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1. Coming next after second, as in order, rank, or time.
2. Being the digit that is adjacent to and is on the outermost side of the second digit, as on a foot.

third n.
The American Heritage® Medical Dictionary Copyright © 2007, 2004 by Houghton Mifflin Company. Published by Houghton Mifflin Company. All rights reserved.

Patient discussion about third

Q. What are first, second and third degree burns? What’s the difference between them and do they get treated in a different way?

A. Pain management for burns can be difficult since burns differ in type and severity. There are three types of burns:

First-degree burns are considered mild compared to other burns. They result in pain and reddening of the epidermis (outer layer of the skin).

Second-degree burns affect the epidermis and the dermis (lower layer of skin). They cause pain, redness, swelling, and blistering.

Third-degree burns go through the dermis and affect deeper tissues. They result in white or blackened, charred skin that may be numb.
Hope this helps.

Q. Hello everyone. I am in my third month and I do smoke a lot.Can anyone help me on this? Hello everyone. I am in my third month and I do smoke a lot. I knew smoking can pose pregnancy related problem but I can’t stop as I feel it won’t be harmful to me, but as I hear people commenting me for my smoking during my pregnancy, I get sick. Can anyone help me on this?

A. Dear, let me tell you one thing, one of my friend who is doing research in lung cancer was never exposed to hospitals and patients, till finally he landed in to meet them and it turned out to be a shock to me when I met him after 6 months. He being a smoker, left smoking completely. His motivations were those patients in hospital whom he used to meet, found the sole cause was smoking. It does not relate to your situation but do have the essence to show that smoking effects for sure for cancer. Also to have a healthy baby, I shall suggest you to quit smoking.

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References in periodicals archive ?
The only scale contained within the C12 chromatic that looks like this is the anhemitonic pentatonic scale, with groups of whole tones separated by minor thirds.
Certainly the seven-tone diatonic scales existing within the C12, C17, C19, C26, C1, C41, and G53 scales indicate that they are all approximations to a seven-tone diatonic consisting of pure 5/4 and 6/5 intervals (major and minor thirds), as marked out in Example 14.
Intitally, each note is associated with one a semitone or a minor third away, but at the 'cadence' on to D in bars 4--5 the G--D motion is pre-imitated by its tritone transposition C[sharp]--G[sharp], generating an exactly symmetrical 'Z' (or 4--9)(28) tetrachord contained within a seven-note octatonic subset (7--31) from the collection which will end the related fourth movement.
In Rands's case, the coherence seems to be strengthened further by the fact that the two symmetrical referential patterns in Example 21 are similar to one another; they both alternate half-steps and minor thirds, but Structure I starts with the minor third as it grows outward from B and Structure II with the half-step.
22 and contains an abrupt change of interval usage with the introduction of major and minor thirds (Example 12).
Verne Reynolds states that this etude is one of his "interval studies." The minor third plays a vital role in the underlying harmony and the ends of phrases and sections.
[With regard to consonances t]he major third, then is that which contains two whole tones, the minor third is that which contains a whole tone with a semitone.
Or to hear "Hosanna" (a fourth apart over an ostinato based on minor thirds!) in the call of the off-stage trumpets at the very end?
Musically, it says that every interval can be decomposed into major thirds and minor thirds, e.g.
He shows how Schubert employs a circle of minor thirds as part of its basic structure, determining the developmental principle and tonal design of the piece.
PHILIP BRETT ARGUES THAT THE INTERVAL OF A MINOR THIRD, with its evil and foreboding affect, "signif[ies] homosexuality" (Allen 280) in the work of Benjamin Britten, thereby suggesting that the queer eyes we've devoted to straight guys may have unfairly plugged our queer ears.