The diagram of harmonious sound · level tone harmonious singing, the second of the seven for the tone of Lü.

平聲翕唱呂二之七：古甲九癸○○○○，自自自白千典旦○；一音 □□近揆○○○○，八音 自自自自元犬半○；七聲 坤巧丘棄○○○○，三聲 自自自自臣引艮○；□□乾蚪○○○○，自自自自君允巽○；黑花香血○○○○，自自自自刀早孝嶽；二音 黃華雄賢○○○○，八音 自自自自毛寶報霍；七聲 五瓦仰□○○○○，四聲 自自自自牛斗奏六；吾牙月堯○○○○，自自自自○○○玉；安亞乙一○○○○，自自自自妻子四日；三音 □爻壬寅○○○○，八音 自自自自衰○帥骨；七聲 母馬美米○○○○，五聲 自自自自○○○德；目貌眉民○○○○，自自自自龜水貴北。

"The level tone 'Xī Chàng Lǚ Èr Zhī Qī' starts a new diagram. The tones sung are the seventh tones of the sun and moon, which is written as '○', meaning that this tone is present in the grid but there is no character to fill it. It matches one by one with the standard tones: the first tone's four lines are 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the '□' at the beginning of the second and fourth lines indicates there is a tone position but no character. The second tone's four lines are 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone's four lines are 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín'. The right half still belongs to 'Kāi Yīn Zhú Hé Lǜ Èr Zhī Bā', harmonizing with the eighth tone of water and fire 'Zì', in sequence matching the standard tone's third tone 'Qiān Diǎn Dàn ○', 'Yuán Quǎn Bàn ○', 'Chén Yǐn Gèn ○', 'Jūn Yǔn Xùn ○'; the fourth tone 'Dāo Zǎo Xiào Yuè', 'Máo Bǎo Bào Huò', 'Niú Dòu Zòu Liù', '○○○ Yù'; the fifth tone 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'. The last character 'Bái' in the first line 'Zì Zì Zì Bái' is a mistake for the original 'Zì'. Each category in the tone diagram has four lines divided into clear,浊,次清,次浊, and within each line, the four characters are ordered from first to fourth tone class; the sound diagram has four characters per line ordered by level, rising, falling, and入 tone, for example, 'Qiān Diǎn Dàn ○' corresponds to level 'Qiān', rising 'Diǎn', falling 'Dàn', and入 tone with no character."

夫法□飛○○○○，自自自自宮孔眾○；四音 父凡□吠○○○○，八音 自自自自龍甬用○；七聲 武晚□尾○○○○，六聲 自自自自魚鼠去○；文萬□未○○○○，自自自自烏虎兔○；卜百丙必○○○○，自自自自心審禁○；五音 步白備鼻○○○○，八音 自自自自○○○十；七聲 普撲品匹○○○○，七聲 自自自自男坎欠○；旁排平瓶○○○○，自自自自○○○妾；東丹帝■○○○○，自自自自●●●●；六音 兌大弟■○○○○，八音 自自自自●●●●；七聲 土貪天■○○○○，八聲 自自自自●●●●；同覃田■○○○○，自自自自●●●●；乃你女■○○○○，自自自自●●●●。

Continuing "Level Tone Harmony of the Second Category, Seventh Tone". The singing position remains the same, a sound without a character "○". This section harmonizes with the fourth tone's lines "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone's lines "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone's lines "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line is the first line of the seventh tone "Nai Ni Nu ■". The third character in each line of the fourth tone has "□", which is a sound without a character. The last character in the sixth and seventh tones has "■", which is a position without a sound. The right half remains "Open Tone Heavy and Harmonic Law of the Second Category, Eighth Tone", with "Zi" as the harmonic character, matching the sixth tone's lines "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the seventh tone's lines "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". Further down, the eighth tone's four lines and the first line of the ninth tone are all "●●●●", indicating that these tones do not even have a sound position. The left column lists four categories: Fu, Bu, Dong, and Nai, which belong to the light lip, heavy lip, tongue, and nasal series respectively. Each category's four lines still follow the order of clear, heavy, secondary clear, and secondary heavy. The line "Gong Kong Zhong ○" on the right is a level tone "Gong", an upper tone "Kong", a falling tone "Zhong", and the entering tone has a position but no character. The line "Xin Shen Jin ○" follows the same pattern.

七音 內南年■○○○○，八音 自自自自●●●●；七聲 老冷呂■○○○○，九聲 自自自自●●●●；鹿犖離■○○○○，自自自自●●●●；走哉足■○○○○，自自自自●●●●；八音 自在匠■○○○○，八音 自自自自●●●●；七聲 草采七■○○○○，十聲 自自自自●●●●；曹才全■○○○○，自自自自●●●●。

It still belongs to 'level tone harmonious singing of the second tone of the second category, seventh tone'. The left half continues with the last three lines of the seventh tone's correct sound, 'inner south year ■', 'old cold lü ■', 'deer luó li ■', and the four lines of the eighth tone 'walk zai foot ■', 'free zai craftsman ■', 'grass collection seven ■', 'cao cai full ■', with the fourth character in each line marked as '■', indicating a position without sound; the corresponding sound is still the seventh tone's silent '○'. The right half belongs to 'open tone turbid harmony of the second tone of the second category, eighth tone'. It uses the eighth tone's sound 'zi' as the harmony, paired with the last three lines of the ninth tone's correct sound and the four lines of the tenth tone, altogether seven lines written as '●●●●'. Shao Yong designated the eighth, ninth, and thirteenth tones as having positions but no sound, so here there are neither characters nor sounds to be read; only black circles are used to occupy the grid positions, showing that the ten tones cannot be missing.

開音濁和律二之九：思三星■○○○○，寺寺寺寺多可個舌；九音 寺□象■○○○○，九音 寺寺寺寺禾火化八；七聲 □□□■○○○○，一聲 寺寺寺寺開宰愛○；□□□■○○○○，寺寺寺寺回每退○；■山手□○○○○，寺寺寺寺良兩向○；十音 ■土石■○○○○，九音 寺寺寺寺光廣況○；七聲 ■□耳■○○○○，二聲 寺寺寺寺丁井亙○；■□二■○○○○，寺寺寺寺兄永瑩○；■莊震■○○○○，寺寺寺寺千典旦○；十一音 ■乍□■○○○○，九音 寺寺寺寺元犬半○；七聲 ■叉赤■○○○○，三聲 寺寺寺寺臣引艮○；■崇辰■○○○○，寺寺寺寺君允巽○。

On the right side, a new diagram begins with 「open tone,浊 and harmonious law two of nine」, using the representative character for the ninth tone of water and fire, 「si」, as the harmonious sound. Starting from the beginning, the first tone is paired as: 「duo ke ge she」, 「he huohua ba」, 「kai zai ai ○」, 「hui mei tui ○」; the second tone is: 「liang liang xiang ○」, 「guang guang kuang ○」, 「ding jing gen ○」, 「xiong yong ying ○」; the third tone is: 「qian dian dan ○」, 「yuan quan ban ○」, 「chen yin gen ○」, 「jun yun xun ○」. The last character in each row, 「○」, represents a sound without a character. On the left side, it remains within 「level tone, harmonious singing law two of seven」, using the seventh tone's 「○」 as the singing sound, paired with the ninth tone's 「si san xing ■」, 「si □ xiang ■」, 「□ □ □ ■」, 「□ □ □ ■」; the tenth tone's 「■ shan shou □」, 「■ tu shi ■」, 「■ □ er ■」, 「■ □ er ■」; and the eleventh tone's 「■ zhuang zhen ■」, 「■ zha □ ■」, 「■ cha chi ■」, 「■ chong chen ■」. 「□」 represents a sound without a character, and 「■」 represents a position without a sound. For the tenth tone, in another diagram it is written as 「■ shi shi ■」. Characters for tones nine and below are the least, with often only one or two characters in a row, the rest being 「□」 and 「■」. On the right side, the line 「duo ke ge she」 has all four characters complete, representing the level tone 「duo」, the rising tone 「ke」, the falling tone 「ge」, and the entering tone 「she」, most clearly showing that the sound diagram arranges the four tones in one row.

■卓中■○○○○，寺寺寺寺刀早孝嶽；十二音 ■宅直■○○○○，九音 寺寺寺寺毛寶報霍；七聲 ■拆丑■○○○○，四聲 寺寺寺寺牛斗奏六；■茶呈■○○○○，寺寺寺寺○○○玉。

"Level tone harmony with the second of the seven tones" concludes here: the left half uses the seventh tone "○" as the singing tone, paired with the twelfth tone of the correct sound, four lines "■Zhuo Zhong ■", "■Zhai Zhi ■", "■Che Chou ■", "■Cha Cheng ■", with the first character of each line being "■", indicating no sound at this position. The right half remains "open tone浊 harmony with the second of the nine tones", using "Si" as the harmony, paired with the fourth tone of the correct sound, four lines "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the first three characters of the last line are "○", indicating that this category only has the入 tone "Yu" with a character, while the level, rising, and falling tones have sound positions but no characters.

平聲翕唱呂二之八：古甲九癸●●●●，寺寺寺寺妻子四日；一音 □□近揆●●●●，九音 寺寺寺寺衰○帥骨；八聲 坤巧丘棄●●●●，五聲 寺寺寺寺○○○德；□□乾蚪●●●●，寺寺寺寺龜水貴北；黑花香血●●●●，寺寺寺寺宮孔眾○；二音 黃華雄賢●●●●，九音 寺寺寺寺龍甬用○；八聲 五瓦仰□●●●●，六聲 寺寺寺寺魚鼠去○；吾牙月堯●●●●，寺寺寺寺烏虎兔○；安亞乙一●●●●，寺寺寺寺心審禁○；三音 □爻壬寅●●●●，九音 寺寺寺寺○○○十；八聲 母馬美米●●●●，七聲 寺寺寺寺男坎欠○；目貌眉民●●●●，寺寺寺寺○○○妾。

"The eighth tone of the level tone 'Xī Chàng Lǚ èr' starts a new diagram. This diagram sings the eighth tone of the sound of the sun and moon, but the eighth tone has no sound to be produced, so all the diagrams use '●●●●' to represent it. The '●' is the mark for 'this position has no sound'. It is successively paired with the first tone of the standard sound 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu', the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo', and the third tone 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Mí Mín', among which the '□' indicates a phonetic position without a character. The right half still belongs to 'Kāi Yīn Zhú Hé Lǜ èr zhī jiǔ', using 'Sì' as the harmony, paired with the fifth tone of the standard sound 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi', the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○', and the seventh tone 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'. According to Shao Yong's example, among the ten tones, the first seven have sound and the last three have no sound; among the twelve tones, the first nine have sound and the last three have no sound. This diagram has already entered the category of soundless tones, yet the forty-eight lines of the twelve tones still need to be listed one by one, precisely to preserve their structural numbers, not to abandon their positions because they are soundless. Sound belongs to the earth and is called Lǚ, while tone belongs to the sky and is called Lǜ. Therefore, sound is sung below and tone is harmonized above."

夫法□飛●●●●，寺寺寺寺●●●●；四音 父凡□吠●●●●，九音 寺寺寺寺●●●●；八聲 武晚□尾●●●●，八聲 寺寺寺寺●●●●；文萬□未●●●●，寺寺寺寺●●●●；卜百丙必●●●●，寺寺寺寺●●●●；五音 步白備鼻●●●●，九音 寺寺寺寺●●●●；八聲 普撲品匹●●●●，九聲 寺寺寺寺●●●●；旁排平瓶●●●●，寺寺寺寺●●●●；東丹帝■●●●●，寺寺寺寺●●●●；六音 兌大弟■●●●●，九音 寺寺寺寺●●●●；八聲 土貪天■●●●●，十聲 寺寺寺寺●●●●；同覃田■●●●●，寺寺寺寺●●●●。

Continuing "Ping Sheng Xi Chang Lv Er Zhi Ba". The left half uses the eighth tone "●●●●" as the singing tone, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The "□" in the fourth tone's three lines represents a sound without a character, and the "■" at the end of the sixth tone represents an empty position. The right half is the latter part of "Kai Yin Zhu He Lu Er Zhi Ji", using the ninth tone "Si" (water and fire sound) as the harmonizing tone, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all written as "●●●●". Both tone and sound fall on empty positions, yet the numbers resulting from their multiplication are still counted. This is exactly Shao Yong's intention to use body numbers and application numbers to comprehend all sounds in the world. The left column "Fu Fa □ Fei" belongs to the light lip category, "Bu Bai Bing Bi" to the heavy lip category, and "Dong Dan Di ■" to the tongue category. Each category has four lines arranged in the order of clear, dull, secondary clear, and secondary dull. The right column's twelve lines have neither sound nor character, and are marked with black circles, yet when calculating numbers, these empty positions are still counted as grid numbers, and are subtracted together only when discussing the use of sound and tone at the end.

開音濁和律二之十：乃你女■●●●●，■■■■多可個舌；七音 內南年■●●●●，十音 ■■■■禾火化八；八聲 老冷呂■●●●●，一聲 ■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音 自在匠■●●●●，十音 ■■■■光廣況○；八聲 草采七■●●●●，二聲 ■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音 寺□象■●●●●，十音 ■■■■元犬半○；八聲 □□□■●●●●，三聲 ■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

On the right side, it begins anew with "Kai Yin Zhu He Lu Er Zhi Shi." This diagram corresponds to the tenth tone of water and fire sounds. The tenth tone has no actual sound in the standard tone structure, so the diagram uses "■■■■" to indicate the position, where "■" means "no sound here." It is sequentially paired with the first tone of standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." On the left side, it remains within "Ping Sheng Xi Chen Lv Er Zhi Ba," using the eighth tone "●●●●" as the chant, paired with the seventh tone of standard sound "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," and the ninth tone "Si San Xing ■," "Si □ Xiang ■," "□□□ ■," "□□□ ■." The four lines of the first tone on the right side represent the four categories of the same tone class, with the four characters in each line following the order of level, rising, falling, and entering tones. On the left side, the ninth tone only has the first two lines with characters, while the last two lines "□□□ ■" are all missing, indicating that as one moves toward dental sounds and the first dental series, the number of characters that can be cited becomes fewer.

■山手■●●●●，■■■■刀早孝嶽；十音 ■士石■●●●●，十音 ■■■■毛寶報霍；八聲 ■□耳■●●●●，四聲 ■■■■牛斗奏六；■□二■●●●●，■■■■□□□玉；■莊震■●●●●，■■■■妻子四日；十一音 ■乍□■●●●●，十音 ■■■■衰○帥骨；八聲 ■叉赤■●●●●，五聲 ■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音 ■宅直■●●●●，十音 ■■■■龍甬用○；八聲 ■拆丑■●●●●，六聲 ■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

"The 'Ping Sheng Xi Chang Lv Er Zhi Ba' ends here: the left half uses the eighth tone '●●●●' as the singing tone, paired with the correct tones of the tenth tone '■ Shan Shou ■', '■ Shi Shi ■', '■ □ Er ■', '■ □ Er ■', the eleventh tone '■ Zhuang Zhen ■', '■ Zha □ ■', '■ Cha Chi ■', '■ Chong Chen ■', and the twelfth tone '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■'. These three categories of correct tones all start with the silent '■', only having characters in the middle two positions. The right half belongs to 'Kai Yin Zhu He Lu Er Zhi Shi', using the silent '■' as the harmonizing tone, paired with the correct tones of the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '□ □ □ Yu', the fifth tone 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○ ○ ○ De', 'Gui Shui Gui Bei', the sixth tone 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'; the last line of the fourth tone is written as '○ ○ ○ Yu' in another diagram, but here it is carved as '□ □ □ Yu'. From the tenth tone onwards, the first character of these three categories is all silent, with only the middle two characters remaining, differing greatly from the previous nine tones which have four characters each. The line 'Zi Qi Si Ri' on the right side includes the level tone 'Qi', the rising tone 'Zi', the falling tone 'Si', and the entering tone 'Ri', covering all four tones, which can be contrasted with the sparse arrangement on the left side."

平聲翕唱呂二之九：古甲九癸●●●●，■■■■心審禁○；一音 □□近揆●●●●，十音 ■■■■○○○十；九聲 坤巧丘棄●●●●，七聲 ■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十音 ■■■■●●●●；九聲 五瓦仰□●●●●，八聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音 □爻壬寅●●●●，十音 ■■■■●●●●；九聲 母馬美米●●●●，九聲 ■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

"The level tone 'Ping' is sung in a coordinated manner with the ninth tone of the day and moon tones. This tone also belongs to the category of having a position but no sound, so it is uniformly written as '●●●●'. It is successively paired with the first tone of the standard sound 'Guxia Jiugui', '□□Jin Kui', 'Kun Qiao Qiu Qi', '□□Qian Tu'; the second tone 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; and the third tone 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'. The right half is the latter part of 'Kai tone浊 and harmonized with the second law of ten', using the soundless '■■■■' as the harmonized tone. It first pairs with the seventh tone of the standard sound 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', where the '○' represents a sound position without a character. Then it pairs with the eighth and ninth tones, totaling eight lines, all written as '●●●●', indicating that the sound position itself is not established. Within a single sound diagram, the singer produces only one tone, while the harmonizer has twelve tones and forty-eight lines; within a single tone diagram, the harmonizer produces only one tone, while the singer has ten tones and forty lines. The number of lines in the two diagrams differs because the standard sound has ten categories while the standard tone has twelve. The lines '○○○ Shi' and '○○○ Qie' only contain characters for the entering tone, while the other three positions remain empty, all marked with '○' to indicate their positions."

夫法□飛●●●●，■■■■●●●●；四音 父凡□吠●●●●，十音 ■■■■●●●●；九聲 武晚□尾●●●●，十聲 ■■■■●●●●；文萬□未●●●●，■■■■●●●●。

It is still "Ping Sheng Xi Chang Lv Er Zhi Jiu," using the ninth tone "●●●●" as the chant, paired with the fourth tone of the standard sound, four lines "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei"; the third character in each line is marked as "□," indicating the presence of this phonetic position but no corresponding character. The right half is the last part of "Kai Yin Zhu He Lu Er Zhi Shí," using the silent "■■■■" as the harmony, paired with the tenth tone of the standard sound, four lines all marked as "●●●●." By this point, the tenth tone's diagram is completed with forty lines, yet the entire diagram contains no actual characters, but the phonetic positions remain fully occupied.

開音濁和律二之十一：卜百丙必●●●●，■■■■多可個舌；五音 步白備鼻●●●●，十一音 ■■■■禾火化八；九聲 普撲品匹●●●●，一聲 ■■■■宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音 兌大弟■●●●●，十一音 ■■■■光廣況○；九聲 土貪天■●●●●，二聲 ■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音 內南年■●●●●，十一音 ■■■■元犬半○；九聲 老冷呂■●●●●，三聲 ■■■■臣引艮○；唐犖離■●●●●，■■■■君允巽○。

On the right side, another line begins with 「Kai yin zhu he lu er zhi shiyi」, using the eleventh tone of water and fire sounds as the harmonious tone; this tone also has no actual sound to refer to, so it is written as 「■■■■」. The corresponding tones are the first tone 「Du ke ge she, he huohua ba, zai ai ○, hui mei tui ○」, the second tone 「Liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○」, and the third tone 「Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○」. In the third line of the first tone on another diagram, it is written as 「Kai zai ai ○」, but the character 「Kai」 is missing in this version. On the left side, it remains under 「Ping sheng xi chang lv er zhi jiu」, using the ninth tone 「●●●●」 as the chant, paired with the fifth tone 「Bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping」, the sixth tone 「Dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■」, the seventh tone 「Nai ni nu ■, nei nan nian ■, lao leng lv ■, tang luo li ■」, and the last line's character 「Tang」 is written as 「Lu」 in another diagram. The line for the fifth tone 「Bu bai bing bi」 consists of words with labial sounds, with four characters arranged in order from the first to the fourth class. From the sixth tone onwards, the last character is all 「■」, and only three characters remain. In the third tone on the right side, 「Qian dian dan ○」 refers to the level tone 「Qian」, the rising tone 「Dian」, the falling tone 「Dan」, and the entering tone which has a position but no character. The last character of the first and second tones in other lines also often lacks a character.

走哉足■●●●●，■■■■刀早孝嶽；八音 自在匠■●●●●，十一音 ■■■■毛寶報霍；九聲 草采七■●●●●，四聲 ■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音 寺□象■●●●●，十一音 ■■■■衰○帥骨；九聲 □□□■●●●●，五聲 ■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音 ■十石■●●●●，十一音 ■■■■龍甬用○；九聲 ■□耳■●●●●，六聲 ■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○；■莊震■●●●●，■■■■心審禁○。

Continuing 「level tone harmonized singing of the second of the two tones of the ninth level」. The left half uses the ninth tone's 「●●●●」 as the singing tone, paired with the eighth tone's correct sound 「zou zai zu ■」, 「zizai jiang ■」, 「cao cai qi ■」, 「cao cai quan ■」, the ninth tone's 「si san xing ■」, 「si ■ xiang ■」, 「■■■■」, 「■■■■」, and the tenth tone's 「■ shan shou ■」, 「■ shi shi ■」, 「■■ er ■」, 「■■ er ■」, with the last line connecting to the first line of the eleventh tone 「■ zhuang zhen ■」; the two lines after the ninth tone only have 「□」, meaning there is a sound but no character, while the tenth tone is represented elsewhere as 「■ shi shi ■」. The right half belongs to 「open tone dull harmonized law of the second of the eleven tones」, using the soundless 「■■■■」 as the harmonized tone, successively paired with the fourth tone's correct sound 「dao zao xiao yue」, 「mao bao bao huo」, 「niu dou zhou liu」, 「○○○ yu」, the fifth tone's 「zi qi si ri」, 「shuai ○ shuai gu」, 「○○○ de」, 「gui shui gui bei」, the sixth tone's 「gong kong zhong ○」, 「long yong yong ○」, 「yu shu qu ○」, 「wu hu tu ○」, and the last line is the seventh tone's first line 「xin shen jin ○」. The last line of the fourth tone only includes the entering tone with characters, while the fifth tone's 「shuai ○ shuai gu」 is missing the rising tone, showing that within the same tone class, the four levels are unevenly dense. On the left side, starting from the tenth tone, the first character is always soundless, clearly different from the first four positions of the previous nine tones which all have characters. This is exactly what Shao Yong referred to, that tones have expansion and contraction, and sounds have clear and dull tones, each matching their respective positions.

十一音 ■乍□■●●●●，十一音 ■■■■○○○十；九聲 ■叉赤■●●●●，七聲 ■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音 ■宅直■●●●●，十一音 ■■■■●●●●；九聲 ■拆丑■●●●●，八聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

"The level tone 'Ping' sings in harmony with the second of the two 'Lv' tones, the ninth tone." Here the pairing is completed: the left half uses the ninth tone's '●●●●' as the singing tone, matching the last three lines of the eleventh tone's standard sound '■乍□■', '■叉赤■', '■崇辰■', and the four lines of the twelfth tone's standard sound '■卓中■', '■宅直■', '■拆丑■', '■茶呈■'. The right half belongs to 'Kai' tone, the second of the two 'Lu' tones, the eleventh tone, which uses the silent '■■■■' as the harmonizing tone, matching the last three lines of the seventh tone's standard sound '○○○十', '男坎欠○', '○○○妾' and the four lines of the eighth tone's standard sound '●●●●'. The seventh tone only has characters in certain positions, with '○' indicating sound without characters elsewhere; the eighth tone does not even establish sound positions, and is entirely filled with '●'.

平聲翕唱呂二之十：古甲九癸●●●●，■■■■●●●●；一音 □□近揆●●●●，十一音 ■■■■●●●●；十聲 坤巧丘棄●●●●，九聲 ■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十一音 ■■■■●●●●；十聲 五瓦仰□●●●●，十聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

"Level tone harmonizes with the second of the two tones of the tenth sound." A new diagram is drawn. The sung sound is the tenth sound of the day and moon tones, which has no sound and no character, and is written entirely as "●●●●". It first pairs with the first tone of the correct sound, which has four lines: "Ancient Jia ninth Gui", "□□ near揆", "Kun Qiao Qu Qi", "□□ Qian Tu". Then it pairs with the second tone of the correct sound, which has four lines: "Black flower fragrance blood", "Yellow flower strong virtuous", "Five Wa look up □", "Wu Ya moon Yao". The right half is the conclusion of "Open tone turbid harmony with the second of the eleven tones", ending with the soundless "■■■■" as harmony, pairing with the ninth and tenth tones of the correct sound, totaling eight lines, all written as "●●●●". Within one diagram, both sound and tone sides are empty, clearly showing that Shao Yong established the diagram by first determining the numerical positions and grid positions, then observing whether there were characters or not. On the left side, the four lines of the two correct tones are fully present, forming a contrast with the empty sound position; on the right side, both sound and tone are empty, with no character to be cited throughout.

開音濁和律二之十二：安亞乙一●●●●，■■■■多可個舌；三音 □爻壬寅●●●●，十二音 ■■■■禾火化八；十聲 母馬美米●●●●，一聲 ■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音 父凡□吠●●●●，十二音 ■■■■光廣況○；十聲 武晚□尾●●●●，二聲 ■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音 步白備鼻●●●●，十二音 ■■■■元犬半○；十聲 普撲品匹●●●●，三聲 ■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

The right half begins anew with "Kai Yin Zhuo He Lu Er Zhi Shier," using the twelfth tone of water and fire sounds as the harmonious tone. The twelfth tone also belongs to the category of having a position but no sound, written as "■■■■"; it is paired with the first tone of the standard sound, "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O," and the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O." The left half remains under "Ping Sheng Xi Chen Lu Er Zhi Shi," using the tenth tone's "●●●●" as the singing tone, paired with the third tone of the standard sound "An Ya Yi Yi," "Xiao Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," and the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The four lines of the first tone on the right side are arranged in order from first to fourth class, with the four characters within each line following the order of level, rising, falling, and entering tones, such as "Du Ke Ge She" meaning level "Du," rising "Ke," falling "Ge," and entering "She." The left side's three categories of standard sounds are arranged in order of clear,浊,次清,次浊, and the third position of the four lines in the light lip category is missing. The third tone is led by "An," "Xiao," "Mu," and "Mu" for the four lines, the fourth tone by "Fu," "Fu," "Wu," and "Wen" for the four lines, and the fifth tone by "Bu," "Bu," "Pu," and "Pang" for the four lines, with all characters having four characters fully present.

東丹帝■●●●●，■■■■刀早孝嶽；六音 兌大弟■●●●●，十二音 ■■■■毛寶報霍；十聲 土貪天■●●●●，四聲 ■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音 內南年■●●●●，十二音 ■■■■衰○帥骨；十聲 老冷呂■●●●●，五聲 ■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音 自在匠■●●●●，十二音 ■■■■龍甬用○；十聲 草采七■●●●●，六聲 ■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○；思三星■●●●●，■■■■心審禁○。

Continuing "Ping Sheng Xi Chang Lv Er Zhi Shi". The left half uses the tenth tone's "●●●●" as the singing tone, paired with the correct tones of the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with the last line connecting to the first line of the ninth tone "Si San Xing ■". These three categories of correct tones all have only the first three characters, with the fourth character being silent "■". The right half is "Kai Yin Zhu He Lu Er Zhi Shiwu", using the silent "■■■■" as the harmonizing tone, successively paired with the correct tones of the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the first line of the seventh tone "Xin Shen Jin ○". The fourth tone "Dao Zao Xiao Yue" has all four characters complete, the fifth tone "Cui ○ Shuai Gu" is missing the rising tone, and the four lines of the sixth tone all have the last character empty, with varying density. The left column has three categories, each with four lines, arranged in order of clear,浊,次清,次浊, with the last character universally silent, which is precisely why in Shao Yong's system, the tongue, nasal, and dental sounds are only divided into three categories.

九音 寺□象■●●●●，十二音 ■■■■○○○十；十聲 □□□■●●●●，七聲 ■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音 ■士石■●●●●，十二音 ■■■■●●●●；十聲 ■□耳■●●●●，八聲 ■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音 ■乍□■●●●●，十二音 ■■■■●●●●；十聲 ■叉赤■●●●●，九聲 ■■■■●●●●；■崇辰■●●●●，■■■■●●●●；■卓中■●●●●，■■■■●●●●；十二音 ■宅直■●●●●，十二音 ■■■■●●●●；十聲 ■拆丑■●●●●，十聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

This diagram and this passage conclude together. The left half is the final part of "Ping Sheng Xi Chang Lü Er Zhi Shí," still using the tenth tone "●●●●" as the chant, paired with the ninth tone's last three lines "Si □ Xiang ■," "□ □ □ ■," "□ □ □ ■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ □ Er ■," "■ □ Er ■," the eleventh tone "■ Zhuang Zhen ■," "■ Zha □ ■," "■ Cha Chi ■," "■ Chong Chen ■," and the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," "■ Cha Cheng ■." The right half is the final part of "Kai Yin Zhu He Lu Er Zhi Shí Er," using the silent "■ ■ ■ ■" as the harmony, paired with the seventh tone's last three lines "○ ○ ○ Shi," "Nan Kan Qian ○," "○ ○ ○ Qie" and the eighth, ninth, and thirteenth tones' twelve lines "● ● ● ●." Overall, this passage presents ten diagrams for the sounds of the sun and moon, and twelve diagrams for the sounds of water and fire; each sound diagram is paired with twelve tones and forty-eight lines, while each tone diagram is paired with ten tones and forty lines. Any character that can be cited, the sounds do not exceed seven categories, and the tones do not exceed nine categories; the rest merely exist in their positions. Shao Yong associates sounds with the earth and pairs them with the sun, moon, and stars, while associating tones with the sky and pairing them with water, fire, soil, and stone. Sounds are sung below, and tones are harmonized above, with the numbers of heaven and earth multiplied together, encompassing all the sounds in the world. The diagrams at the end of this passage are almost entirely empty, and readers should not treat them as missing characters to be removed. The four symbols each have specific meanings: "○" has a sound but no character, "●" has neither a sound nor a position, "□" has a tone but no character, and "■" has neither a tone nor a position; they should not be confused with each other.

皇極經世書卷七下。觀物篇三十七：日星聲平闢，水土音開清；開丁臣牛○，坤五母武普土；魚男●●●，老草□■■■；日星聲七，下唱地之；水土音九，上和天之；用音一百五十二，是；用聲一百一十二，是；謂平聲闢音。平聲闢；謂開音清聲。開音清；音一千六十四。聲一千八。日星聲平之三辟，水土音開之三清。

In Volume Seven, Part Two of The Supreme Principles Governing the World, the third十七th section, Observing Things, presents two diagrams side by side. The left diagram is titled "Sun and Stars Sound Level and Separation," and the right diagram is titled "Water and Earth Tone Opening and Clear." The left diagram lists ten representative characters for the ten sounds in the level and separation positions: "Kai," "Ding," "Chen," "Niu," "○," "Yu," "Nan," and three "●," representing sounds one through ten. "○" denotes a sound position without a character, while "●" indicates a position without sound. The right diagram lists twelve representative characters for the twelve tones in the opening and clear positions: "Kun," "Wu," "Mu," "Wu," "Pu," "Tu," "Lao," "Cao," "□," and three "■," representing tones one through twelve. "□" denotes a tone position without a character, while "■" indicates a position without a tone. The annotations below are to be read separately on the left and right sides. The left side states that the sounds of sun and stars actually consist of seven categories, with the lower and earth's use of tones totaling 152, forming "level and separation sounds," totaling 1,640. The right side states that the tones of water and earth actually consist of nine categories, with the upper and heaven's use of sounds totaling 112, forming "opening and clear tones," totaling 1,800. The last two sentences indicate that this section belongs to the third group of four groups of harmonization. The original text arranges the two columns in a single line, so the sentences are cut in half, and must be read separately on the left and right.

平聲闢唱呂三之一，開音清和律三之一：古甲九癸開開開開，坤坤坤坤多可個舌；一音 □□近揆開開開開，一音 坤坤坤坤禾火化八；一聲 坤巧丘棄開開開開，一聲 坤坤坤坤開宰愛○；□□乾蚪開開開開，坤坤坤坤回每退○；黑花香血開開開開，坤坤坤坤良兩向○；二音 黃華雄賢開開開開，一音 坤坤坤坤光廣況○；一聲 五瓦仰□開開開開，二聲 坤坤坤坤丁井亙○；吾牙月堯開開開開，坤坤坤坤兄永瑩○；安亞乙一開開開開，坤坤坤坤千典旦○；三音 □爻壬寅開開開開，一音 坤坤坤坤元犬半○；一聲 母馬美米開開開開，三聲 坤坤坤坤臣引艮○；目貌眉民開開開開，坤坤坤坤君允巽○。

Two diagrams begin simultaneously. The left diagram, titled "Ping Sheng Bi Chang Lv San Zhi Yi," uses the representative character "Kai" from the first tone of the Ping Sheng Bi position, with the first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Yu," the second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," and the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Mi," where "□" indicates a phonetic position without a character, and the "Ma" in "Mu Ma Mei Mi" is the original form of "马." The right diagram, titled "Kai Yin Qing He Lu San Zhi Yi," uses the representative character "Kun" from the first tone of the water and earth sound, with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○," where "○" indicates a sound without a character. Sound is subordinate to Lu and serves as the main chant, while tone is superior to Lu and serves as the harmony. One chant and one harmony, which is the reason for the term "Sheng Yin Chang He." Each category in the tone diagram has four lines, divided into clear, turbid, sub-clear, and sub-turbid tones, with four characters per line from the first to fourth tone. In the sound diagram, each line has four characters from Ping Sheng to Ru Sheng. The number of lines in the two diagrams differs; the sound diagram has forty-eight lines, while the tone diagram has forty lines.

夫法□飛開開開開，坤坤坤坤刀早孝嶽；四音 父凡□吠開開開開，一音 坤坤坤坤毛寶報霍；一聲 武晚□尾開開開開，四聲 坤坤坤坤牛斗奏六；文萬□未開開開開，坤坤坤坤○○○玉；卜百丙必開開開開，坤坤坤坤妻子四日；五音 步白備鼻開開開開，一音 坤坤坤坤衰○帥骨；一聲 普撲品匹開開開開，五聲 坤坤坤坤○○○德；旁排平瓶開開開開，坤坤坤坤龜水貴北；東丹帝■開開開開，坤坤坤坤宮孔眾○；六音 兌大弟■開開開開，一音 坤坤坤坤龍甬用○；一聲 土貪天■開開開開，六聲 坤坤坤坤魚鼠去○；同覃田■開開開開，坤坤坤坤烏虎兔○；乃你女■開開開開，坤坤坤坤心審禁○。

Continuing "Ping Sheng Bi Chang Lv San Zhi Yi". On the left side, the first tone "Kai" serves as the chant, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line connects to the seventh tone's first line "Nai Ni Nu ■". The "□" in the fourth tone represents a sound without a character, while the last positions of the sixth and seventh tones marked "■" are positions without sound. On the right side, continuing "Kai Yin Qing He Lu San Zhi Yi", the first tone "Kun" of the water and earth sounds serves as the harmony, paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". Only the last character of the fourth tone has a character, while the second tone of the fifth tone has no character, both marked with "○" to indicate the position. Both sides have thirteen lines, all belonging to the middle section of one diagram. The left column lists Fu, Bu, and Dong, which belong to the light lip, heavy lip, and tongue sounds respectively, each distinguished by four lines for their clear and浊 (obscure) tones.

七音 內南年■開開開開，一音 坤坤坤坤○○○十；一聲 老冷呂■開開開開，七聲 坤坤坤坤男坎欠○；鹿犖離■開開開開，坤坤坤坤○○○妾；走哉足■開開開開，坤坤坤坤●●●●；八音 自在匠■開開開開，一音 坤坤坤坤●●●●；一聲 草采七■開開開開，八聲 坤坤坤坤●●●●；曹才全■開開開開，坤坤坤坤●●●●；思三星■開開開開，坤坤坤坤●●●●；九音 寺□象■開開開開，一音 坤坤坤坤●●●●；一聲 □□□■開開開開，九聲 坤坤坤坤●●●●；□□□■開開開開，坤坤坤坤●●●●；■山手■開開開開，坤坤坤坤●●●●；十音 ■士石■開開開開，一音 坤坤坤坤●●●●；一聲 ■□耳■開開開開，十聲 坤坤坤坤●●●●；■□二■開開開開，坤坤坤坤●●●●。

"The level tone 'Ping' and the 'Bi' tone are simultaneously concluded in the middle. The left half still uses the first tone 'Kai' as the main tone, paired with the seventh tone's last three lines 'Nai Nan Nian ■', 'Lao Leng Lu ■', 'Lu Luo Li ■', the eighth tone 'Zou Zai Zu ■', 'Zi Zai Jiang ■', 'Cao Cai Qi ■', 'Cao Cai Quan ■', the ninth tone 'Si San Xing ■', 'Si ■ Xiang ■', '■ ■ ■ ■', '■ ■ ■ ■', and the tenth tone '■ Shan Shou ■', '■ Shi Shi ■', '■ ■ Er ■', '■ ■ Er ■'. The last two lines of the ninth tone have phonetic positions but no characters, so three '■' are written in succession. The tenth tone's first position has no sound and is marked as '■'. The right half uses the first tone 'Kun' of the water and earth tones as the harmonizing tone, paired with the seventh tone's last three lines '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', as well as twelve lines from the eighth, ninth, and thirteenth tones '●●●●'. The number of tones in the sound diagram: ten categories of main tones, each with four lines and four positions, totaling 160 positions, minus the silent ones, resulting in 112 practical positions. The number of tones in the sound diagram: twelve categories of main tones, totaling 192 positions, minus the silent ones, resulting in 152 practical positions. The beginning of the text says 'the sound of the sun and stars is seven, and the lower singing uses 152 tones of the earth', 'the water and earth tones are nine, and the upper harmonizing uses 112 tones of the sky', referring to these two numbers. The 'level tone 'Ping' and the 'Bi' tone are 164 and 180 respectively, which are exactly the results of multiplying seven by 152 and nine by 112.'"

開音清和律三之二：■莊震■開開開開，五五五五多可個舌；十一音 ■乍□■開開開開，二音 五五五五禾火化八；一聲 ■叉赤■開開開開，一聲 五五五五開宰愛○；■崇辰■開開開開，五五五五回每退○；■卓中■開開開開，五五五五良兩向○；十二音 ■宅直■開開開開，二音 五五五五光廣況○；一聲 ■拆丑■開開開開，二聲 五五五五丁井亙○；■茶呈■開開開開，五五五五兄永瑩○。

On the right side, it begins with "Kaiyin Qinghe Lv San Zhi Er" using the representative character "wu" from the second tone of the water and earth sounds. It pairs this with the first tone "duo ke ge she", "he huohua ba", "kai zai ai ", "hui mei tui " and the second tone "liang liang xiang ", "guang guang kuang ", "ding jing gen ", "xiong yong ying ". On the left side, it is the last eight lines of "Pingsheng Bi Chang Lv San Zhi Yi", still using the first tone "kai" as the starting tone, paired with the eleventh tone "zhuang zhen ", "zha ", "cha chi ", "chong chen " and the twelfth tone "zhuo zhong ", "zha zhi ", "cha chou ", "cha cheng ". Both sets of tones start with " " and end with either " " or " ", indicating that the zhuang and zhuo series in Shao Yong's system only occupy the middle two tones. At this point, the diagram with "kai" as the starting tone is fully completed with twelve tones and forty-eight lines. In the Middle Chinese period, zhuang and zhuo belonged to the correct dental and retroflex sounds, and this system only established the second and third tones, hence the first and last characters are both " ".

平聲闢唱呂三之二：古甲九癸丁丁丁丁，五五五五千典旦○；一音 □□近揆丁丁丁丁，二音 五五五五元犬半○；二聲 坤巧丘棄丁丁丁丁，三聲 五五五五臣引艮○；□□乾蚪丁丁丁丁，五五五五君允巽○；黑花香血了丁丁丁，五五五五刀早孝嶽；二音 黃華雄賢丁丁丁丁，二音 五五五五毛寶報霍；二聲 五瓦仰□丁丁丁丁，四聲 五五五五牛斗奏六；吾牙月堯丁丁丁丁，五五五五○○○玉；安亞乙一丁丁丁了，五五五五妻子四日；三音 □爻壬寅丁丁丁丁，二音 五五五五衰○帥骨；二聲 母馬美米丁丁丁丁，五聲 五五五五○○○德；目貌眉民丁丁丁丁，五五五五龜水貴北。

"Level tone 'Bi Chang Lv San Zhi Er'" starts anew, using the representative character "Ding" for the singing tone, which is the second tone of the day and star sound, and is paired with the first tone of the correct sound "Gu Jia Jiu Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yuo", the second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", and the third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min"; the character at the beginning of "He Hua Xiang Xue" and the ending character of "An Ya Yi Yi" for the singing tone, which was mistakenly carved as "Liao" in the original text, is actually "Ding". The right half remains "Open tone Clear and Harmonious Law San Zhi Er", using the second tone of the water and earth sound "Wu" as the harmony, paired with the third tone of the correct sound "Qian Dian Dan □", "Yuan Quan Ban □", "Chen Yin Gen □", "Jun Yun Xun □", the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "□□□ Yu", and the fifth tone "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei". The third tone on the right "Qian Dian Dan □" is level tone "Qian", rising tone "Dian", falling tone "Dan", and the entering tone has a position but no character; the fourth tone "Dao Zao Xiao Yue" has all four tones; the fifth tone "Shuai □ Shuai Gu" is missing the rising tone. The left column has three categories of correct sounds, each with four lines, arranged in order of clear, dull, sub-clear, and sub-dull tones, with four characters in each line from the first to the fourth tone.

夫法□飛丁丁丁丁，五五五五宮孔眾○；四音 父凡□吠丁丁丁丁，二音 五五五五龍甬用○；二聲 武晚□尾丁丁丁丁，六聲 五五五五魚鼠去○；文萬□未丁丁丁丁，五五五五烏虎兔○；卜百丙必丁丁丁丁，五五五五心審禁○；五音 步白備鼻丁丁丁丁，二音 五五五五○○○十；二聲 普撲品匹丁丁丁丁，七聲 五五五五男坎欠○；旁排平瓶丁丁丁丁，五五五五○○○妾；東丹帝■丁丁丁丁，五五五五●●●●；六音 兌大弟■丁丁丁丁，二音 五五五五●●●●；二聲 土貪天■丁丁丁丁，八聲 五五五五●●●●；同覃田■丁丁丁丁，五五五五●●●●；乃你女■丁丁丁丁，五五五五●●●●。

Continuing "Ping Sheng Bi Chang Lv San Zhi Er". On the left side, the second tone "Ding" serves as the singing tone, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line is the seventh tone's first line "Nai Ni Nu ■". On the right side, it belongs to "Kai Yin Qing He Lu San Zhi Er", with "Wu" as the harmonizing tone, paired with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie"; below this, the eighth tone has four lines and the ninth tone's first line both marked as "● ● ● ●", which are positions without sound or characters. The "○" at the end of each line in the sixth and seventh tones indicates that there is a tone position but no character can be cited. The fourth tone on the left belongs to the light lip sounds, the fifth tone to the heavy lip sounds, the sixth tone to the tongue sounds, and the seventh tone to the nasal sounds. From the sixth tone onwards, the fourth position in each line is consistently empty, hence marked with "■". On the right side, the fourth position of each line in the sixth tone is marked with "○", while in the seventh tone only the positions of "Xin", "Shen", "Jin", "Shi", "Nan", "Kan", "Qian", and "Qie" have characters, the rest are empty, clearly showing the difference in density between these two tones.

七音 內南年■丁丁丁丁，二音 五五五五●●●●；二聲 老冷呂■丁丁丁丁，九聲 五五五五●●●●；鹿犖離■丁丁丁丁，五五五五●●●●；走哉足■丁丁丁丁，五五五五●●●●；八音 自在匠■丁丁丁了，二音 五五五五●●●●；二聲 草采七■丁丁丁丁，十聲 五五五五●●●●；曹才全■丁丁丁丁，五五五五●●●●。

It still belongs to 'Ping Sheng Bi Chang Lv San Zhi Er'. The left half uses the second tone 'Ding' as the singing tone, paired with the seventh tone's last three lines 'Nei Nan Nian ■', 'Lao Leng Lv ■', 'Lu Luo Li ■' and the eighth tone's four lines 'Zou Zai Zu ■', 'Zi Zai Jiang ■', 'Cao Cai Qi ■', 'Cao Cai Quan ■'; the last line under 'Zi Zai Jiang ■' has the character for 'singing' mistakenly written as 'Liao' in the original, but it should still be read as 'Ding'. The right half concludes the 'Kai Yin Qing He Lu San Zhi Er', using the second tone of water and earth sound 'Wu' as the harmonizing tone, paired with the ninth tone's last three lines and the tenth tone's four lines, totaling seven lines all marked as '●●●●'. The diagram using 'Wu' as the harmonizing tone now completes ten tones and forty lines.

開音清和律三之三：思三星■丁丁丁丁，母母母母多可個舌；九音 寺□象■丁丁丁丁，三音 母母母母禾火化八；二聲 □□□■丁丁丁丁，一聲 母母母母宰愛○；□□□■丁丁丁丁，母母母母回每退○；■山手■丁丁丁丁，母母母母良兩向○；十音 ■士石■丁丁丁丁，三音 母母母母光廣況○；二聲 ■□耳■丁丁丁丁，二聲 母母母母丁井亙○；■□二■丁丁丁丁，母母母母兄永瑩○；■莊震■丁丁丁丁，母母母母千典旦○；十一音 ■乍□■丁丁丁丁，三音 母母母母元犬半○；二聲 ■叉赤■丁丁丁丁，三聲 母母母母臣引艮○；■崇辰■丁丁丁丁，母母母母君允巽○。

The right half begins with "Kai Yin Qing He Lu San Zhi San," using the representative character "mu" from the third tone of water and earth sounds as the harmonizing character. It pairs the first tone "duo ke ge she," "he huoa hua ba," "zai ai o," "hui mei tui o"; the second tone "liang liang xiang o," "guang guang kuang o," "ding jing geng o," "xiong yong ying o"; and the third tone "qian dian dan o," "yuan quan ban o," "chen yin gen o," "jun yun xun o." The first tone's third line in the left half is written as "kai zai ai o," but the character "kai" is missing in the original text. The left half remains under "Ping Sheng Pi Chang Lu San Zhi Er," using the second tone "ding" as the singing character, paired with the ninth tone's standard sound "si san xing ■," "si ■ xiang ■," "■ ■ ■ ■," "■ ■ ■ ■"; the tenth tone "■ shan shou ■," "■ shi shi ■," "■ ■ er ■," "■ ■ er ■"; and the eleventh tone "■ zhuang zhen ■," "■ zha ■ ■," "■ cha chi ■," "■ chong chen ■." In the left column, the ninth tone only has characters in the first two lines, while the last two lines "■ ■ ■ ■" have three missing characters; the first character of the tenth tone and below is missing. The right column's first tone has four lines representing four categories of the same tone, with four characters in each line arranged in the order of level, rising, falling, and entering tones, such as "hui mei tui o" which corresponds to level tone "hui," rising tone "mei," falling tone "tui," and entering tone with a position but no character.

■卓中■丁丁丁丁，母母母母刀早孝嶽；十二音 ■宅直■丁丁丁丁，三音 母母母母毛寶報霍；二聲 ■拆丑■丁丁丁丁，四聲 母母母母牛斗奏六；■茶呈■丁丁丁丁，母母母母○○○玉。

"The 'Ping Sheng Bi Chang Lu San Zhi Er' ends here: the left half uses the second tone 'Ding' as the singing tone, paired with the twelfth tone of the correct sound, four lines '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■', with the first character of each line being the silent '■'. The right half belongs to 'Kai Yin Qing He Lu San Zhi San', using the third tone of water and earth sound 'Mu' as the harmonizing tone, paired with the fourth tone of the correct sound, four lines 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the last line has three tones with sound but no characters, so three '○' are written in succession, only the entering tone 'Yu' has a character that can be cited."

平聲闢唱呂三之三：古甲九癸臣臣臣臣，母母母母妻子四日；一音 □□近揆臣臣臣臣，三音 母母母母衰○帥骨；三聲 坤巧丘棄臣臣臣臣，五聲 母母母母○○○德；□□乾蚪臣臣臣臣，母母母母龜水貴北；黑花香血臣臣臣臣，母母母母宮孔眾○；二音 黃華雄賢臣臣臣臣，三音 母母母母龍甬用○；三聲 五瓦仰□臣臣臣臣，六聲 母母母母魚鼠去○；吾牙月堯臣臣臣臣，母母母母烏虎兔○；安亞乙一臣臣臣臣，母母母母心審禁○；三音 □爻壬寅臣臣臣臣，三音 母母母母○○○十；三聲 母馬美米臣臣臣臣，七聲 母母母母男坎欠○；目貌眉民臣臣臣臣，母母母母○○○妾。

"The level tone 'Ping' is divided into three parts of three tones." A new diagram is started, with the third tone of the sound of the sun and stars, represented by the character 'Chen' which corresponds to the level tone 'Ping' position, as the leading tone. It is then paired sequentially with the first tone of the correct sound: "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yuo"; the second tone: "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao"; the third tone: "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min". Among these, the "□" indicates a phonetic position without a character. The right half remains "Opening tone clear and harmonious law three of three", with the third tone of the water and earth sound "Mu" as the harmonizing tone, paired with the fifth tone of the correct sound: "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei"; the sixth tone: "Gong Kong Zhong □", "Long Yong Yong □", "Yu Shu Qu □", "Wu Hu Tu □"; the seventh tone: "Xin Shen Jin □", "□□□ Shi", "Nan Kan Qian □", "□□□ Jie". All the "○" positions have sound but no characters. Although the sound diagram and the tone diagram are presented in two columns, they are actually independent texts: the left column has one leading tone and twelve harmonizing tones in forty-eight lines, while the right column has one harmonizing tone and ten leading tones in forty lines. The source text is laid out line by line, and when reading, one must look at the left and right columns separately. In the fifth tone on the right column, "Zi Qi Si Ri" has all four characters complete, which are the level tone "Qi", the rising tone "Zi", the falling tone "Si", and the entering tone "Ri". In the sixth tone, the last character of each of the four lines is missing, and in the seventh tone, half of the characters are present.

夫法□飛臣臣臣臣，母母母母●●●●；四音 父凡□吠臣臣臣臣，三音 母母母母●●●●；三聲 武晚□尾臣臣臣臣，八聲 母母母母●●●●；文萬□未臣臣臣臣，母母母母●●●●；卜百丙必臣臣臣臣，母母母母●●●●；五音 步白備鼻臣臣臣臣，三音 母母母母●●●●；三聲 普撲匹品臣臣臣臣，九聲 母母母母●●●●；旁排平瓶臣臣臣臣，母母母母●●●●；東丹帝■臣臣臣臣，母母母母●●●●；六音 兌大弟■臣臣臣臣，三音 母母母母●●●●；三聲 土貪天■臣臣臣臣，十聲 母母母母●●●●；同覃田■臣臣臣臣，母母母母●●●●。

Continuing "Ping Sheng Bi Chang Lu San Zhi San". The left half uses the third tone "Chen" as the starting sound, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei"; the fifth tone "Bu Bai Bei Bi", "Bu Bai Bei Bi", "Pu Pu Pi Pin", "Pang Pai Ping Ping"; and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". In the third line of the fifth tone, the other diagram reads "Pu Pu Pin Pi", but in this text, the characters "Pin" and "Pi" are reversed. The right half is the latter part of "Kai Yin Qing He Lu San Zhi San", using "Mu" as the harmonizing sound, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all marked as "●●●●". These three tones, in Shao Yong's system, originally have no sound to be emitted, and harmonizing with any tone can only result in an empty position. However, the structure still needs to be listed, as the multiplication of sounds cannot be lacking. The fourth tone on the left belongs to the light lip sounds, with the third character in each of the four lines being "□"; the fifth tone belongs to the heavy lip sounds, with all four characters complete; the sixth tone belongs to the tongue sounds, with no sound at the end. Although the numbers of these three tones are empty, they still need to be listed first in the structure, and then subtracted when using the sounds. This is the usual practice of Shao Yong, first establishing the overall numbers and then selecting the used numbers. It is not permissible to delete them simply because they have no characters.

開音清和律三之四：乃你女■臣臣臣臣，武武武武多可個舌；七音 內南年■臣臣臣臣，四音 武武武武禾火化八；三聲 老冷呂■臣臣臣臣，一聲 武武武武開宰愛○；鹿犖離■臣臣臣臣，武武武武回每退○；走哉足■臣臣臣臣，武武武武良兩向○；八音 自在匠■臣臣臣臣，四音 武武武武光廣況○；三聲 草采七■臣臣臣臣，二聲 武武武武丁井亙○；曹才全■臣臣臣臣，武武武武兄永瑩○；思三星■臣臣臣臣，武武武武千典旦○；九音 寺□象■臣臣臣臣，四音 武武武武元犬半○；三聲 □□□■臣臣臣臣，三聲 武武武武臣引艮○；□□□■臣臣臣臣，武武武武君允巽○。

The right half begins with "Kai Yin Qing He Law Three of Four," using the representative character "Wu" from the fourth tone of water and earth sounds as the harmonizing character. It is paired with the first tone "Duo Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai," and "Hui Mei Tui," the second tone "Liang Liang Xiang," "Guang Guang Kuang," "Ding Jing Gen," and "Xiong Yong Ying," and the third tone "Qian Dian Dan," "Yuan Quan Ban," "Chen Yin Gen," and "Jun Yun Xun." The left half remains under "Ping Sheng Pi Chang Lu Three of Three," using the third tone "Chen" as the singing character, paired with the seventh tone "Nai Ni Nu," "Nei Nan Nian," "Lao Leng Lu," and "Lu Luo Li," the eighth tone "Zou Zai Zu," "Zi Zai Jiang," "Cao Cai Qi," and "Cao Cai Quan," and the ninth tone "Si San Xing," "Si Xiang Xiang," "□□□," and "□□□." The fourth position of these three categories of standard tones is uniformly marked with "■," indicating no sound at this position. The last two lines of the ninth tone have sound positions but no characters, hence three "□" are written in succession. On the right side, the second tone "Liang Liang Xiang" includes the level tone "Liang," the rising tone "Liang," the falling tone "Xiang," and no character for the entering tone. The third tone "Chen Yin Gen" follows the same pattern. The left side's three categories of standard tones each have four lines, still arranged in the order of clear, dull, secondary clear, and secondary dull tones, with the four characters in each line arranged from the first to the fourth tone class.

■山手■臣臣臣臣，武武武武刀早孝嶽；十音 ■士石■臣臣臣臣，四音 武武武武毛寶報霍；三聲 ■□耳■臣臣臣臣，四聲 武武武武牛斗奏六；■□二■臣臣臣臣，武武武武○○○玉；■莊震■臣臣臣臣，武武武武妻子四日；十一音 ■乍□■臣臣臣臣，四音 武武武武衰○帥骨；三聲 ■叉赤■臣臣臣臣，五聲 武武武武○○○德；■崇辰■臣臣臣臣，武武武武龜水貴北；■卓中■臣臣臣臣，武武武武宮孔眾○；十二音 ■宅直■臣臣臣臣，四音 武武武武龍甬用○；三聲 ■拆丑■臣臣臣臣，六聲 武武武武魚鼠去○；■茶呈■臣臣臣臣，武武武武烏虎兔○。

"The level tone 'Ping' is paired with the third tone 'Bi', forming the third of the three 'Chang' tones. On the left side, the third tone 'Chen' is used as the main tone, matching the tenth tone 'San Shan Shou', 'San Shi Shi', 'Er Er', 'Er Er Er', the eleventh tone 'Zhuang Zhen', 'Zha', 'Cha Chi', 'Chong Chen', and the twelfth tone 'Zhuo Zhong', 'Zhai Zhi', 'Chai Chou', 'Cha Cheng'. The first character of these three categories of tones is an empty symbol '■'. On the right side, it belongs to the 'Kai Yin Qing He' law, the fourth tone 'Shui Tu' as the harmonizing tone, matching the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', 'O O O Yu', the fifth tone 'Zi Qi Si Ri', 'Shuai O Shuai Gu', 'O O O De', 'Gui Shui Gui Bei', and the sixth tone 'Gong Kong Zhong O', 'Long Yong Yong O', 'Yu Shu Qu O', 'Wu Hu Tu O'. Starting from the tenth tone on the left side, the four categories of tones only retain the middle two characters, with the last character either present or missing, differing greatly from the previous nine tones which have four complete characters. In one diagram, the characters and empty positions alternate, which is the true nature of Shao Yong's system. On the right side, the last line of the fourth tone 'O O O Yu' only has characters in the entering tone, the fifth tone 'Shuai O Shuai Gu' is missing the rising tone, and the last character of each line in the sixth tone is empty."

平聲闢唱呂三之四：古甲九癸牛牛牛牛，武武武武心審禁○；一音 □□近揆牛牛牛牛，四音 武武武武○○○十；四聲 坤巧丘棄牛牛牛牛，七聲 武武武武男坎欠○；□□乾蚪牛牛牛牛，武武武武○○○妾；黑花香血牛牛牛牛，武武武武●●●●；二音 黃華雄賢牛牛牛牛，四音 武武武武●●●●；四聲 五瓦仰□牛牛牛牛，八聲 武武武武●●●●；吾牙月堯牛牛牛牛，武武武武●●●●；安亞乙一牛牛牛牛，武武武武●●●●；三音 □爻壬寅牛牛牛牛，四音 武武武武●●●●；四聲 母馬美未牛牛牛牛，九聲 武武武武●●●●；目貌眉民牛牛牛牛，武武武武●●●●。

"Level of level tone, level tone, and level tone of the third and fourth tones" starts anew, using the representative character "niu" (cow) for the fourth tone in the level tone category "pi" (avoid), paired with the first standard tone "gu jia jiu gui" (ancient, Jia, ninth, Gui), "□□ near kuí" (□□ near judgment), "kun qiao qiu qi" (Kun skill hill discard), "□□ qian duo" (□□ Heaven tadpole), the second standard tone "hei hua xiang xue" (black flower fragrance blood), "huang hua xiong xian" (yellow flower strong virtuous), "wu wa yang □" (five wa look □), "wu ya yue yao" (I tooth moon Yao), and the third standard tone "an ya yi yi" (safe, Ya, Yi, one), "□ yao ren yin" (□ line Ren Yin), "mu ma mei wei" (mother horse beauty not), "mu mao mei min" (eye appearance beauty people); in the third line of the third standard tone, the diagram shows "mu ma mei mi" (mother horse beauty rice), but here "mi" (rice) is mistakenly carved as "wei" (not). The right half belongs to "open tone clear and harmonious law third and fourth tones," using "wu" (military) as the harmonizing tone, paired with the seventh standard tone "xin shen jin ○" (heart review prohibition ○), "○○○ shi" (○○○ ten), "nan kan qian ○" (male Kan lack ○), "○○○ qie" (○○○ concubine), as well as the eighth and ninth tones, totaling eight lines "●●●●"; the former refers to having a tone position but no character, while the latter refers to tone positions that are not established. The left column's first tone belongs to dental tones, the second to pharyngeal and dental浊 tones, and the third to shadow and yu tones and lip and nasal tones, each category having four lines divided into clear,浊, sub-clear, and sub-浊, with four characters per line from the first to fourth tone levels; the first two characters in the lines "□□ near kuí" (□□ near judgment) and "□□ qian duo" (□□ Heaven tadpole) are missing, indicating the existence of the tone position but no corresponding character. Among the eight positions of the seventh tone on the right, only five have characters, while the eighth and ninth tones are entirely silent, and this diagram is nearly at its end.

夫法□飛牛牛牛牛，武武武武●●●●；四音 父凡□吠牛牛牛牛，四音 武武武武●●●●；四聲 武晚□尾牛牛牛牛，十聲 武武武武●●●●；文萬□未牛牛牛牛，武武武武●●●●。

It remains "Ping Sheng Bi Chang Lv San Zhi Si," using the fourth tone "Niu" as the chant, paired with the fourth tone of the standard sound in four lines: "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The third character in each line is marked as "□," indicating that this class has a phonetic position but no corresponding character. On the right side, it is the last part of "Kai Yin Qing He Lu San Zhi Si," using the fourth tone water and earth sound "Wu" as the harmony, paired with the tenth tone standard sound in four lines, all marked as "●●●●." At this point, the diagram using "Wu" as the harmony is completed with ten tones and forty lines.

開音清和律三之五：卜百丙必牛牛牛牛，普普普普多可個舌；五音 步白備鼻牛牛牛牛，五音 普普普普禾火化八；四聲 普撲品匹牛牛牛牛，一聲 普普普普開宰愛○；旁排平瓶牛牛牛牛，普普普普回每退○；東丹帝■牛牛牛牛，普普普普良兩向○；六音 兌大弟■牛牛牛牛，五音 普普普普光廣況○；四聲 土貪天■牛牛牛牛，二聲 普普普普丁井亙○；同覃田■牛牛牛牛，普普普普兄永瑩○；乃你女■牛牛牛牛，普普普普千典旦○；七音 內南年■牛牛牛牛，五音 普普普普元犬半○；四聲 老冷呂■牛牛牛牛，三聲 普普普普臣引艮○；鹿犖離■牛牛牛牛，普普普普君允巽○。

The right half begins with "Kai Yin Qing He Lu San Wu", using the representative character "Pu" of the fifth tone of water and earth sounds. It starts by matching the first tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ", "Hui Mei Tui " with "Pu". The second tone includes "Liang Liang Xiang ", "Guang Guang Kuang ", "Ding Jing Gen ", "Xiong Yong Ying ". The third tone includes "Qian Dian Dan ", "Yuan Quan Ban ", "Chen Yin Gen ", "Jun Yun Xun ". The left half remains under "Ping Sheng Pi Chang Lu San Si", using the fourth tone's representative character "Niu" as the starting tone, matching the fifth tone's standard sound "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", the sixth tone's standard sound "Dong Dan Di ", "Dui Da Di ", "Tu Tan Tian ", "Tong Tan Tian ", and the seventh tone's standard sound "Nai Ni Nu ", "Nei Nan Nian ", "Lao Leng Lu ", "Lu Luo Li ". The last characters " " in the sixth and seventh tones are positions without sound. These twelve lines on the right are the starting points of "Pu" sound harmonizing with ten tones. Within each line, the four characters follow the order of level, rising, falling, and entering tones, for example, "Du Ke Ge She" corresponds to level "Du", rising "Ke", falling "Ge", and entering "She". The fifth tone on the left belongs to the heavy lip sounds, with four lines each having four characters. The sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds. Both categories have no sound in the last position, only the first three levels are established.

走哉足■牛牛牛牛，普普普普刀早孝嶽；八音 自在匠■牛牛牛牛，五音 普普普普毛寶報霍；四聲 草采七■牛牛牛牛，四聲 普普普普牛斗奏六；曹才全■牛牛牛牛，普普普普○○○玉；思三星■牛牛牛牛，普普普普妻子四日；九音 寺□象■牛牛牛牛，五音 普普普普衰○帥骨；四聲 □□□■牛牛牛牛，五聲 普普普普○○○德；□□□■牛牛牛牛，普普普普龜水貴北；■山手■牛牛牛牛，普普普普宮孔眾○；十音 ■士石■牛牛牛牛，五音 普普普普龍甬用○；四聲 ■□耳■牛牛牛牛，六聲 普普普普魚鼠去○；■□二■牛牛牛牛，普普普普烏虎兔○；■莊震■牛牛牛牛，普普普普心審禁○。

Continuing "Ping Sheng Bi Chang Lu San Zi Si". The left half uses the fourth tone "Niu" as the starting sound, paired with the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■", and the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■", with the last line connecting to the eleventh tone's first line "■ Zhuang Zhen ■". After the ninth tone, the next two lines only have "■", indicating a phonetic position without a character. From the tenth tone onwards, the first position is all "■", meaning there is no sound at that position. The right half belongs to "Kai Yin Qing He Lu San Zi Wu", using the fifth tone "Pu" as the harmonizing sound, sequentially paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". The last line of the fourth tone only has the entering tone "Yu" with a character, the fifth tone is missing the rising tone, and the sixth tone's last character of each of the four lines is all "○". The left column's eighth tone belongs to the dental initial, the ninth tone belongs to the dental fricative, and the tenth tone belongs to the standard dental and the initial of the day mother, with the characters becoming increasingly sparse as they go further back.

十一音 ■乍□■牛牛牛牛，五音 普普普普○○○十；四聲 ■叉赤■牛牛牛牛，七聲 普普普普男坎欠○；■崇辰■牛牛牛牛，普普普普○○○妾；■卓中■牛牛牛牛，普普普普●●●●；十二音 ■宅直■牛牛牛牛，五音 普普普普●●●●；四聲 ■拆丑■牛牛牛牛，八聲 普普普普●●●●；■茶呈■牛牛牛牛，普普普普●●●●。

"Level tone 'Píng' is paired with the fourth tone 'Niú' as the leading note, matching the eleventh tone's last three lines '■ Zha □ ■', '■ Chā Chi ■', '■ Chóng Chen ■' and the four lines of the twelfth tone '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■'. The right half remains 'Open tone clear and harmonious law three of five', using the fifth tone 'Shu' of water and earth sounds as the harmonizing note, matching the seventh tone's last three lines '○○○ Shí', 'Nán Kan Qian ○', '○○○ Jie' and the four lines of the eighth tone '●●●●'. The seventh tone only has characters for the positions 'Shí', 'Nán', 'Kan', 'Qian', and 'Jie', while the rest are marked with '○' to indicate their tone positions. The eighth tone does not even establish tone positions."

平聲闢唱呂三之五：古甲九癸○○○○，普普普普●●●●；一音 □□近揆○○○○，五音 普普普普●●●●；五聲 坤巧丘棄○○○○，九聲 普普普普●●●●；□□乾蚪○○○○，普普普普●●●●；黑花香血○○○○，普普普普●●●●；二音 黃華雄賢○○○○，五音 普普普普●●●●；五聲 五瓦仰□○○○○，十聲 普普普普●●●●；吾牙月堯○○○○，普普普普●●●●。

"The level tone 'Ping' is divided into the fifth tone of the three tones 'Bi', 'Chang', and 'Lv'. A new diagram is started. The tone sung is the fifth tone of the daily star sound. This tone has sound but no character in the position of the level tone 'Bi', so the sung position is uniformly written as '○○○○'. It first matches the first tone of the correct sound with four lines: 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Yu'. Then it matches the second tone with four lines: 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'. The right half is the conclusion of 'Kai Yin Qing He Lu San Wu', harmonized with the fifth tone of the water and earth sounds 'Pu', matching the ninth and tenth tones of the correct sound, totaling eight lines, all written as '●●●●'. The diagram harmonized with 'Pu' reaches a total of ten tones and forty lines. Although the sung positions have no characters, their sound positions remain, so they correspond one by one with the twelve tones and forty-eight lines. The left column, with four positions of the two categories of correct tones, is generally complete, forming a contrast with the empty sung positions. Readers should not overlook them just because they have no characters."

開音清和律三之六：安亞乙一○○○○，土土土土多可個舌；三音 母馬美米○○○○，六音 土土土土禾火化八；五聲 □爻壬寅○○○○，一聲 土土土土開宰愛○；目貌眉民○○○○，土土土土回每退○；夫法□飛○○○○，土土土土良兩向○；四音 父凡□吠○○○○，六音 土土土土光廣況○；五聲 武晚□尾○○○○，二聲 土土土土丁井亙○；文萬□未○○○○，土土土土兄永瑩○；卜百丙必○○○○，土土土土千典旦○；五音 步白備鼻○○○○，六音 土土土土元犬半○；五聲 普撲品匹○○○○，三聲 土土土土臣引艮○；旁排平瓶○○○○，土土土土君允巽○。

The right half begins with "Kaiyin Qinghe Lv Sanzhi Liu," using the representative character "Tu" (earth) from the sixth tone of water and earth sounds as the harmonizing character. It pairs with the first tone of the standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai," "Hui Mei Tui," the second tone "Liang Liang Xiang," "Guang Guang Kuang," "Ding Jing Gen," "Xiong Yong Ying," and the third tone "Qian Dian Dan," "Yuan Quan Ban," "Chen Yin Gen," "Jun Yun Xun." The left half remains under "Pingsheng Bi Chang Lv Sanzhi Wu," using the fifth tone's character "○" (a silent character without a written form) as the singing character, paired with the third tone of the standard sound "An Ya Yi Yi," "Mu Ma Mei Mi," "□ Yao Renyin," "Mu Mao Mei Min," the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," and the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The order of the third tone in the other diagram is "An Ya Yi Yi," "□ Yao Renyin," "Mu Ma Mei Mi," "Mu Mao Mei Min," with the middle two lines reversed here. The four-character lines in the right column follow the order of level, rising, falling, and entering tones. The left column consists of three categories, each with four lines, following the order of clear,浊,次清,次浊. The third position in the category "Fu Fa □ Fei" is missing, indicating that the light lip sounds have no corresponding characters in these cases.

東丹帝■○○○○，土土土土刀早孝嶽；六音 兌大弟■○○○○，六音 土土土土毛寶報霍；五聲 土貪天■○○○○，四聲 土土土土牛斗奏六；同覃田■○○○○，土土土土○○○玉；乃你女■○○○○，土土土土妻子四日；七音 內南年■○○○○，六音 土土土土衰○帥骨；五聲 老冷呂■○○○○，五聲 土土土土○○○德；鹿犖離■○○○○，土土土土龜水貴北；走哉足■○○○○，土土土土宮孔眾○；八音 自在匠■○○○○，六音 土土土土龍甬用○；五聲 草采七■○○○○，六聲 土土土土魚鼠去○；曹才全■○○○○，土土土土烏虎兔○；思三星■○○○○，土土土土心審禁○。

Continuing from "level tone 'Ping' with the third tone 'Bi' and the fifth tone 'Pu'". The left half uses the fifth tone's "○" as the main sound, paired with the correct tones of the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with the last line connecting to the ninth tone's first line "Si San Xing ■". In these correct tones, the fourth position is always marked with an empty sound "■". The right half belongs to "open tone 'Kai' with clear and harmonious law 'Qing He' and the third tone 'Lv' and sixth tone 'Li'". It uses "Tu" as the harmonizing sound, paired with the correct tones of the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". In the left column, starting from the sixth tone, the fourth position of each line is consistently marked with "■", indicating that the tongue, nasal, and dental sounds are only divided into three categories in this grid. In the right column, the fourth tone's last line only includes the entering tone "Yu", the fifth tone's second line is missing the rising tone, and the last positions of the four lines in the sixth tone are all empty, showing that even among sounds with actual tones, the four categories have different levels of density.

九音 寺□象■○○○○，六音 土土土土○○○十；五聲 □□□■○○○○，七聲 土土土土男坎欠○；□□□■○○○○，土土土土○○○妾；■山手■○○○○，土土土土●●●●；十音 ■士石■○○○○，六音 土土土土●●●●；五聲 ■□耳■○○○○，八聲 土土土土●●●●；■□二■○○○○，土土土土●●●●；■莊震■○○○○，土土土土●●●●；十一音 ■乍□■○○○○，六音 土土土土●●●●；五聲 ■叉赤■○○○○，九聲 土土土土●●●●；■崇辰■○○○○，土土土土●●●●；■卓中■○○○○，土土土土●●●●；十二音 ■宅直■○○○○，六音 土土土土●●●●；五聲 ■拆丑■○○○○，十聲 土土土土●●●●；■茶呈■○○○○，土土土土●●●●。

The phrases "Ping Sheng Bi Chang Lu San Zhi Wu" and "Kai Yin Qing He Lu San Zhi Liu" both conclude simultaneously. The left half uses the fifth tone "○" as the singing tone, paired with the ninth tone's three lines below "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■", the tenth tone's four lines "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■", the eleventh tone's four lines "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■", and the twelfth tone's four lines "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The right half uses the sixth tone "Tu" (water and earth sound) as the harmonizing tone, paired with the seventh tone's three lines below "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie", as well as the eighth, ninth, and thirteenth tones' twelve lines "● ● ● ●". The left column has fifteen lines and the right column has fifteen lines, making this the densest section of empty spaces in the entire text. The empty spaces in the sound diagram are of two types: "○" represents a sound without a character, and "●" represents no sound and no character. The empty spaces in the tone diagram are also of two types: "□" represents a tone without a character, and "■" represents no tone and no character. Each of the four symbols has a specific meaning and should not be confused with each other, nor should they be considered as missing characters. Shao Yong established these four symbols precisely to indicate the positions where there is a principle but no sound in his established pattern. The numbers of Yuan, Hui, Yun, and Shi, as well as the correspondences with the sun, moon, stars, and the elements of water, fire, earth, and stone, are all calculated using this full grid of numerical patterns. Therefore, the empty spaces are as important as the actual characters. In this section, the singer has no characters, and the harmonizer's corresponding tones are mostly empty sounds, making almost no actual phonetic syllables appear throughout the passage.