The diagram of harmonious sounds, in the level tone, the harmonious singing corresponds to the fifth of the four tones, the fifth of the five tones.

平聲翕唱呂四之五：古甲九癸龜龜龜龜，旁旁旁旁●●●●；一音 □□近揆龜龜龜龜，五音 旁旁旁旁●●●●；五聲 坤巧丘棄龜龜龜龜，九聲 旁旁旁旁●●●●；□□乾蚪龜龜龜龜，旁旁旁旁●●●●；黑花香血龜龜龜龜，旁旁旁旁●●●●；二音 黃華雄賢龜龜龜龜，五音 旁旁旁旁●●●●；五聲 五瓦仰□龜龜龜龜，十聲 旁旁旁旁●●●●；吾牙月堯龜龜龜龜，旁旁旁旁●●●●。

"Level tone harmonizes with the fifth tone of the day branch" starts a new diagram, using the representative character "guī" (turtle) for the fifth tone in the level tone position. It first pairs with the first tone of the correct sound, four lines: "Gǔ Jiǎ Jiǔ Guǐ", "□□ Jìn Kuí", "Kūn Qiǎo Qiū Qì", "□□ Qián Tóu". Then it pairs with the second tone, four lines: "Hēi Huā Xiāng Xuè", "Huáng Huā Xióng Xián", "Wǔ Wǎ Yǎng □", "Wú Yá Yuè Yáo"; the "□" in "□□ Jìn Kuí", "□□ Qián Tóu", and "Wǔ Wǎ Yǎng □" are all phonetic positions without corresponding characters. The right half concludes with "Open tone, thick sound harmonizes with the fourth tone of the law, fifth tone", using "páng" (side) as the harmonizing sound, paired with the ninth and tenth tones, totaling eight lines, all marked as "●●●●". Although the singing position has a character, the harmonizing sound has already reached the end of this diagram, so the eight lines on the right are all silent positions; the four lines on the left, each with two types of correct tones, are arranged in order of clear, thick, secondary clear, and secondary thick tones, with four characters in each line from the first tone to the fourth tone.

開音濁和律四之六：安亞乙一龜龜龜龜，同同同同多可個舌；三音 □爻壬寅龜龜龜龜，六音 同同同同禾火化八；五聲 母馬美米龜龜龜龜，一聲 同同同同開宰愛○；目貌眉民龜龜龜龜，同同同同回每退○；夫法□飛龜龜龜龜，同同同同良兩向○；四音 父凡□吠龜龜龜龜，六音 同同同同光廣況○；五聲 武晚□尾龜龜龜龜，二聲 同同同同丁井亙○；文萬□未龜龜龜龜，同同同同兄永瑩○；卜百丙必龜龜龜龜，同同同同千典旦○；五音 步白備鼻龜龜龜龜，六音 同同同同元犬半○；五聲 普撲品匹龜龜龜龜，三聲 同同同同臣引艮○；旁排平瓶龜龜龜龜，同同同同君允巽○。

On the right side, a new section begins with "Kai Yin Zhu Zhuo Lu Si Zhi Liu," using the representative character "Tong" from the sixth tone of water and stone sounds as the harmonizing character. It is paired 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 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." On the left side, it remains under "Ping Sheng Xi Chang Lv Si Zhi Wu," using the fifth tone "Gui" as the singing character, paired with the third tone standard sound "An Ya Yi Yi," "Xiao Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min." The fourth tone includes "Fu Fa Xiao Fei," "Fu Fan Xiao Fei," "Wu Wan Xiao Wei," "Wen Wan Xiao Wei." The fifth tone includes "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones. Among the three tones, only the line "Du Ke Ge She" has all four characters complete, while the others have many missing characters in the entering tone. On the left side, the third tone belongs to the shadow and analogy groups and the labial and nasal series, the fourth tone belongs to the light labial group, and the fifth tone belongs to the heavy labial group. In the light labial group, the third character in each of the four lines is "Xiao," indicating the existence of a phonetic position but no corresponding character in the world. This section consists of thirteen lines on each side, with both the singing and harmonizing characters having corresponding characters, making it one of the more complete sections in this type of diagram.

東丹帝■龜龜龜龜，同同同同刀早孝嶽；六音 兌大弟■龜龜龜龜，六音 同同同同毛寶報霍；五聲 土貪天■龜龜龜龜，四聲 同同同同牛斗奏六；同覃田■龜龜龜龜，同同同同○○○玉；乃你女■龜龜龜龜，同同同同妻子四日；七音 內南年■龜龜龜龜，六音 同同同同衰○帥骨；五聲 老冷呂■龜龜龜龜，五聲 同同同同○○○德；鹿犖離■龜龜龜龜，同同同同龜水貴北；走哉足■龜龜龜龜，同同同同宮孔眾○；八音 自在匠■龜龜龜龜，六音 同同同同龍甬用○；五聲 草采七■龜龜龜龜，六聲 同同同同魚鼠去○；曹才全■龜龜龜龜，同同同同烏虎兔○；思三星■龜龜龜龜，同同同同心審禁○。

Continuing "Level Tone Harmony of the Fourth and Fifth Sounds". The left half uses the fifth tone "Gui" as the starting sound, paired with 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 ■". The last line connects to the ninth tone's first line "Si San Xing ■". The right half belongs to "Open Tone Muddy Harmony of the Fourth and Sixth Sounds", using "Tong" 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" "Cui ○ Shuai Gu" "○○○ De" "Gui Shui Gui Bei", and the sixth tone "Gong Kong Zhong ○" "Long Yong Yong ○" "Yu Shu Qu ○" "Wu Hu Tu ○". The last line is the seventh tone's first line "Xin Shen Jin ○". The left column's sixth tone belongs to the tongue sound, the seventh tone to the nasal and lateral series, and the eighth tone to the dental sound. The three categories' last positions have no sound, only the first three levels are established. The right column's fourth tone has three complete lines, the fifth tone is missing the rising tone, and the sixth tone has four lines with the last position all marked as "○". The sound chart and tone chart are presented side by side but in different sequences. The original text is laid out line by line, and within the same line, the left and right halves often belong to different charts. When reading, they should be viewed separately on the left and right.

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

"The level tone 'Gui' of the fifth tone serves as the leading note, paired with the ninth tone's last three lines 'Si□Xiang■', '□□□■', '□□□■', the tenth tone's lines '■ShanShou■', '■ShiShi■', '■□Er■', '■□Er■', the eleventh tone's lines '■ZhuangZhen■', '■Zha□■', '■ChaChi■', '■ChongChen■', and the twelfth tone's lines '■ZhuoZhong■', '■ZhaiZhi■', '■ChaiChou■', '■ChaCheng■'. On the right side, the sixth tone 'Tong' of the water and stone sound serves as the harmonizing tone, paired with the seventh tone's last three lines '○○○Shi', 'NanKanQian○', '○○○Jie', as well as twelve lines from the eighth, ninth, and thirteenth tones '●●●●'. The forty-eight lines of the sound diagram and the forty lines of the tone diagram are now fully matched, with one singing and one harmonizing, both filled with four types of blank markers for places where there are no characters or sounds. This section consists of fifteen lines on the left and fifteen lines on the right. On the left, the last two lines of the ninth tone have three missing characters among four positions; the first positions of the following four categories are all '■'. On the right, five positions among the eight of the seventh tone have characters, while the positions of the eighth tone and below have no characters. Shao Yong regarded sound as belonging to earth and tone as belonging to heaven, with sound below as 'Lv' and leading the singing, and tone above as 'Lv' and harmonizing. After one sound is sung, the twelve tones' forty-eight lines harmonize; after one tone is harmonized, the ten sounds' forty lines sing. All '○' have sound but no characters, '●' have neither sound nor position, '□' have tone but no characters, and '■' have neither tone nor position; these blank spaces and actual characters are all counted as grid numbers, and must not be omitted when calculating the numbers of sounds throughout the world."

平聲翕唱呂四之六，開音濁和律四之七：古甲九癸烏烏烏烏，鹿鹿鹿鹿多可個舌；一音 □□近揆烏烏烏烏，七音 鹿鹿鹿鹿禾火化八；六聲 坤巧丘棄烏烏烏烏，一聲 鹿鹿鹿鹿開宰愛○；□□乾蚪烏烏烏烏，鹿鹿鹿鹿回每退○；黑花香血烏烏烏烏，鹿鹿鹿鹿良兩向○；二音 黃華雄賢烏烏烏烏，七音 鹿鹿鹿鹿光廣況○；六聲 五瓦仰□烏烏烏烏，二聲 鹿鹿鹿鹿丁井亙○；吾牙月堯烏烏烏烏，鹿鹿鹿鹿兄永瑩○；安亞乙一烏烏烏烏，鹿鹿鹿鹿千典旦○；三音 □爻壬寅烏烏烏烏，七音 鹿鹿鹿鹿元犬半○；六聲 母馬美米烏烏烏烏，三聲 鹿鹿鹿鹿臣引艮○；目貌眉民烏烏烏烏，鹿鹿鹿鹿君允巽○。

Two diagrams are started separately. The left diagram, titled "Level Tone Harmony Singing of the Sixth Tone in the Fourth Category," uses the representative character "wu" (乌), which represents the sixth tone in the level tone category, as the singing character. It is paired with the first tone of the standard sound, "gǔ jiǎ jiǔ guǐ" (古甲九癸), "□□jìn kuí" (□□近揆), "kūn qiǎo qiū qì" (坤巧丘弃), "□□qián yóu" (□□乾蚪); the second tone, "hēi huā xiāng xuè" (黑花香血), "huáng huā xióng xián" (黄华雄贤), "wǔ wǎ yǎng □" (五瓦仰□), "wú yá yuè yáo" (吾牙月尧); and the third tone, "ān yà yǐ yī" (安亚乙一), "□ yáo rén yín" (□爻壬寅), "mǔ mǎ měi mǐ" (母马美米), "mù mào méi mín" (目貌眉民). The right diagram, titled "Open Tone Muddy Harmony of the Seventh Tone in the Fourth Category," uses the representative character "lù" (鹿), which represents the seventh tone in the water-stone sound category, as the harmonizing character. It is paired with the first tone of the standard sound, "duō kě gè shé" (多可个舌), "hē huǒ huà bā" (禾火化八), "kāi zǎi ài ○" (开宰爱○), "huí měi tuì ○" (回每退○); the second tone, "liáng liǎng xiàng ○" (良两向○), "guāng guǎng kuàng ○" (光广况○), "dīng jǐng gèng ○" (丁井亘○), "xiōng yǒng yíng ○" (兄永莹○); and the third tone, "qiān diǎn dàn ○" (千典旦○), "yuán quǎn bàn ○" (元犬半○), "chén yǐn gèn ○" (臣引艮○), "jūn yǔn xùn ○" (君允巽○). The first category of both diagrams is the sixth and seventh tones respectively, and they are not synchronized, because the standard tones have only ten categories while the standard sounds have twelve categories. Each tone diagram has four lines divided into clear, muddy, sub-clear, and sub-muddy tones, with four characters in each line representing the first to fourth tones. In the sound diagram, each line has four characters representing level, rising, falling, and entering tones, such as "duō kě gè shé" (多可个舌), which means level "duō" (多), rising "kě" (可), falling "gè" (个), and entering "shé" (舌). "Wu" (乌) is the character representing the sixth tone in the day branch category in the level tone category, and "lu" (鹿) is the character representing the seventh tone in the water-stone sound category in the open tone muddy category. Each character is in its own column and not related to the other.

夫法□飛烏烏烏烏，鹿鹿鹿鹿刀早孝嶽；四音 父凡□吠烏烏烏烏，七音 鹿鹿鹿鹿毛寶報霍；六聲 武晚□尾烏烏烏烏，四聲 鹿鹿鹿鹿牛斗奏六；文萬□未烏烏烏烏，鹿鹿鹿鹿○○○玉；卜百丙必烏烏烏烏，鹿鹿鹿鹿妻子四日；五音 步白備鼻烏烏烏烏，七音 鹿鹿鹿鹿衰○帥骨；六聲 普撲品匹烏烏烏烏，五聲 鹿鹿鹿鹿○○○德；旁排平瓶烏烏烏烏，鹿鹿鹿鹿龜水貴北；東丹帝■烏烏烏烏，鹿鹿鹿鹿宮孔眾○；六音 兌大弟■烏烏烏烏，七音 鹿鹿鹿鹿龍甬用○；六聲 土貪天■烏烏烏烏，六聲 鹿鹿鹿鹿魚鼠去○；同覃田■烏烏烏烏，鹿鹿鹿鹿烏虎兔○；乃你女■烏烏烏烏，鹿鹿鹿鹿心審禁○。

Continuing from the previous two diagrams. On the left half, 「Flat tone harmonizing with the sixth tone's "wu"」 uses the sixth tone's "wu" as the singing tone, paired with the fourth tone's standard sound "fu fa □ fei", "fu fan □ fei", "wu wan □ wei", "wen wan □ wei", the fifth tone's "bu bai bei bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping", and the sixth tone's "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 ■". On the right half, 「Open tone with heavy and harmonizing the fourth tone's seventh tone」 uses "lu" as the harmonizing tone, paired with the fourth tone's standard sound "dao zao xiao yue", "mao bao bao huo", "niu dou zou 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 ○". On the left column, the fourth tone 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, the seventh tone belongs to the nasal and lateral sounds, with the last character in each case being silent. On the right column, the fourth tone's last line only has the entering tone "yu" with a character, the fifth tone is missing the rising tone, the sixth tone's four lines all end with "○"; among the same categories of sounds, the four levels also differ in their density and spacing.

七音 內南年■烏烏烏烏，七音 鹿鹿鹿鹿○○○十；六聲 老冷呂■烏烏烏烏，七聲 鹿鹿鹿鹿男坎欠○；鹿犖離■烏烏烏烏，鹿鹿鹿鹿○○○妾；走哉足■烏烏烏烏，鹿鹿鹿鹿●●●●；八音 自在匠■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 草采七■烏烏烏烏，八聲 鹿鹿鹿鹿●●●●；曹才全■烏烏烏烏，鹿鹿鹿鹿●●●●；思三星■烏烏烏烏，鹿鹿鹿鹿●●●●；九音 寺□象■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 □□□■烏烏烏烏，九聲 鹿鹿鹿鹿●●●●；□□□■烏烏烏烏，鹿鹿鹿鹿●●●●；■山手■烏烏烏烏，鹿鹿鹿鹿●●●●；十音 ■士石■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 ■□耳■烏烏烏烏，十聲 鹿鹿鹿鹿●●●●；■□二■烏烏烏烏，鹿鹿鹿鹿●●●●。

The left half still belongs to "level tone harmonized singing of the fourth category of six tones," with the sixth tone "wu" as the singing tone, paired with the seventh tone's last three lines "nei nan nian ■," "lao leng lv ■," "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 right half is the conclusion of "open tone dull and harmonized law of the fourth category of seven tones," ending with the seventh tone "lu" as the harmonizing tone, paired with the seventh tone's last three lines "○○○ shi," "nan kan qian ○," "○○○ jie," as well as twelve lines from the eighth, ninth, and thirteenth tones "●●●●." With "lu" as the harmonizing tone, this chart completes ten tones and forty lines. This section has fifteen lines on the left and fifteen on the right. On the left, from the seventh tone to the last line of the tenth tone, all are "■," and the last two lines of the ninth tone are only left with one "□." On the right, only five positions in the seventh tone have characters, and there are no characters or tone positions from the eighth tone onwards. A single tone chart covers twelve tones and forty-eight lines, while a single tone chart covers ten tones and forty lines. Since the number of lines on both sides is unequal, when the source text arranges them side by side, the chart on the left often shifts one or two positions relative to the chart on the right. When reading this section, there is no need to require corresponding lines on both sides. Instead, follow each column according to the "tone" and "sound" headings in order to reconstruct the original two tables. The four types of blank markers remain consistent throughout, without changing due to different charts.

開音濁和律四之八：■莊震■烏烏烏烏，曹曹曹曹多可個舌；十一音 ■乍□■烏烏烏烏，八音 曹曹曹曹禾火化八；六聲 ■叉赤■烏烏烏烏，一聲 曹曹曹曹開宰愛○；■崇辰■烏烏烏烏，曹曹曹曹回每退○；■卓中■烏烏烏烏，曹曹曹曹良兩向○；十二音 ■宅直■烏烏烏烏，八音 曹曹曹曹光廣況○；六聲 ■拆丑■烏烏烏烏，二聲 曹曹曹曹丁井亙○；■茶呈■烏烏烏烏，曹曹曹曹兄永瑩○。

On the right side, it begins with "Kai Yin Zhuo He Lu Si Zhi Ba", using the representative character "Cao" for the eighth tone of water and stone sounds. It matches this with the first tone of the standard sound "Du Ke Ge She", "He Huo Hua 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 "Ping Sheng Xi Chang Lu Si Liu", using the sixth tone "Wu" as the singing tone, paired with the eleventh tone "Zhuang Zhen", "Zha", "Cha Chi", "Chong Chen" and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng". With "Wu" as the singing tone, this completes twelve tones and forty-eight lines. The families of "Zhuang" and "Zhuo" are only established in the middle two levels here, with the first position having no sound; the "Cao" tone, however, has all four positions, making the contrast particularly clear.

平聲翕唱呂四之七：古甲九癸○○○○，曹曹曹曹千典旦○；一音 □□近揆○○○○，八音 曹曹曹曹元犬半○；七聲 坤巧丘棄○○○○，三聲 曹曹曹曹臣引艮○；□□乾蚪○○○○，曹曹曹曹君允巽○；黑花香血○○○○，曹曹曹曹刀早孝嶽；二音 黃華雄賢○○○○，八音 曹曹曹曹毛寶報霍；七聲 五瓦仰□○○○○，四聲 曹曹曹曹牛斗奏六；吾牙月堯○○○○，曹曹曹曹○○○玉；安亞乙一○○○○，曹曹曹曹妻子四日；三音 □爻壬寅○○○○，八音 曹曹曹曹衰○帥骨；七聲 母馬美米○○○○，五聲 曹曹曹曹○○○德；目貌眉民○○○○，曹曹曹曹龜水貴北。

"The seventh tone of the seventh sound in level tone singing" starts anew. The sound sung is the seventh tone of the day branch, which has a tone but no character in the level tone position. The singing position is generally marked as "○○○○". It is paired with the first tone of the correct sound "Gujiajiu gui", "□□jinxui", "Kunqiao qiu qi", "□□Qian tuo", the second tone "Heihua xiangxue", "Huanghua xiongxian", "Wuwǎ yǎng □", "Wuyá yueyao", and the third tone "Anya yiyi", "□yao Renyin", "Muma meimi", "Mùmào meimian". The right half remains "open tone,浊 and harmonized with the fourth law of the eighth tone", using the eighth tone of water and stone "Cao" as the harmony, paired with the third tone of the correct sound "Qian典dàn○", "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典dàn○", is level tone "qian", rising tone "dian", falling tone "dan", and the entering tone has a position but no character. The last line of the fourth tone only has an entering tone. The three categories of correct tones on the left each have four lines, arranged in order of clear,浊, secondary clear, and secondary浊, with four characters in each line from the first to the fourth tone. The two lines "□□jinxui" and "□□Qian tuo" have the first two characters missing.

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

Continuing with 「Ping Sheng Xi Chang Lv Si Zhi Qi」. On the left side, the seventh tone's 「○」 serves as the singing tone, paired with the fourth tone's correct sound 「Fu Fa □ Fei」「Fu Fan □ Fei」「Wu Wan □ Wei」「Wen Wan □ Wei」, the fifth tone's 「Bu Bai Bing Bi」「Bu Bai Bei Bi」「Pu Pu Pin Pi」「Pang Pai Ping Ping」, and the sixth tone's 「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 ■」. On the right side, it belongs to 「Kai Yin Zhu He Lu Si Zhi Ba」, with 「Cao」 as the harmonizing tone, paired with the sixth tone's correct sound 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, and the seventh tone's 「Xin Shen Jin ○」「○○○ Shi」「Nan Kan Qian ○」「○○○ Jie」; below this, the fourth lines of the eighth tone and the first line of the ninth tone are all 「●●●●」, indicating places where the tone positions are not established. On the left column, the fourth tone belongs to the light lip sounds, with the third position in each of the four lines being 「□」; the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, the seventh tone belongs to the nasal and lateral sounds, and the last position in each case has no sound. The singing tone has no characters, and the harmonizing tones have many empty positions, with more than half of the positions being vacant within a single section, yet the number of lines and positions remains complete. On the right column, the last position of each of the four lines in the sixth tone is 「○」, while in the seventh tone only the positions of 「Xin」「Shen」「Jin」「Shi」「Nan」「Kan」「Qian」「Jie」 have characters, and these are similar in appearance to the 「●」 in the eighth tone and below, but they refer to entirely different things.

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

It still belongs to the category of 'level tone harmonizing with the seventh tone of the fourth category'. The left half uses the seventh tone '○' as the leading tone, paired with the last three lines of the seventh tone's proper sound 'inner south year ■', 'old cold Lü ■', 'deer luó Li ■' and the four lines of the eighth tone 'walk zai foot ■', 'free self craftsman ■', 'grass collection seven ■', 'Cao cai complete ■', with the last character of each line being the silent '■'. The right half concludes with 'open tone turbid harmony of the fourth category's eighth tone', using the eighth tone water and stone sound 'Cao' as the harmonizing tone, paired with the last three lines of the ninth tone and the four lines of the tenth tone, totaling seven lines all marked as '●●●●'. This diagram, paired with 'Cao' as the harmonizing tone, completes ten tones and forty lines. The seventh tone belongs to the nasal lai system, and the eighth tone belongs to the dental head system; both systems have no sound at the end, only three levels established. This section has seven lines on each side.

開音濁和律四之九：思三星■○○○○，□□□□多可個舌；九音 寺□象■○○○○，九音 □□□□禾火化八；七聲 □□□■○○○○，一聲 □□□□開宰愛○；□□□■○○○○，□□□□回每退○；■山手■○○○○，□□□□良兩向○；十音 ■士石■○○○○，九音 □□□□光廣況○；七聲 ■□耳■○○○○，二聲 □□□□丁井亙○；■□二■○○○○，□□□□兄永瑩○；■莊震■○○○○，□□□□千典旦○；十一音 ■乍□■○○○○，九音 □□□□元犬半○；七聲 ■叉赤■○○○○，三聲 □□□□臣引艮○；■崇辰■○○○○，□□□□君允巽○。

On the right side, a new section begins with "Kai Yin Zhu He Lu Si Zhi Jiū." The sound being matched is the ninth tone of the water and stone tones. This tone has a phonetic position but no corresponding character, so the general diagram writes it as "□□□□." It is paired 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 ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." On the left side, it remains under "Ping Sheng Xi Chen Lu Si Zhi Qi," using the seventh tone "○" as the singing tone, paired with the ninth tone of the standard sound "Si San Xing ■," "Si □ Xiang ■," "□□□ ■," "□□□ ■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ □ Er ■," "■ □ Er ■," and the eleventh tone "■ Zhuang Zhen ■," "■ Zha □ ■," "■ Cha Che ■," "■ Chong Chen ■." The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones. Although the matching tone has a sound but no character, the paired tones often have characters, creating a contrast between the abstract and the concrete, yet still forming lines. In the left column, among the four positions in the last two lines of the ninth tone, three are missing, and from the tenth tone onwards, the first position has no sound. The closer to the dental sound series, the fewer positions can be established. This section has thirteen lines on each side, with the left column at the end of the old diagram and the right column at the beginning of the new diagram, perfectly offset.

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

"The level tone 'Xī Chàng Lǚ Sì Zhī Qī' ends here: the left half uses the seventh tone, which is a sound without a character '○', as the chant, paired with the twelfth tone's 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 Zhu He Lu Four Zhī Jiǔ', using the sound without a character '□□□□' as the harmony, paired with the fourth tone's four lines 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'."

平聲翕唱呂四之八：古甲九癸●●●●，□□□□妻子四日；一音 □□近揆●●●●，九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●●，五聲 □□□□○○○德；□□乾蚪●●●●，□□□□龜水貴北；黑花香血●●●●，□□□□宮孔眾○；二音 黃華雄賢●●●●，九音 □□□□龍甬用○；八聲 五瓦仰□●●●●，六聲 □□□□魚鼠去○；吾牙月堯●●●●，□□□□烏虎兔○；安亞乙一●●●●，□□□□心審禁○；三音 □爻壬寅●●●●，九音 □□□□○○○十；八聲 母馬美米●●●●，七聲 □□□□男坎欠○；目貌眉民●●●●，□□□□○○○妾。

"The eighth tone of the eighth sound of the level tone 'Lv'" starts anew. The sound sung is the eighth tone of the day branch, which originally has no sound to be pronounced; the singing position is marked as "●●●●" in the general diagram. It is paired with the first tone of the correct sound "GujiajiuGui", "□□JinKui", "KunQiaoQiuQi", "□□QianYu", the second tone "HeHuaXiangXue", "HuangHuaXiongXian", "WuWaYang□", "WuYaYueYao", and the third tone "AnYaYiYi", "□YaoRenYin", "MuMaMeiMi", "MuMaoMeiMin". The right half remains "the ninth tone of the fourth law of opening tones with浊 and harmonizing", using the sound without characters "□□□□" as the harmony, paired with the fifth tone of the correct sound "ZiQiSiRi", "Shuai○ShuaiGu", "○○○De", "GuiShuiGuiBei", the sixth tone "GongKongZhong○", "LongNongYong○", "YuShuQu○", "WuHuTu○", and the seventh tone "XinShenJin○", "○○○Shi", "NanKanQian○", "○○○Jie". The left column consists of three categories of correct sounds, each with four lines, arranged in order of clear,浊, secondary clear, and secondary浊 tones. Within each line, the four characters are from the first to fourth tones, such as "GujiajiuGui" which corresponds to the first tone "Gu", the second tone "Jia", the third tone "Jiu", and the fourth tone "Gui". The right column's fifth tone "ZiQiSiRi" has all four characters, the sixth tone's four lines all end with "○", and the seventh tone has characters only in half of them. The singer has no sound, and the harmonizer has no characters, both sides are empty but the positions remain unchanged.

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

Continuing "Level Tone Harmony Singing of the Fourth and Eighth Sounds." 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 right half is the latter part of "Open Tone浊 Harmony of the Fourth and Ninth Sounds," using "□□□□" as the harmonizing tone, paired with the eighth, ninth, and thirteenth tones in twelve lines. In these twelve lines, other diagrams use "●●●●," but in this text, they are all carved as "■■■■," which mistakenly replaces the silent tone mark with the toneless mark, referring still to the position without sound or character. The fourth tone on the left belongs to the light lip sounds, with the third position in each of the four lines marked as "□"; the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, with the last position having no sound. The four types of blank marks each have specific meanings: "○" indicates a sound without a character, "●" indicates neither sound nor position, "□" indicates a tone without a character, and "■" indicates neither tone nor position. Readers can refer to other diagrams to correct the mixed use here, but the original characters should still be preserved as they were, and should not be changed directly.

開音濁和律四之十：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○。

The right half begins with "Kai Yin Zhu He Lu Si Zhi Shi," using the tenth tone of water and stone sounds as the harmonizing tone; this tone originally has no sound, so the general chart represents it with "■■■■." It is paired 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 Geng ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." The left half remains under "Ping Sheng Xi Chang Lv Si Zhi Ba," using the eighth tone's "●●●●" as the singing tone, paired with the seventh tone of the 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-character lines in the right column are arranged in order of level, rising, falling, and entering tones, such as "Hui Mei Tui ○" which corresponds to level "Hui," rising "Mei," falling "Tui," and the entering tone has a position but no character. The seventh tone on the left belongs to the nasal lai group, the eighth tone to the dental head group, and the ninth tone to the dental fricative group; all three groups have no sound at the end. The last two lines after the ninth tone only have one "□." The singer has no sound, the harmonizer has no tone, both sides are empty, yet the grid positions must still be filled completely.

■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 'level tone' of the eighth sound '●●●●' is completed here: the left half uses the eighth sound '●●●●' as the singing tone, matching the correct tones of the tenth sound '■ mountain hand ■', '■ scholar stone ■', '■ ear ■', '■ two ■', the eleventh sound '■ Zang Zhen ■', '■ sudden ■', '■ fork red ■', '■ Chong Chen ■', and the twelfth sound '■ Zhuo Zhong ■', '■ residence straight ■', '■ split chou ■', '■ tea present ■'. The right half belongs to 'open tone turbid harmony law four ten', using the silent '■■■■' as the harmony, matching the correct tones of the fourth sound 'knife early filial piety mountain', 'hair treasure report Huo', 'ox star composition six', '○○○ jade', the fifth sound 'wife four day', 'decline ○ general bone', '○○○ virtue', 'turtle water precious north', the sixth sound 'palace Kong crowd ○', 'dragon Yong use ○', 'fish mouse go ○', 'crow tiger rabbit ○'. The first characters of the three categories on the left are all '■', with only the middle two characters remaining, clearly different from the previous nine tones with four characters. The last line of the fourth sound on the right '○○○ jade' only has characters in the entering tone, the fifth sound 'decline ○ general bone' is missing the rising tone, and the last character of each line in the sixth sound is all '○'. The diagram with '■' as the harmony, even though it has no sound and cannot be read, still needs to be matched one by one with the ten tones and forty lines; this is exactly the usual practice of Shao Yong, first establishing the fundamental numbers and then using them."

平聲翕唱呂四之九：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 is sung in the ninth tone of the fourth category." A new line begins. The tone sung is the ninth tone of the day branch, which is also a tone with a position but no sound, and the singing position is generally marked as "●●●●". It is paired with the first tone of the correct sound: "Gu Jia Jiu Gui", "□□ Near 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", 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 "Open tone,浊 and harmonizing with the fourth category's tenth tone", using the soundless "■■■■" for harmony. First, it is paired with the seventh tone of the correct sound: "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". Then it is paired with the eighth and ninth tones, totaling eight lines of "●●●●". The left column has three categories of correct tones, each with four lines, arranged in order of clear,浊, secondary clear, and secondary浊 tones, with four characters in each line from the first to the fourth tone. The two lines "□□ Near Kui" and "□□ Qian Tu" have the first two characters missing, and the line "Wu Wa Yang □" has the last character missing; these are all tones with positions but no corresponding characters. In the eighth and ninth tones, there are no tone positions, so they are marked as "●" in the general book. This diagram's singer is a sound without sound, and the harmonizer is a tone without sound, and what remains is only the grid structure.

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 Lu Si 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", with the third character in each line marked as "□", which has a phonetic position but no character. The right half is the last part of "Kai Yin Zhu He Lu Si Zhi Shi", using the silent "■■■■" as the harmony, paired with the tenth tone of the standard sound, also with four lines all marked as "●●●●". The diagram using the tenth tone as harmony is now complete with ten tones and forty lines.

開音濁和律四之十一：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 ■■■■開宰愛○；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○；鹿犖離■●●●●，■■■■君允巽○。

On the right side, it begins with 「Opening tone,浊 and harmony, law four, number eleven」, using the eleventh tone of water and stone sounds as harmony; this tone also has no actual sound to refer to, so it is marked as 「■■■■」. The corresponding tones are the first tone of the standard sound: 「Du ke ge she」, 「He hu hua ba」, 「Kai zai ai ○」, 「Hui mei tui ○」; the second tone: 「Liang liang xiang ○」, 「Guang guang kuang ○」, 「Ding jing geng ○」, 「Xiong yong ying ○」; the third tone: 「Qian dian dan ○」, 「Yuan quan ban ○」, 「Chen yin gen ○」, 「Jun yun xun ○」. On the left side, it remains under 「Level tone, harmony, singing, law four, number nine」, using the ninth tone marked as 「●●●●」 as singing, paired with the fifth tone of the standard sound: 「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 ■」, 「Lu luo li ■」. The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones, for example, 「Liang liang xiang ○」 refers to level 「Liang」, rising 「Liang」, falling 「Xiang」, and entering tone which has a position but no character. On the left side, the fifth tone belongs to the heavy lip sounds, with all four tones present; the sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds, with the last tones of both categories having no sound. This section has thirteen lines on each side.

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 ■士石■●●●●，十一音 ■■■■龍甬用○；九聲 ■□耳■●●●●，六聲 ■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○；■莊震■●●●●，■■■■心審禁○。

Continuing "Ping Sheng Xi Chang Lu Si Zhi Jiu". On the left side, the ninth tone "●●●●" serves as the chant, 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 ■". The last line connects to the eleventh tone's first line "■ Zhuang Zhen ■". On the right side, it belongs to "Kai Yin Zhu He Lu Si Zhi Shiyi", with the silent "■■■■" 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 seventh tone's first line "Xin Shen Jin ○". The left column's eighth tone belongs to the dental initial, the ninth tone to the dental fricative, and the tenth tone to the clear dental and the initial of the day mother. On the right column, "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu" are all present, "○○○ Yu" only has characters in the入声, and "Shuai ○ Shuai Gu" is missing the rising tone. This section has thirteen lines on each side, located in the middle of the two diagrams, both diagrams are not yet completed, and the following text continues.

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■●●●● ■■■■●●●●

These seven lines follow the previous text. The left half still belongs to "level tone harmonious singing of the fourth tone of the ninth sound," and the right half still belongs to "open tone turbid harmony of the fourth tone of the eleventh sound." The ninth sound sung in the left table is itself written as "●," meaning there is no sound at this position, so four "●" are added at the end of each line. The sound that corresponds to it is the eleventh and twelfth categories of the standard tone. The eleventh tone's fire, earth, and stone lines are successively "■乍□■," "■叉赤■," and "■崇辰■." The twelfth tone's water, fire, earth, and stone lines are successively "■卓中■," "■宅直■," "■拆丑■," and "■茶呈■." Each line has four characters arranged in the order of "open," "initial," "closure," and "closed." The open and closed positions are both marked as "■," indicating no sound at these positions; only the initial and closure positions have actual characters. In the case of "■乍□■," the closure position is marked as "□," indicating that there is a sound position but no character can be paired with it. The eleventh tone on the right half is also marked as "■," and it corresponds to the seventh tone of the heavenly use sound, the three lines of moon, star, and辰 "○○○十," "男坎欠○," and "○○○妾," as well as the four lines of the eighth tone "●●●●." The "○" indicates that there is a sound position but no character can be paired with it, while "●" indicates that there is no sound position at all.

平聲翕唱呂四之十 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●●●● ■■■■●●●●

A new diagram is started, singing the tenth tone among the ten tones of the level tone (ping sheng) in the day branch (ri chen). This tone is marked as '●', which has no actual sound, so each line on the left side ends with four '●' symbols, only recording the corresponding phonetic elements. The first tone for the water category is 'gu jia jiu gui', for fire it is '□□ jin kui', for earth it is 'kun qiao qiu qi', and for stone it is '□□ qian tou'. The second tone for water is 'hei hua xiang xue', for fire it is 'huang hua xiong xian', for earth it is 'wu wa yang □', and for stone it is 'wu ya yue yao'. The four categories still follow the order of opening, developing, closing, and closing. The first tone for fire and stone, and the last character of the second tone for earth, are marked as '□', indicating they have phonetic elements but no corresponding characters. On the right side, the eleventh tone '■' is paired with the ninth and tenth tones, both of which have no phonetic elements, so all eight lines are marked as '●●●●'. The right diagram completes the forty phonetic elements of the eleventh tone, while the left diagram still has ten tones remaining to be sung.

開音濁和律四之十二 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 opening of the浊 and 和 law of the fourth tone, the twelfth sound" refers to the last category of the twelfth sound in the water and stone sounds. This sound is written as "■", which originally had no sound, so there are four empty symbols at the beginning of each line on the right side. The first line of the original text was mistakenly carved as "●●●●", which does not match the "■■■■" in the following lines. Therefore, "■" should be considered correct. The upper part combines with the first, second, and third tones of the heavenly sounds: the first tone includes four lines for the sun, moon, stars, and constellations, which are "duo ke ge she", "he huohua ba", "kai zai ai ", "hui mei tui "; 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 "; each line has four characters in the order of level, rising, falling, and entering tones, and the last character often appears as "○", indicating that there is a sound position but no character to match. The left part still sings the third, fourth, and fifth tones from the tenth tone: the third tone includes four lines "an yia yi yi", "□ yao ren yin", "mu ma mei mi", "mu mao mei min"; the fourth tone includes four lines "fu fa □ fei", "fu fan □ fei", "wu wan □ wei", "wen wan □ wei"; the fifth tone includes four lines "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping", where "□" also indicates a sound position without a corresponding character.

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○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■●●●妾

The left half continues with the sixth to ninth tones sung from the tenth tone. The sixth tone has four lines: "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The seventh tone is "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". The eighth tone is "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with all the closed positions having no sound. The ninth tone has four lines: "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■", with the closed positions having no sound, and the earth row and stone row having the open, initial, and final positions all marked as "□", indicating there is a phonetic position but no corresponding character. The right half consists of the twelfth tone "■" and the fourth to seventh tones: the fourth tone is "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu". The fifth tone is "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei". The sixth tone is "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The seventh tone is "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○". The last line originally reads "● ● ● Qie", but following the general convention of the entire text, it should be "○ ○ ○ Qie".

■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■●●●● ■■■■●●●●

The left half has completed pairing the tenth sound with the twelfth tone. The tenth tone has four lines: 「■shan shou■」「■shi shi■」「■□er■」「■□er■」, the eleventh tone is 「■zhuang zhen■」「■zha □■」「■cha chi■」「■chong chen■」, and the twelfth tone is 「■zhuo zhong■」「■zhai zhi■」「■che chou■」「■cha cheng■」: these three categories of tones have all their open and closed positions as silent, with only the initial and final positions having characters. The 「□」 in 「■□er■」「■zha □■」 indicates a position with sound but no character. The right half is the twelfth tone paired with the eighth, ninth, and tenth tones, all three tones having no sound positions, so the twelve lines are all written as 「●●●●」. Thus, the two diagrams of 「Ri Chen sound level and harmony」 and 「water stone sound open and thick」 from the 「Guan Wu Chapter 38」 are completed: the sound diagram has forty-eight lines for each of the twelve tones, and the tone diagram has forty lines for each of the ten sounds. The sound seven multiplied by the earth's use of tones gives one hundred fifty-two, resulting in one thousand sixty-four. The tone nine multiplied by the heaven's use of sounds gives one hundred twelve, resulting in one thousand eight.

皇極經世書卷八上 觀物篇三十九 月日聲上闢 火水音發清 可兩典早子 甲花亞法百丹 孔審●●● 你哉三山莊卓 月日聲七，下唱地之 火水音十二，上和天 用音一百五十二，是 之用聲一百一十二， 謂上聲闢音。上聲闢 是謂發音清聲。發音 音一千六十四。 清聲一千三百四十四。 月日聲上之一闢 火水音發之一清

The Heavenly Stems are: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui. The Earthly Branches are: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. The Trigrams are: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth). The text from Volume 8, Upper Section, "Observing Things" in The Supreme Principles Governing the World discusses the pairing of "Moon Day Tone Upper" and "Fire Water Sound Clear." "Moon" refers to the rising tone among the four tones, and "Day" refers to the first row of each tone. Taking the rising tone words from the ten tones of the day, we obtain seven characters: "ke, liang, dian, zao, zi, kong, shen." The eighth, ninth, and tenth tones are written as "●," meaning those tone positions do not form actual tones. "Fire" refers to the pronunciation among the four sounds, and "Water" refers to the first row of each sound. Taking the twelve sounds of the water row, we obtain twelve characters: "jia, hua, ya, fa, bai, dan, ni, zai, san, shan, zhuang, zhuo." The original text is divided into two columns: the left column states that the Moon Day tones total seven, and when sung downward for the use of the earth, they amount to 152, which is called the Upper Tone Clear Sound. The total of the Upper Tone Clear Sound is 1,640. The right column states that the Fire Water sounds total twelve, and when harmonized upward for the use of the sky, they amount to 112, which is called the Clear Sound. The total of the Clear Sound is 1,344. Seven multiplied by 152 equals 1,640, and twelve multiplied by 112 equals 1,344. The final line, "Moon Day Tone Upper One Clear" and "Fire Water Sound Clear One Clear," are the titles for the following two diagrams.

上聲闢唱呂一之一 發音清和律一之一 古甲九癸可可可可 甲甲甲甲多可個舌 一音 □□近揆可可可可 一音 甲甲甲甲禾火化八 一聲 坤巧丘棄可可可可 一聲 甲甲甲甲開宰愛○ □□乾蚪可可可可 甲甲甲甲回每退○ 黑花香血可可可可 甲甲甲甲良兩向○ 二音 黃華雄賢可可可可 一音 甲甲甲甲光廣況○ 一聲 五瓦仰□可可可可 二聲 甲甲甲甲丁井亙○ 吾牙月堯可可可可 甲甲甲甲兄永瑩○ 安亞乙一可可可可 甲甲甲甲千典旦○ 三音 □爻壬寅可可可可 一音 甲甲甲甲元犬半○ 一聲 母馬美米可可可可 三聲 甲甲甲甲臣引艮○ 目貌眉民可可可可 甲甲甲甲君允巽○

Two diagrams begin simultaneously. The left diagram is titled 「上声辟唱吕一之一」, which refers to the first tone of the 上声 (Upper Tone) category, specifically the tone 「可」. The right diagram is titled 「发音清和律一之一」, which refers to the first tone of the 清 (Clear) category, specifically the tone 「甲」. On the left side, each line first lists four tones, then repeats 「可」 four times for singing in response. The first tone includes water tones 「古甲九癸」, fire tones 「□□近揆」, earth tones 「坤巧丘弃」, and stone tones 「□□乾蚪」; the second tone includes water tones 「黑花香血」, fire tones 「黄华雄贤」, earth tones 「五瓦仰□」, and stone tones 「吾牙月尧」; the third tone includes water tones 「安亚乙一」, fire tones 「□爻壬寅」, earth tones 「母马美米」, and stone tones 「目貌眉民」. The four tones follow the order of 开 (opening), 发 (emerging), 收 (receiving), and 闭 (closing). The 「□」 indicates a tone position that exists but has no corresponding character, such as the opening and emerging positions in the fire tones of the first tone. On the right side, each line first repeats 「甲」 four times, then lists the four tones. The first tone includes four lines for day, moon, star, and planet: 「多可个舌」「禾火化八」「开宰爱○」「回每退○」; the second tone includes 「良两向○」「光广况○」「丁井亘○」「兄永莹○」; the third tone includes 「千典旦○」「元犬半○」「臣引艮○」「君允巽○」. The four characters follow the order of 平 (level), 上 (rising), 去 (falling), and 入 (entering). The 「○」 indicates a tone position that exists but has no corresponding character.

夫法□飛可可可可 甲甲甲甲刀早孝嶽 四音 父凡□吠可可可可 一音 甲甲甲甲毛寶報霍 一聲 武晚□尾可可可可 四聲 甲甲甲甲牛斗奏六 文萬□未可可可可 甲甲甲甲○○○玉 卜百丙必可可可可 甲甲甲甲妻子四日 五音 步白備鼻可可可可 一音 甲甲甲甲衰○帥骨 一聲 普撲品匹可可可可 五聲 甲甲甲甲○○○德 旁排平瓶可可可可 甲甲甲甲龜水貴北 東丹帝■可可可可 甲甲甲甲宮孔眾○ 六音 兌大弟■可可可可 一音 甲甲甲甲龍甬用○ 一聲 土貪天■可可可可 六聲 甲甲甲甲魚鼠去○ 同覃田■可可可可 甲甲甲甲烏虎兔○ 乃你女■可可可可 甲甲甲甲心審禁○ 七音 內南年■可可可可 一音 甲甲甲甲○○○十 一聲 老冷呂■可可可可 七聲 甲甲甲甲男坎欠○ 鹿犖離■可可可可 甲甲甲甲○○○妾

The left half continues to use the sound "ke" to sing the fourth to seventh tones. The fourth tone has "fu fa fei" for water, "fu fan fei" for fire, "wu wan wei" for earth, and "wen wan wei" for stone, with the ending written as "□", indicating a phonetic position without a character. The fifth tone has "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", and "pang pai ping ping", all with complete characters. The sixth tone has "dong dan di ■", "dui da di ■", "tu tan tian ■", and "tong tan tian ■", and the seventh tone has "nai ni nv ■", "nei nan nian ■", "lao leng lv ■", and "lu luo li ■", with the ending always marked as "■", indicating no phonetic position. On the right half, the sound "jia" is used for the fourth to seventh tones: the fourth tone has "dao zao xiao yue", "mao bao bao huo", "niu dou zhou liu", and "○○○yu"; the fifth tone has "zi qi si ri", "shuai ○ shuai gu", "○○○de", and "gui shui gui bei"; the sixth tone has "gong kong zhong ○", "long yong yong ○", "yu shu qu ○", and "wu hu tu ○"; the seventh tone has "xin shen jin ○", "○○○shi", "nan kan qian ○", and "○○○jie". The "○" in these tones indicates a phonetic position without a matching character, differing from "●", which has no phonetic position at all.

走哉足■可可可可 甲甲甲甲●●●● 八音 自在匠■可可可可 一音 甲甲甲甲●●●● 一聲 草采七■可可可可 八聲 甲甲甲甲●●●● 曹才全■可可可可 甲甲甲甲●●●● 思三星■可可可可 甲甲甲甲●●●● 九音 寺□象■可可可可 一音 甲甲甲甲●●●● 一聲 □□□■可可可可 九聲 甲甲甲甲●●●● □□□■可可可可 甲甲甲甲●●●● ■山手■可可可可 甲甲甲甲●●●● 十音 ■士石■可可可可 一音 甲甲甲甲●●●● 一聲 ■□耳■可可可可 十聲 甲甲甲甲●●●● ■□二■可可可可 甲甲甲甲●●●●

The left half uses the sound "ke" to sing the eighth, ninth, and tenth tones. The eighth tone has four lines: "Zou zai zu ■", "Zi zai jiang ■", "Cao cai qi ■", "Cao cai quan ■", with no sound in the closed position. The ninth tone has four lines: "Si san xing ■", "Si ■ xiang ■", "■ ■ ■ ■", "■ ■ ■ ■", where the first three positions of the earth and stone rows have sound positions but no characters. The tenth tone has four lines: "■ shan shou ■", "■ shi shi ■", "■ ■ er ■", "■ ■ er ■", with no sound in the open and closed positions, and the sound positions in the earth and stone rows are written as "■". The right half uses the sound "Jia" and the eighth, ninth, and tenth tones. These three tones have no sound positions in the upper tone category, so all twelve lines are written as "●●●●". Shao Yong set up so many empty positions to show that in terms of principle, there can be 160 sound positions and 192 tones, but in reality, only 112 and 152 can be assigned characters.

發音清和律一之二 ■莊震■可可可可 花花花花多可個舌 十一音 ■乍□■可可可可 二音 花花花花禾火化八 一聲 ■叉赤■可可可可 一聲 花花花花開宰愛○ ■崇辰■可可可可 花花花花回每退○ ■卓中■可可可可 花花花花良兩向○ 十二音 ■宅直■可可可可 二音 花花花花光廣況○ 一聲 ■拆丑■可可可可 二聲 花花花花丁井亙○ ■茶呈■可可可可 花花花花兄永瑩○

The left half ends with "shàng shēng pì chàng lǚ yī zhī yī" and uses the sound "kě" to sing the eleventh and twelfth tones. The eleventh tone consists of four lines: "■ zhuāng zhèn ■", "■ zhà □ ■", "■ chā chì ■", "■ chóng chén ■". The twelfth tone also consists of four lines: "■ zhuó zhōng ■", "■ zhái zhí ■", "■ chāi chǒu ■", "■ chá chéng ■". The opening and closing positions have no sounds. The closing position of "■ zhà □ ■" is written as "□", indicating a sound position without a character. By this point, the sound "kě" has matched all forty-eight sound positions of the twelve tones. The right half starts with "fā yīn qīng hé lǜ yī zhī èr", using the second clear sound "huā". It first combines with the first tone's four lines: "duō kě gè shé", "hé huǒ huà bā", "kāi zǎi ài ○", "huí měi tuì ○", then combines with the second tone's four lines: "liáng liǎng xiàng ○", "guāng guǎng kuàng ○", "dīng jǐng gèng ○", "xiōng yǒng yíng ○".

上聲闢唱呂一之二 古甲九癸兩兩兩兩 花花花花千典旦○ 一音 □□近揆兩兩兩兩 二音 花花花花元犬半○ 二聲 坤巧丘棄兩兩兩兩 三聲 花花花花臣引艮○ □□乾蚪兩兩兩兩 花花花花君允巽○ 黑花香血兩兩兩兩 花花花花刀早孝嶽 二音 黃華雄賢兩兩兩兩 二音 花花花花毛寶報霍 二聲 五瓦仰□兩兩兩兩 四聲 花花花花牛斗奏六 吾牙月堯兩兩兩兩 花花花花○○○玉 安亞乙一兩兩兩兩 花花花花妻子四日 三音 □爻壬寅兩兩兩兩 二音 花花花花衰○帥骨 二聲 母馬美米兩兩兩兩 五聲 花花花花○○○德 目貌眉民兩兩兩兩 花花花花龜水貴北 夫法□飛兩兩兩兩 花花花花宮孔眾○ 四音 父凡□吠兩兩兩兩 二音 花花花花龍甬用○ 二聲 武晚□尾兩兩兩兩 六聲 花花花花魚鼠去○ 文萬□未兩兩兩兩 花花花花烏虎兔○

The left half starts anew with "Shangsheng Bi Chang Lv Yi Zhi Er," using the second tone of Shangsheng Bi, "Liang," beginning from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei"; among these, "□" indicates the presence of a tone but no corresponding character. The right half continues with the second tone "Hua" in harmony, continuing to harmonize with the third to sixth tones: third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yun Gen ○," "Jun Yun Xun ○," fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu," fifth tone "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," "Gui Shui Gui Bei," sixth tone "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," "Wu Hu Tu ○." The left diagram uses tone to sing sound, while the right diagram uses sound to harmonize with tone, with one singing and one harmonizing, embodying the meaning of "sound as law, tone as lu."

卜百丙必兩兩兩兩 花花花花心審禁○ 五音 步白備鼻兩兩兩兩 二音 花花花花○○○十 二聲 普撲品匹兩兩兩兩 七聲 花花花花男坎欠○ 旁排平瓶兩兩兩兩 花花花花○○○妾 東丹帝■兩兩兩兩 花花花花●●●● 六音 兌大弟■兩兩兩兩 二音 花花花花●●●● 二聲 土貪天■兩兩兩兩 八聲 花花花花●●●● 同覃田■兩兩兩兩 花花花花●●●● 乃你女■兩兩兩兩 花花花花●●●● 七音 內南年■兩兩兩兩 二音 花花花花●●●● 二聲 老冷呂■兩兩兩兩 九聲 花花花花●●●● 鹿犖離■兩兩兩兩 花花花花●●●● 走哉足■兩兩兩兩 花花花花●●●● 八音 自在匠■兩兩兩兩 二音 花花花花●●●● 二聲 草采七■兩兩兩兩 十聲 花花花花●●●● 曹才全■兩兩兩兩 花花花花●●●●

The left half uses the "two" sound to continue singing from the fifth to the eighth tone: the fifth tone includes "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone includes "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; the seventh tone includes "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; the eighth tone includes "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The closing position of the sixth, seventh, and eighth tones is all "■", which has no sound. The right half is the "hua" sound and the seventh to tenth tones: the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie", where "○" is a position with sound but no character; the eighth, ninth, and tenth tones have no sound positions in the rising tone, so twelve consecutive lines are written as "●●●●". The "hua" sound covers forty sound positions in total, matching the previous round of the "Jia" sound. The left chart stops at the eighth tone, leaving the ninth to twelfth tones unsung; the right chart has completed the "hua" sound, showing that each column progresses according to its own order, hence the title alternates sides at this point.

發音清和律一之三 思三星置兩兩兩兩 亞亞亞亞多可個舌 九音 寺□象■兩兩兩兩 三音 亞亞亞亞禾火化八 二聲 □□□■兩兩兩兩 一聲 亞亞亞亞開宰愛○ □□□■兩兩兩兩 亞亞亞亞回每退○ ■山手■兩兩兩兩 亞亞亞亞良兩向○ 十音 ■士石■兩兩兩兩 三音 亞亞亞亞光廣況○ 二聲 ■□耳■兩兩兩兩 二聲 亞亞亞亞丁井亙○ ■□二■兩兩兩兩 亞亞亞亞兄永瑩○ ■莊震■兩兩兩兩 亞亞亞亞千典旦○ 十一音 ■乍□■兩兩兩兩 三音 亞亞亞亞元犬半○ 二聲 ■叉赤■兩兩兩兩 三聲 亞亞亞亞臣引艮○ ■崇辰■兩兩兩兩 亞亞亞亞君允巽○ ■卓中■兩兩兩兩 亞亞亞亞刀早孝嶽 十二音 ■宅直■兩兩兩兩 三音 亞亞亞亞毛寶報霍 二聲 ■拆丑■兩兩兩兩 四聲 亞亞亞亞牛斗奏六 ■茶呈■兩兩兩兩 亞亞亞亞○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of three," using the third clear tone "Ya," and proceeds in sequence with the first tone "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," the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "O O O Yu." On the left side, the "Liang" tone sings the last four tones: the ninth tone "Si San Xing Zhi," "Si Fang Xiang Zhi," "Zhi Zhi Zhi Zhi," "Zhi Zhi Zhi Zhi," with the original bottom text mistakenly carving "Zhi" instead of "Zhi"; the tenth tone "Zhi Shan Shou Zhi," "Zhi Shi Shi Zhi," "Zhi Er Er Zhi," "Zhi Er Er Zhi"; the eleventh tone "Zhi Zhuang Zhen Zhi," "Zhi Zha Zhi Zhi," "Zhi Cha Chi Zhi," "Zhi Chong Chen Zhi"; the twelfth tone "Zhi Zhuo Zhong Zhi," "Zhi Zhai Zhi Zhi," "Zhi Che Chou Zhi," "Zhi Cha Cheng Zhi." The opening and closing positions of these four tones are mostly marked with "Zhi," which is exactly the position Shao Yong indicated as having no sound.

上聲闢唱呂一之三 古甲九癸典典典典 亞亞亞亞妻子四日 一音 □□近揆典典典典 三音 亞亞亞亞衰○帥骨 三聲 坤巧丘棄典典典典 五聲 亞亞亞亞○○○德 □□乾蚪典典典典 亞亞亞亞龜水貴北 黑花香血典典典典 亞亞亞亞宮孔眾○ 二音 黃華雄賢典典典典 三音 亞亞亞亞龍甬用○ 三聲 五瓦仰□典典典典 六聲 亞亞亞亞魚鼠去○ 吾牙月堯典典典典 亞亞亞亞烏虎兔○ 安亞乙一典典典典 亞亞亞亞心審禁○ 三音 □爻壬寅典典典典 三音 亞亞亞亞○○○十 三聲 母馬美米典典典典 七聲 亞亞亞亞男坎欠○ 目貌眉民典典典典 亞亞亞亞○○○妾 夫法□飛典典典典 亞亞亞亞●●●● 四音 父凡□吠典典典典 三音 亞亞亞亞●●●● 三聲 武晚□尾典典典典 八聲 亞亞亞亞●●●● 文萬□未典典典典 亞亞亞亞●●●●

The left half starts anew with "Shangsheng Bi Chang Lv Yi Zhi San", switching to the third tone of Shangsheng Bi, "Dian", and begins singing from the first tone: first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yu"; second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao"; third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min"; fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei". The right half continues with the third tone "Ya" and proceeds to the fifth to eighth tones: fifth tone "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei"; sixth tone "Gong Kong Zhong □", "Long Yong Yong □", "Yu Shu Qu □", "Wu Hu Tu □"; seventh tone "Xin Shen Jin □", "□□□ Shi", "Nan Kan Qian □", "□□□ Qie"; eighth tone has four lines all "●●●●". "○" indicates a tone position with no character, "●" indicates a tone position with no character as well, and neither should be confused with missing characters. At this point, the left side has only sung through sixteen tone positions, while the right side has already matched thirty-two tone positions. The progress of the two columns is unequal, and when reading, one should follow each column separately, without connecting the characters from the left and right sides into sentences.

卜百丙必典典典典 亞亞亞亞●●●● 五音 步白備鼻典典典典 三音 亞亞亞亞●●●● 三聲 普撲品匹典典典典 九聲 亞亞亞亞●●●● 旁排平瓶典典典典 亞亞亞亞●●●● 東丹帝■典典典典 亞亞亞亞●●●● 六音 兌大弟■典典典典 三音 亞亞亞亞●●●● 三聲 土貪天■典典典典 十聲 亞亞亞亞●●●● 同覃田■典典典典 亞亞亞亞●●●●

The left half uses the "典" sound to connect the fifth and sixth tones: for the fifth tone, the four rows "卜百丙必," "步白备鼻," "普扑品匹," and "旁排平瓶" are fully filled; for the sixth tone, the four rows "东丹帝■," "兑大弟■," "土贪天■," and "同覃田■" are all empty. The right half consists of the "亚" sound and the ninth and tenth tones, both of which have no sound positions, with all eight rows written as "●●●●," completing the forty sounds of the "亚" sound. The upper tone has only seven tones with characters, while the eighth to tenth tones are all empty, so each round of tones must be written with twelve lines of empty characters at the end.

發音清和律一之四 乃你女■典典典典 法法法法多可個舌 七音 內南年■典典典典 四音 法法法法禾火化八 三聲 老冷呂■典典典典 一聲 法法法法開宰愛○ 鹿犖離■典典典典 法法法法回每退○ 走哉足■典典典典 法法法法良兩向○ 八音 自在匠■典典典典 四音 法法法法光廣況○ 三聲 草采七■典典典典 二聲 法法法法丁井亙○ 曹才全■典典典典 法法法法兄永瑩○ 思三星■典典典典 法法法法千典旦○ 九音 寺□象■典典典典 四音 法法法法元犬半○ 三聲 □□□■典典典典 三聲 法法法法臣引艮○ □□□■典典典典 法法法法君允巽○ ■山手■典典典典 法法法法刀早孝嶽 十音 ■士石■典典典典 四音 法法法法毛寶報霍 三聲 ■□耳■典典典典 四聲 法法法法牛斗奏六 ■□二■典典典典 法法法法○○○玉

On the right side, it begins anew with "Phonetic Clarity and Rhythm One, Part Four," switching to the fourth tone with the sound "fa," and proceeds in sequence with the first tone "duo ke ge she," "he huohua 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," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zou liu," "○○○ yu." On the left side, the sound "dian" continues with the seventh to tenth tones: the seventh tone "nai ni nv," "nei nan nian," "lao leng lv," "luo 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 are almost entirely filled with "□," while the tenth tone has all positions filled with "■," representing one case where there is a position without a character and another where there are no characters at all. The sound chart consists of forty-eight lines, while the tone chart has forty lines; the differing number of lines allows each to form its own independent section, a result of the division between twelve tones and ten sounds.

■莊震■典典典典 法法法法妻子四日 十一音 ■乍□■典典典典 四音 法法法法衰○帥骨 三聲 ■叉赤■典典典典 五聲 法法法法○○○德 ■崇辰■典典典典 法法法法龜水貴北 ■卓中■典典典典 法法法法宮孔眾○ 十二音 ■宅直■典典典典 四音 法法法法龍甬用○ 三聲 ■拆丑■典典典典 六聲 法法法法魚鼠去○ ■茶呈■典典典典 法法法法烏虎兔○

The left half begins with the sound "典" and completes the eleventh tone "■庄震■", "■乍□■", "■叉赤■", "■崇辰■", and the twelfth tone "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The opening and closing positions are all marked with "■", while the only positions with characters are the "only" and "closing" positions. The closing position of "■乍□■" is a position with sound but no character, marked as "□". The sound "典" thus covers forty-eight tone positions. The right half involves the fourth tone "法" and the fifth tone "妻子四日", "衰○帅骨", "○○○德", "龟水贵北" and the sixth tone "宫孔众○", "龙甬用○", "鱼鼠去○", "乌虎兔○".

上聲闢唱呂一之四 古甲九癸早早早早 法法法法心審禁○ 一音 □□近揆早早早早 四音 法法法法○○○十 四聲 坤巧丘棄早早早早 七聲 法法法法男坎欠○ □□乾蚪早早早早 法法法法○○○妾 黑花香血早早早早 法法法法●●●● 二音 黃華雄賢早早早早 四音 法法法法●●●● 四聲 五瓦仰□早早早早 八聲 法法法法●●●● 吾牙月堯早早早早 法法法法●●●● 安亞乙一早早早早 法法法法●●●● 三音 □爻王寅早早早早 四音 法法法法●●●● 四聲 母馬美米早早早早 九聲 法法法法●●●● 目貌眉民早早早早 法法法法●●●● 夫法□飛早早早早 法法法法●●●● 四音 父凡□吠早早早早 四音 法法法法●●●● 四聲 武晚□尾早早早早 十聲 法法法法●●●● 文萬□未早早早早 法法法法●●●●

The left half begins with 「上声辟唱吕一之四」, changing to the fourth tone of 上声 「早」, starting from the first tone: first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, third tone 「安亚乙一」「□爻王寅」「母马美米」「目貌眉民」— the character 「王」 in the fire category is originally a miswritten character, and should be taken as 「壬」 from elsewhere, fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half continues with the fourth tone 「法」 and the seventh to tenth tones: seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, eighth, ninth, and tenth tones have no positions, and twelve lines of 「●●●●」 are written continuously. The sound chart divides each category into four lines corresponding to day, moon, star, and constellation, while the tone chart divides each category into four lines corresponding to water, fire, earth, and stone. Within each of the four lines, there are again four positions. The entire system of calculation is based on these two layers of four divisions. 「早」 is the fourth 上声 character in the day's ten tones, taken from the fourth tone 「刀早孝岳」, and 「刀」「孝」「岳」 all belong to the same tone, but differ in pitch as level, rising, falling, and entering tones.

發音清和律一之五 卜百丙必早早早早 百百百百多可個舌 五音 步白備鼻早早早早 五音 百百百百禾火化八 四聲 普撲品匹早早早早 一聲 百百百百開宰愛○ 旁排平瓶早早早早 百百百百回每退○ 東丹帝■早早早早 百百百百良兩向○ 六音 兌大弟■早早早早 五音 百百百百光廣況○ 四聲 土貪天■早早早早 二聲 百百百百丁井亙○ 同覃田■早早早早 百百百百兄永瑩○ 乃你女■早早早早 百百百百千典旦○ 七音 內南年■早早早早 五音 百百百百元犬半○ 四聲 老冷呂■早早早早 三聲 百百百百臣引艮○ 鹿犖離■早早早早 百百百百君允巽○ 走哉足■早早早早 百百百百刀早孝嶽 八音 自在匠■早早早早 五音 百百百百毛寶報霍 四聲 草采七■早早早早 四聲 百百百百牛斗奏六 曹才全■早早早早 百百百百○○○玉

On the right side, it begins anew with "Phonetic Clarity and Tone One Five," using the fifth clear tone "bai" (百). It then proceeds in sequence with the first tone "duo ke ge she," "he huohua 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," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zhou liu," "○○○ yu." On the left side, the tone "zao" continues singing from the fifth to the eighth tones: 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 nv," "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." The closed tones in the sixth to eighth tones have no corresponding sounds, while the other three tones have matching characters. "Bai" is the fifth character of the water element in the twelve tones, taken from the fifth tone "bu bai bing bi," which shares the same tone with "bu," "bing," and "bi," differing only in their open, middle, and closed positions.

思三星■早早早早 百百百百妻子四日 九音 寺□象■早早早早 五音 百百百百衰○帥骨 四聲 □□□■早早早早 五聲 百百百百○○○德 □□□■早早早早 百百百百龜水貴北 ■山手■早早早早 百百百百宮孔眾○ 十音 ■士石■早早早早 五音 百百百百龍甬用○ 四聲 ■□耳■早早早早 六聲 百百百百魚鼠去○ ■□二■早早早早 百百百百烏虎兔○ ■莊震■早早早早 百百百百心審禁○ 十一音 ■乍□■早早早早 五音 百百百百○○○十 四聲 ■叉赤■早早早早 七聲 百百百百男坎欠○ ■崇辰■早早早早 百百百百○○○妾 ■卓中■早早早早 百百百百●●●● 十二音 ■宅直■早早早早 五音 百百百百●●●● 四聲 ■圻丑■早早早早 八聲 百百百百●●●● ■茶呈■早早早早 百百百百●●●●

The left half begins with the sound "zao" singing the ninth to twelfth tones: the ninth tone "Si San Xing", "Si Xiang Xiang", "San Xing Xing", "San Xing Xing"; the tenth tone "Shan Shou", "Shi Shi Shi", "Er Er Er"; the eleventh tone "Zhuang Zhen", "Zha Cha", "Cha Chi", "Chong Chen"; the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Qi Chou", "Cha Cheng" — the twelfth tone's original text reads "Qi", but it should be taken as "Chai" from other instances. The sound "zao" completes the singing of forty-eight tone positions. The right half is the fifth tone "bai" and the fifth to eighth tones: the fifth tone "Zi Qi Si Ri", "Shuai Shuai Shuai Gu", "De De 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", "Shen Shen Shen Shi", "Nan Kan Qian", "Shen Shen Shen Qie"; the eighth tone has four lines all reading "Bu Bu Bu Bu". By this point, the first four tones of the rising tone have each sung through the forty-eight tone positions once, totaling one hundred ninety-two mutual chants. The remaining three tones and three empty positions are handled in sequence, and the total number of the entire diagram is accumulated in this way.