year OS | 10-year OS |
| Chordoma |||
| | | Overall (SEER data) | 6.3 years | | | 68% | 40% |
| Glioma |||
| | Low Grade (WHO II) | Low Grade (WHO II) |
| | | RT alone (EORTC 22844) | ~6 years | | | 59% | |
| | | RT alone (NCCTG) | ~9 years | | 94% | 72% | |
| | | Observation (EORTC 22845) | 7.4 years | | | 66% | |
| | High Grade (WHO III) | High Grade (WHO III) |
| | | RT alone (RTOG 9402) | 4.7 years | | | 46% | |
| | | RT alone (EORTC 26951) | 3.4 years | | | 37% | |
| | High Grade (WHO IV) | High Grade (WHO IV) |
| | | Observation (BTCG 69-01) | 3.2 months | | | | |
| | | RT alone (BTCG 69-01) | 8.1 months | | | | |
| Pancreas |||
| | Resectable | Resectable |
| | | Surgery only (CONKO-001) | 1.7 years | | | 9% | |
| | | Adjuvant 5FU/RT (GITSG 9173) | 1.7 years | | 42% | | |
| | | Adjuvant 5FU/RT/Chemo (ESPAC-1) | 1.7 years | | | | |
| | | Adjuvant GEM-RT/5-FU/GEM (RTOG 9704) | 1.7 years | | | | |
| | | Adjuvant GEM (CONKO-001) | 1.9 years | | | 21% | |
| | Unresectable | Unresectable |
| | | No treatment | ~4 months | | | | |
| | | Palliative bypass | 6-7 months | | | | |
| | | RT/5-FU (FFCD-SFRO) | 9 months | 32% | | | |
| | | RT/GEM (ECOG E4201) | 11 months | | | | |
| | | GEM (FFCD-SFRO) | 13 months | 53% | | | |
| | | RT/GEM (Taipei) | 14 months | 56% | 15% | | |
| | | RT/TNFerade(PACT) | 1.4 years | 71% | | | |
| Prostate |||
| | Early Stage (cT1-T2) | Early Stage (cT1-T2) |
| | | Watchful waiting (SPCG-4) | | | | | 86% |
| | | Surgery (SPCG-4) | | | | | 91% |
| NSCLC |||
| | Early Stage Operable | Early Stage Operable |
| | | Surgery (Stage I) composite | | | | 65% | |
| | | Surgery (Stage I) Brazil | | | | 95% | |
| | | Conventional RT (Stage I) composite | | | | 20% | |
| | | SBRT (Stage I) Japan | | | | 83% | |
| | | Surgery (Stage II) | | | | 45% | |
| Spinal Cord Compression |||
| | | RT Alone (Patchell) | 3 months |
| | | Surgery + RT (Patchell) | 4 months |
# Radiation Oncology/Epidemiology/Taiwan Cancer Registry/Taiwan Cancer Registry (Male)

Cancer Incidence (2016) by Taiwan Cancer Registry for Male Cancer:
* Colon cancer
* Liver cancer
* Lung cancer
* Oral cavity cancer (including oropharyngeal cancer, hypopharyngeal cancer, etc.)
* Prostate cancer
* Esophageal cancer
* Gastric cancer
* Skin cancer
* Bladder cancer
* Leukemia
# Linux Guide/Enterprise Linux

Enterprise Linux is the term used to reference any distribution (distro) of the open source Linux operating system that is targeted to the commercial market — not to consumers— for use on corporate or small business servers, desktops, workstations and mobile deployments. There are several Linux distros for enterprises, mainly:
* Ubuntu Business Desktop Remix
* SUSE Linux Enterprise Desktop (SLED) and openSUSE.
* Red Hat Enterprise Linux (RHEL).
* CentOS
* Oracle Linux

## References

* ↑ http://www.webopedia.com/TERM/E/Enterprise_Linux.html
# Linux Guide/File Manipulation

| Previous | Up | Next |

## ls

    lists all files and directories in the current directory.

## mv <file> <to>

    move <file> to destination <to>.

## rm <file>

    remove <file>.

## cd <dir>

    change the current directory to <dir>.

## cat <file>

    concatenate files and show them on standard output, text files work best:)

## find [path...] [expression]

    search for files in the given path

## xargs <command>

    takes input from stdin and formats it as the arguments to another program. For instance, to delete all files with an ending ~, write find . -name "*~" | xargs rm

## Copy file from remote system (rsync)

Example:
# Music Theory/Software Needed

If you don't want to use a computer for your composing, skip to the next chapter.
For this tutorial, you will need notation software, aka a Note Editor. A good point to start is free and open source MuseScore, which works on GNU/Linux, Mac and Windows, and has a built-in synthesizer, eliminating the need for setting up MIDI. There are also several alternatives for Linux. For Windows, Coda Technology offers Finale Notepad as a downloadable, ten dollar version of their commercial Finale notation software. Alternatives include Lilypond, MusiXTeX and various abc notation programs
There's a free music workstation called Frinika that features piano roll, score, and tracker interface as well. It's opensource and written in Java. You can run it without installation through Java Webstart.
(If you are using windows but don't want to pay money, try downloading Ubuntu at http://www.ubuntu.com. If you don't want to put it as a permanent operating system, then you can use VMWare to make a Virtual PC.)
For this tutorial, we will be using NoteEdit. To download it on Ubuntu, go to Application -> Add/Remove. From there make sure 3rd party programs are enabled, then do a search for NoteEdit. Check it, and press OK.
If you aren't hearing any sound, download EasyUbuntu, http://easyubuntu.freecontrib.org/, MAKE SURE YOU CHECK MIDI!!!, then type this into the terminal.
timidity -iA -B2,8 -Os -EFreverb=0 > /dev/null &
This command only needs to be typed in once, but will have to be redone every time you restart Ubuntu.
# Music Theory/Triads

Triads are three-note chords usually consisting of a tonic, a 3rd and a 5th. The four common triads are major triads (1, 3, 5), minor triads (1, flat 3, 5), diminished triads (1, flat 3, flat 5) and augmented triads (1, 3, sharp 5). There are also suspended triads like sus4 (1, 4, 5) and sus2 (1, 2, 5) which is an inversion of a sus4 triad.
# Music Theory/Syncopation

Syncopation is when a normally unstressed beat is stressed. For example, music in common time (4/4) usually stresses the first and third beat. A syncopated song, on the other hand, may emphasize the second and fourth. Syncopation can also occur when a note is between two beats.
# Music Theory/Rock

Rock is a musical style that arose in the U.S. in the mid-1950s and became the dominant form of popular music in the world. Though rock has used a wide variety of instruments, its basic elements are one or several vocalists, heavily amplified electric guitars (including bass, rhythm, and lead), and drums. It began as a simple style, relying on heavy, dance-oriented rhythms, uncomplicated melodies and harmonies, and lyrics sympathetic to its teenage audience's concerns — young love, the stresses of adolescence, and automobiles.
Its roots lay principally in rhythm and blues (R&B) and country music. Both R&B and country existed outside the mainstream of popular music in the early 1950s, when the Cleveland disc jockey Alan Freed (1921 – 65) and others began programming R&B, which until then had been played only to black audiences. Freed's success gave currency to the term rock and roll. The highly rhythmic, sensual music of Chuck Berry, Bill Haley and the Comets, and particularly Elvis Presley in 1955 – 56 struck a responsive chord in the newly affluent postwar teenagers.
In the 1960s several influences combined to lift rock out of what had already declined into a bland and mechanical format. In England, where rock's development had been slow, the Beatles and the Rolling Stones were found to have retained the freshness of its very early years and achieved enormous success in the U.S., where a new generation had grown up unaware of the musical influences of the new stars, thus commencing the British Invasion. Similarly, in the United States in the early 1960s, rock bands such as The Beach Boys and The Four Seasons were hugely popular, preceding the British Invasion. Others, such as Bob Dylan, Joni Mitchell, the Byrds, and others were blending the traditional ballads and verse forms of folk music with rock, and musicians began to explore social and political themes. Performers such as the Grateful Dead, Jim Morrison of the Doors, and Frank Zappa of the Mothers of Invention combined imaginative lyrics with instrumental virtuosity, typically featuring lengthy solo improvisation. Janis Joplin and Jimi Hendrix won large followings with their exotic elaborations on R&B.
The 1970s saw the rise of singer-songwriters such as Paul Simon, Neil Young, Elton John, David Bowie, and Bruce Springsteen, and rock assimilated other forms to produce jazz-rock, heavy metal, and punk rock. In the 1980s the disco-influenced rock of Madonna, Michael Jackson, and Prince was balanced by the post-punk "new wave" music of performers such as Laurie Anderson, Talking Heads (led by David Byrne), and the Eurythmics — all of whom illustrated their songs with music videos. By the 1990s rock music had incorporated grunge, rap, techno, and other forms.
# Music Theory/Ska

Ska is a form of Jamaican music combining elements of traditional mento and calypso with an American jazz and rhythm and blues sound. It is notable for its shuffling, scratch like tempo and jazz-like horn riffs on the offbeat.

# Rhythm

Ska general plays on the upbeat, with a rest on the downbeat.

# External Links

Ska guitar 101
# Music Theory/South East Asian
## Mor lam (Lao: ໝໍລຳ; Thai/Isan: หมอลำ)

is a traditional Lao form of song in Laos and Isan. Mor lam means 'expert song', or 'expert singer', referring to the music or artist respectively. Other romanisations used include mor lum, maw lam, maw lum, moh lam, mhor lum, and molum. In Laos, the music is known simply as lam (ລຳ); mor lam (ໝໍລຳ) refers to the singer.
The characteristic feature of lam singing is the use of a flexible melody tailored to the tones of the words in the text. Traditionally, the tune was developed by the singer as an interpretation of a klon poem and accompanied primarily by the khene (a free reed mouth organ). The modern form is frequently composed and uses electrified instruments. Traditional forms (and some Lao genres) use a slower tempo than the quicker tempo and faster deliveries of more modern lam music. Strong rhythmic accompaniments, vocal leaps, and a conversational style of singing distinguish lam from American rap.
Typically featuring a theme of unrequited love, mor lam often reflects the difficulties of life in rural Isan and Laos, leavened with wry humor. In its heartland, performances are an essential part of festivals and ceremonies. Lam has gained a profile outside its native regions from the spread of migrant workers, for whom it remains an important cultural link with home.

### Musical form

Lam singing is characterised by the adaptation of the vocal line to fit the tones of the words used. It also features staccato articulation and rapid shifting between the limited number of notes in the scale being used, commonly delivering around four syllables per second. There are two pentatonic scales, each of which roughly corresponds to intervals of a western diatonic major scale.
The actual pitches used vary according to the particular khene accompanying the singer. The khene itself is played in one of six modes based on the scale being used.
Because Thai and Lao do not include phonemic stress, the rhythm used in their poetry is demarcative, i.e., based on the number of syllables rather than on the number of stresses. In gon verse (the most common form of traditional lam text) there are seven basic syllables in each line, divided into three and four syllable hemistiches. When combined with the musical beat, this produces a natural rhythm of four on-beat syllables, three off-beat syllables, and a final one beat rest:
In actual practice this pattern is complicated by the subdivision of beats into even or dotted two-syllable pairs and the addition of prefix syllables which occupy the rest at the end of the previous line; each line may therefore include eleven or twelve actual syllables. In the modern form, there are sudden tempo changes from the slow introduction to the faster main section of the song. Almost every contemporary mor lam song features the following bassline rhythm, which is often ornamented melodically or rhythmically, such as by dividing the crotchets into quavers:
The ching normally play a syncopated rhythm on the off-beat, giving the music a characteristically quick rhythm and tinny sound.
* ↑ Mor lam - Mor lam - Wikipedia
# Punjabi/Grammar/Parts of speech
## Parts of Speech

English speakers reading this Wikibook are likely already familiar with the concept of parts of speech from English grammar. Parts of speech in Punjabi are similar. These are ਨਾਂਵ (noun), ਪੜਨਾਂਵ (pronoun), ਕਿਰਿਆ (verb), ਵਿਸ਼ੇਸ਼ਣ (adjective), ਕਿਰਿਆ ਵਿਸ਼ੇਸ਼ਣ (adverb), ਸੰਬੰਧਕ (postposition), ਯੋਜਕ (conjunction) and ਵਿਸਮਿਕ (interjection). We will study these concepts in following chapters.

### Some concepts in reation to parts of speech
#### ਲਿੰਗ - gender

    In Punjabi people and animals have a gender, e.g. ਕੁੜੀ (girl) is of feminine gender (ਇਸਤਰੀ ਲਿੰਗ). There are two genders viz. ਪੁਲਿੰਗ (masculine) and ਇਸਤਰੀ ਲਿੰਗ (feminine). Inanimate things can also have gender.

#### ਵਚਨ - number

    ਵਚਨ or number of a part of speech tells us whether the word refers to a single person, place or thing, in which case it is singular (ਇਕ-ਵਚਨ) e.g. ਕਿਤਾਬ (book) or more than one thing in which case it is plural (ਬਹੁ-ਵਚਨ) e.g. ਕਿਤਾਬਾਂ(books).

#### ਪੁਰਖ - person

    There are three grammatical persons. ਪ੍ਰਥਮ-ਪੁਰਖ (first person) speaks to the ਦੂਜਾ-ਪੁਰਖ (second person) and refers to a ਤੀਜਾ-ਪੁਰਖ (third person). First person includes ਮੈਂ (I) and ਅਸੀਂ (we), the second person ਤੂੰ (you, singular) and ਤੁਸੀਂ (you, plural) and the third person ਉਹ (he, she or they).

#### ਕਾਰਕ - case

    The functionality of a noun or pronoun in the sentence determines its form. These form variants of the noun or pronoun are called the ਕਾਰਕ(case) of the noun or pronoun. For example, pronouns in English can be subjects (e.g. "he") or objects (e.g. "him"). The Punjabi cases are
   * ਕਰਤਾ ਕਾਰਕ subjective or nominative case is used for the doer of the verb's action.
   * ਕਰਮ ਕਾਰਕ objective case is used for the object of the action of the verb.
   * ਕਰਨ ਕਾਰਕ instrumental or agentative case is used for the instrument with which the action of the verb is done or the agent through which it is done.
   * ਸੰਪ੍ਰਦਾਨ ਕਾਰਕ dative case is used for indirect object of verb that is the beneficiary of the action of the verb or receives something.
   * ਅਪਾਦਾਨ ਕਾਰਕ ablative case is used for something that is moving away from or is being given away by the subject.
   * ਸੰਬੰਧ ਕਾਰਕ postpositional case is that which establishes a relation with subject.
   * ਅਧਿਕਰਣ ਕਾਰਕ locative case is used for the place where or on/in/under which something is placed.
   * ਸੰਬੋਧਨ ਕਾਰਕ vocative case is the address to another person, etc.

#### ਕਾਲ - tense

    ਕਾਲ or tense relates to time of happening of the verb. Tense can be ਭੂਤ ਕਾਲ (past) e.g. ਖਾਧਾ (ate), ਵਰਤਮਾਨ ਕਾਲ (present) e.g. ਖਾਂਦਾ (eat) or ਭਵਿਖ ਕਾਲ (future) ਖਾਂਵਾਂਗਾ (will eat).

### Inflection and Declension

Grammar, in large part, deals with functionality related to word forms. Change of word forms due to its grammatical functionality, in general, is called inflection and in the case of noun, pronoun and adjective declension. We shall examine the rules of inflection and declension in this module.
# Punjabi/Grammar/Postposition
## ਸੰਬੰਧਕ (Postposition)

Postpositions in Punjabi link nouns, pronouns and phrases to other parts of the sentence in the same way prepositions do in English, the difference being that postpositions follow the noun whereas the prepositions precede it. Some Punjabi postpositions are
* ਨੇ – subject case maker of the transitive verb.
* ਨੂੰ, ਲਈ, ਵਾਸਤੇ, ਹਿਤ – object or dative case marker for indirect object or the direct object of a transitive verb.
* ਦਾ, ਦੇ, ਦੀ, ਦੀਆਂ – relational case markers, "of"; agrees with the connected noun/pronoun.
* ਨਾਲ, ਦੁਆਰਾ, ਰਾਹੀਂ, ਤੋਂ - agentative case markers.
* ਤੇ, ਉਤੇ, ਕੋਲ, ਲਾਗੇ, ਵਿਖੇ, ਵੱਲ, ਤਕ, ਬਾਰੇ, ਨੇੜੇ – locative case markers.
* ਤੋਂ – ablative case marker, from
* ਏ, ਓ, ਵੇ, ਨੀ - Vocative case markers
From a functional standpoint a postposition can be complete postposition, incomplete postposition or mixed postposition. A complete postposition can independently act as postposition such as ਦਾ, ਦੇ, ਦੀ, ਨੇ, ਤੋਂ etc. An incomplete postposition can act as postposition only as a part of postpositional phrase such as ਕੋਲ, ਬਿਨਾ in ਦੇ ਕੋਲ, ਤੋਂ ਬਿਨਾ etc. A mixed postposition can, either independently or in combination with some other postposition, act as postposition such as ਉਤੇ in ਮੇਜ ਉਤੇ or ਮੇਜ ਦੇ ਉਤੇ etc.

### Inflection of postpositions

Some postpositions inflect(change form) to conform in number, gender or case to the following noun or phrase. For example compare ਸੀਤਾ ਦਾ ਪੈੱਨ with ਰਾਮ ਦੀ ਕਿਤਾਬ. Postposition ਦਾ in the first phrase agrees with ਪੈੱਨ in number and gender, both being singular and masculine. In the second phrase ਦੀ agrees with ਕਿਤਾਬ in number and gender, both being singular and feminine. Now take another example ਮੋਹਨ ਦੀਆਂ ਕਿਤਾਬਾਂ. Here again ਦੀਆਂ agrees with ਕਿਤਾਬਾਂ in number and gender, both being plural and feminine. The rules for change of form of such postpositions are generally the same as applicable to adjectives.
At times a postpositional phrase is used instead of a single postposition. For example phrase ਮੇਜ ਦੇ ਉਪਰ ਕਿਤਾਬ contains postposition ਦੇ ਉਪਰ. In such cases the second part of the composite postposition inflects like a noun, that is there is no concord with the following noun or phrase but the concord is with the following verb. See for example ਮੇਜ਼ ਦੇ ਉੱਪਰੋਂ ਕਿਤਾਬ ਚੁੱਕੀ.

### Uninflected postpositions

Many postpositions do not inflect at all. The postpositions ਨੇ, ਨੂੰ and ਤੋਂ always immediately follow the noun. When ਨੇ and ਨੂੰ succeed certain pronouns they are converted into suffixes like ਮੈਨੂੰ, ਤੈਨੂੰ, ਉਹਨੂੰ, ਉਹਨੇ, ਇਹਨੇ etc. When ਤੋਂ follows some pronouns it becomes ਥੋਂ and results in ablative case form of those pronouns, e.g. ਮੈਥੋਂ, ਤੈਥੋਂ etc.
# Punjabi/Gurmukhi

Punjab was divided between the nations of India and Pakistan following the partition in 1947. While Punjabi is still spoken as a first language in the two provinces, different writing systems are in vogue on either side of the international border - Gurmukhi script in Eastern Punjab and Shahmukhi script in the Western part. This module deals with the Gurmukhi script.
Gurmukhī, which means 'from the mouth of the Guru', was standardized in the 16th century by the second Sikh Guru, Guru Angad. The alphabet is also called 'Pæntī' meaning 'thirty five'. Later on, new letters were added to accommodate Persian sounds. The present alphabet consists of forty one letters. The letters are systematically arranged:
* Row 1 contains the vowels and fricatives.
* Rows 2-6 contains phonetically arranged consonants.
* Row 7 contains miscellaneous consonants (approximants, lateral and trill).
* Row 8 contains the consonants added later to accommodate Persian sounds.
The arrangement of consonants in rows 2-6 is based on the Devanagari alphabet - each row contains consonants with a common place of articulation (but varying in aspiration, voicing, tone and nasalization); the rows, themselves, are ordered by the place of articulation moving in an outward fashion, beginning with the velar consonants, followed by palatals, retroflexes, dentals and ending at the labials.
A Gurmukhi vowel is called a 'mātrā'. Gurmukhi is an abugida in which all consonants have an inherent vowel. Diacritics, which can appear above, below, before or after the consonant they belong to, are used to change the inherent vowel. In the absence of a consonant, the vowel signs are indicated on the first three letters of the alphabet.
Gurmukhi also has three sub-joined conjuncts, which will be discussed later in the module. Gurmukhi also has the capability to write half consonants (lacking an inherent schwa ending) as in Devanagari; however these are infrequent, except for two consonants, which will be discussed along with the other conjuncts. Gurmukhi has its own set of numerals, 0 through 9, which have been supplanted by the Hindu-Arabic numerals. The usage of punctuation marks is almost identical to that in English, except for a vertical bar representing the end of a sentence. The script does not make any distinction between upper and lower case letters as in the Latin script.
Gurmukhi is a near phonetic script, where each sound is represented by a unique combination of consonants and vowels. Thus once the learner becomes well acquainted with the letters and the sounds they represent, transliteration into Latin script will no longer be required to supplement the Gurmukhi spellings to indicate pronunciation. Thus, it will be dispensed with in subsequent modules. It is, therefore, important that you thoroughly learn and practise the letters before moving on to the subsequent modules of the book.
# Punjabi/Gurmukhi/Dentals
## Fifth row of Gurmukhi - the Dentals

We have already learnt the velars, palatals and retroflexes besides the vowel carriers and ਸ and ਹ. We now move on to the fifth row (ਤ ਵਰਗ ) of Gurmukhi consisting of the dentals. The dentals are so called because of the fact that they are articulated with the tongue touching the upper teeth.
The Gurmukhi dentals are
    ਤ ਥ ਦ ਧ ਨ
These are called ਤ - tutta, ਥ - thuththa, ਦ - dudda, ਧ - dhudda and ਨ - nunna. They are pronounced ਤ - /t/, ਥ - /th/, ਦ - /d/, ਧ - /dh/ and ਨ - /n/. Each of these letters is explained below.

### ਤ Tutta

    ਤ sound is not found in English. It is produced the same way as /t/ except that instead of the tongue touching the roof of the mouth it touches the teeth. The world famous monument of love Taj is spelt in Gurmukhi as
       ਤਾ + ਜ = ਤਾਜ = Taj
    Tibet will be written in Gurmukhi as under
       ਤਿੱ + ਬ + ਤ = ਤਿੱਬਤ = Tibet
    ਤ /t/ is a dental sound. It is produced the same way as /t/ but by placing the tongue against the upper teeth, as is done to produce th sound in then. To produce ਤ sound repeat the /t/ sound and continue to do so by placing the tongue against the upper teeth. This will produce the ਤ sound.

### ਥ Thuththa

    ਥ is same as /th/ in thank. Let us see some examples of its use in English words
       ਥੈਂ + ਕ = ਥੈਂਕ = thank
       ਥੀ + ਸਿ + ਸ = ਥੀਸਿਸ = thesis
       ਥਿੱ + ਕ = ਥਿੱਕ = thick

### ਦ Dudda

    ਦ is equivalent to /th/ as in the. Here are some examples of its use in English words
       ਦਿੱ + ਸ = ਦਿੱਸ = this
       ਦੈ + ਟ = ਦੈਟ = that

### ਧ Dhuddaa

    ਧ has no equivalent in English. ਧ sound is produced by speaking ਤ combined with a tone in an initial position of a word and a tone with ਦ sound elsewhere.
       ਬੁੱ + ਧਾ = ਬੁੱਧਾ /Budhaa/ = Buddha

### ਨ Nuna

    ਨ is equivalent to /n/. Let us see some examples of use of ਨ in English words written in Gurmukhi
       ਨੈੱ + ਟ = ਨੈੱਟ = net
       ਨਿ + ਬ = ਨਿਬ = nib
       ਨੋ + ਟ = ਨੋਟ = note

### Exercises

1. Use Practice module to write the letters of the fifth row many times in your note book as you did earlier. You can click one of the letters below to go to relevant page of the practice module.
    ਤ ਥ ਦ ਧ ਨ
2. Read these English words written in Gurmukhi
* ਤਾਜ
* ਸੋਵੀਅਤ
* ਥੈਂਕ
* ਦੈਂਸ
* ਨਾਇਨ
* Taj
* Soviet
* Thank
* Thence
* Nine
3. Write these words in Gurmukhi and English side by side.
* ਥਿੱਕ
* ਕਜ਼ਾਖਸਤਾਨ
* ਨਥਿਙ
* ਥੀਸਿਸ
* ਬੁੱਧਾ
* ਥਿੱਕ - Thick
* ਕਜ਼ਾਖਸਤਾਨ - Kazakhstan
* ਨਥਿਙ - Nothing
* ਥੀਸਿਸ - Thesis
* ਬੁੱਧਾ - Buddha
4. Write these English words in Gurmukhi
* Tibet
* Noon
* Thatch
* Sooth
* Than
* Then
* Notice
* Nuisance
* Thin
* Night
* ਤਿੱ + ਬ + ਤ = ਤਿੱਬਤ
* ਨੂ + ਨ = ਨੂਨ
* ਥੈ + ਚ = ਥੈਚ
* ਸੂ + ਨ = ਸੂਨ
* ਦੈ + ਨ = ਦੈਨ
* ਦੈੱ + ਨ = ਦੈੱਨ
* ਨੋ + ਟਿ + ਸ = ਨੋਟਿਸ
* ਨ + ਊ + ਸੰ + ਸ = ਨਊਸੰਸ
* ਥਿ + ਨ = ਥਿਨ
* ਨਾ + ਇ + ਟ = ਨਾਇਟ

### Summary

In this lesson we have learnt the five letters of the second row of Gurmukhi script. These letter are ਤ tuta, ਥ thutha, ਦ duda, ਧ dhuda and ਨ nunna. In the next lesson we will introduce the next five letters of Gurmukhi.