It might have dialed 112, as that sometimes also links to 911 (and 112 is much easier to accidentally dial).
331 karma · joined November 4, 2021
The problem is that (1) this is simplistic, and doesn't take into account temperature fluctuations, ac usage, etc, and (2) battery datasheets are essentially sales brochures, and often stretch the truth. (For instance, it's rare to see a battery that can actually hit the rated capacity under realistic conditions).
In 1947 a law was passed requiring trains above 79mph to have some kind of automatic train stop system, so that ended most of the high speed steam service.
I would also add that the chapter "Of Beleriand and its Realms" is OK to skip if it's not your thing, especially on a first read. It's mostly just describing what's on the map (of course it's still well written in Tolkien's prose). There are plenty of people that enjoy it, and there are plenty that don't.
For instance, Twain spells "after" like "aafte", but in my accent I would probably spell it "afdr".
Twain has also run in to the problem that spoken English has far more vowels then written English does. He uses "ai" in both "minds"/"maindz" and "replace"/"riplais", but presumably they represent different sounds.
Presumably OP's system has the same problems with the dialects of Chinese, now that I think about it. Although I know very little about Chinese unfortunately (only what I know now from a few seconds of googling).
The alto part seems to be a different story though. In fact, in one of the old shape note tune books I've got (a reprint of The Southern Harmony, originally from 1854), the alto part is labeled "counter", suggesting it was adapted from the Reformation-era countertenor parts. It was occasionally sung by boys, or by women, but often left out entirely (most of the tunes in the Southern Harmony are three part, with no alto). Later on, this "second part from the top" reemerged as a standard alto part, labeled as such, and sung by only women and possibly boys (but by this time, certainly not men in falsetto).
This is because a shape note singer learns to associate the shapes with the degrees of the scale. If a good shape note singer is given sheet music with just the shapes, with no staff, they can usually still sing it. But a shape note singer must "switch gears" every time the key changes or a note outside of the scale is used.