The diagram of harmonious sounds: the rising tone is sung in response to the first of the five tones.

上聲闢唱呂一之五 古甲九癸子子子子 百百百百●●●● 一音 □□近揆子子子子 五音 百百百百●●●● 五聲 坤巧丘棄子子子子 九聲 百百百百●●●● □□乾蚪子子子子 百百百百●●●● 黑花香血子子子子 百百百百●●●● 二音 黃華雄賢子子子子 五音 百百百百●●●● 五聲 五瓦仰□子子子子 十聲 百百百百●●●● 吾牙月堯子子子子 百百百百●●●●

The left half begins with 「Shang Sheng Pi Chang Lü Yi Wu」, switching to the fifth tone of Shang Sheng Pi, 「Zi」. It first sings the first tone 「Gu Jia Ji Gui」, 「□□ Jin Kui」, 「Kun Qiao Qiu Qi」, 「□□ Qian Tu」, and the second tone 「He Hua Xiang Xue」, 「Huang Hua Xiong Xian」, 「Wu Wa Yang □」, 「Wu Ya Yue Yao」. The first tone has the sounds of fire and stone with the opening and initial sounds, and the second tone has the closing sound of earth, all marked as 「□」, indicating there is a phonetic position but no corresponding character. The right half is the fifth tone 「Bai」 and the ninth and tenth tones, which have no phonetic positions, so all eight rows are marked as 「●●●●」. The forty phonetic positions of the 「Bai」 tone are thus completed.

發音清和律一之六 安亞乙一子子子子 丹丹丹丹多可個舌 三音 □爻壬寅子子子子 六音 丹丹丹丹禾火化八 五聲 母馬美米子子子子 一聲 丹丹丹丹開宰愛○ 目貌眉民子子子子 丹丹丹丹回每退○ 夫法□飛子子子子 丹丹丹丹良兩向○ 四音 父凡□吠子子子子 六音 丹丹丹丹光廣況○ 五聲 武晚□尾子子子子 二聲 丹丹丹丹丁井亙○ 文萬□未子子子子 丹丹丹丹兄永瑩○ 卜百丙必子子子子 丹丹丹丹千典旦○ 五音 步白備鼻子子子子 六音 丹丹丹丹元犬半○ 五聲 普撲品匹子子子子 三聲 丹丹丹丹臣引艮○ 旁排平瓶子子子子 丹丹丹丹君允巽○ 東丹帝■子子子子 丹丹丹丹刀早孝嶽 六音 兌大弟■子子子子 六音 丹丹丹丹毛寶報霍 五聲 土貪天■子子子子 四聲 丹丹丹丹牛斗奏六 同覃田■子子子子 丹丹丹丹○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of six," switching to the sixth clear tone "Dan," and proceeds in sequence with the first tone "Duoke ge she," "Hehuohua 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," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." On the left side, the tone "Zi" continues singing from the third to sixth tones: the third tone "An ya yi yi," "□ 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," 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 closing positions of the fourth tone's four lines and the opening positions of the third tone's fire line both have phonetic positions but no characters. "Dan" is the sixth phonetic character of the twelve tones' water line, taken from the sixth tone "Dong dan di ■," where the closing position originally had no sound, hence it is written as "■."

乃你女■子子子子 丹丹丹丹妻子四日 七音 內南年■子子子子 六音 丹丹丹丹衰○帥骨 五聲 老冷呂■子子子子 五聲 丹丹丹丹○○○德 鹿犖離■子子子子 丹丹丹丹龜水貴北 走哉足■子子子子 丹丹丹丹宮孔眾○ 八音 自在匠■子子子子 六音 丹丹丹丹龍甬用○ 五聲 草采七■子子子子 六聲 丹丹丹丹魚鼠去○ 曹才全■子子子子 丹丹丹丹烏虎兔○ 思三星■子子子子 丹丹丹丹心審禁○ 九音 寺□象■子子子子 六音 丹丹丹丹○○○十 五聲 □□□■子子子子 七聲 丹丹丹丹男坎欠○ □□□■子子子子 丹丹丹丹○○○妾 ■山手■子子子子 丹丹丹丹●●●● 十音 ■士石■於子子子 六音 丹丹丹丹●●●● 五聲 ■□耳■子子子子 八聲 丹丹丹丹●●●● ■□二■於子子子 丹丹丹丹●●●●

The left half uses the sound "zi" to chant the seventh to tenth tones: the seventh tone "nai ni nv", "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 xiang", " ", " "; the tenth tone "shan shou", "shi shi", "er er", "er er". The "zi zi zi zi" for the fire and stone lines in the tenth tone was mistakenly carved as "yu zi zi zi" in the original text and should be corrected according to the preceding lines. The right half consists of the sixth tone "dan" and the fifth to eighth tones: the fifth tone "qi zi si ri", "shuai shao shuai gu", " ", "guan shui gui bei"; the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu "; the seventh tone "xin shen jin ", " ", "nan kan qian ", " "; the eighth tone has four lines with no characters. The earth and stone lines in the ninth tone are almost entirely filled with " "; the open positions in the tenth tone are all filled with " ". One case has a phonetic position but no character, and the other has neither a phonetic position nor a character. These two cases appear adjacent in the same diagram and their boundaries should not be confused.

■莊震■子子子子 丹丹丹丹●●●● 十一音 ■乍□■子子子子 六音 丹丹丹丹●●●● 五聲 ■叉赤■子子子子 九聲 丹丹丹丹●●●● ■崇辰■子子子子 丹丹丹丹●●●● ■卓中■子子子子 丹丹丹丹●●●● 十二音 ■宅直■子子子子 六音 丹丹丹丹●●●● 五聲 ■拆丑■於子子子 十聲 丹丹丹丹●●●● ■茶呈■子子子子 丹丹丹丹●●●●

The left half uses the sound "zi" to sing the eleventh tone "Zhuang Zhen," "Zha Zhi," "Cha Chi," and "Chong Chen," and the twelfth tone "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng." Among these, the twelfth tone, which corresponds to the earth element, has the original text mistakenly written as "Yu Zi Zi Zi" instead of "Zi Zi Zi Zi." Both the opening and closing positions of these two types of tones are marked with "■," which indicates no sound. The right half consists of the "Dan" tone and the ninth and tenth tones, which have no sound positions, so all eight rows are written as "●●●●." The "Dan" tone completes a cycle of forty sound positions at this point.

上聲闢唱呂一之六 發音清和律一之七 古甲九癸孔孔孔孔 你你你你多可個舌 一音 □□近揆孔孔孔孔 七音 你你你你禾火化八 六聲 坤巧丘棄孔孔孔孔 一聲 你你你你開宰愛○ □□乾蚪孔孔孔孔 你你你你回每退○ 黑花香血也孔孔孔 你你你你良兩向○ 二音 黃華雄賢孔孔孔孔 七音 你你你你光廣況○ 六聲 五瓦仰□孔孔孔孔 二聲 你你你你丁井亙○ 吾牙月堯孔孔孔孔 你你你你兄永瑩○ 安亞乙一孔孔孔孔 你你你你千典旦○ 三音 □爻王寅孔孔孔孔 七音 你你你你元犬半○ 六聲 母馬美米孔孔孔孔 三聲 你你你你臣引艮○ 目貌眉民孔孔孔孔 你你你你君允巽○

Two diagrams are presented on the same page. The left diagram is titled "Upper tone 'Bi' with the sixth tone 'Kong'"; the right diagram is titled "Clear and harmonious tone with the seventh tone 'Ni'". On the left side, starting from the first tone: "Gu Jia Ji 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" — among these, the original text for the water element "Kong Kong Kong Kong" was mistakenly carved as "Ye Kong Kong Kong"; the third tone: "An Ya Yi Yi", "□ Yao Wang Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min", where "Wang" should be "Ren". On the right side, the tone "Ni" and 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 ○", the third tone: "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○".

夫法□飛孔孔孔孔 你你你你刀早孝嶽 四音 父凡□吠孔孔孔孔 七音 你你你你毛寶報霍 六聲 武晚□尾孔孔孔孔 四聲 你你你你牛斗奏六 文萬□未孔孔孔孔 你你你你○○○玉 卜百丙必孔孔孔孔 你你你你妻子四日 五音 步白備鼻孔孔孔孔 七音 你你你你衰○帥骨 六聲 普撲品匹孔孔孔孔 五聲 你你你你○○○德 旁排平瓶孔孔孔孔 你你你你龜水貴北 東丹帝■孔孔孔孔 你你你你宮孔眾○ 六音 兌大弟■孔孔孔孔 七音 你你你你龍甬用○ 六聲 土貪天■孔孔孔孔 六聲 你你你你魚鼠去○ 同覃田■孔孔孔孔 你你你你烏虎兔○ 乃你女■孔孔孔孔 你你你你心審禁○ 七音 內南年■孔孔孔孔 七音 你你你你○○○十 六聲 老冷呂■孔孔孔孔 七聲 你你你你男坎欠○ 鹿犖離■孔孔孔孔 你你你你○○○妾

The left half uses the sound "Kong" to sing the fourth to seventh tones: the fourth tone includes "Fu Fa Fei", "Fu Fan Fei", "Wu Wan Wei", "Wen Wan Wei", with four lines ending at positions with tones but no characters; 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 right half consists of the seventh tone "Ni" and the fourth to seventh tones: the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone includes "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". "Ni" is the seventh character of the water element in the twelve tones, taken from the seventh tone "Nai Ni Nu "; "Kong" is the sixth rising tone character of the ten tones in the day element, taken from the sixth tone "Gong Kong Zhong ○". Each side selects one character as the main one, representing the meaning of singing in harmony.

走哉足■孔孔孔孔 你你你你●●●● 八音 自在匠■孔孔孔孔 七音 你你你你●●●● 六聲 草采七■孔孔孔孔 你你你你●●●● 曹才全■孔孔孔孔 八聲 你你你你●●●● 思三星■孔孔孔孔 你你你你●●●● 九音 寺□象■孔孔孔孔 七音 你你你你●●●● 六聲 □□□■孔孔孔孔 九聲 你你你你●●●● □□□■孔孔孔孔 你你你你●●●● ■山手■孔孔孔孔 你你你你●●●● 十音 ■士石■孔孔孔孔 七音 你你你你●●●● 六聲 ■□耳■孔孔孔孔 十聲 你你你你●●●● ■□二■孔孔孔孔 你你你你●●●●

The left half uses the sound "Kong" to chant the eighth, ninth, and tenth tones: the eighth tone includes "Zou Zai Zu", "Zi Zai Jiang", "Cao Cai Qi", and "Cao Cai Quan"; the ninth tone includes "Si San Xing", "Si Xiang Xiang", "blank blank blank", and "blank blank blank"; the tenth tone includes "blank Shan Shou", "blank Shi Shi", "blank blank Er", and "blank blank Er". The right half consists of the sound "Ni" and the eighth, ninth, and tenth tones. These three tones in the upper tone category have no tone positions, and all twelve rows are written as "●●●●". The original text mistakenly placed the heading "eight tones" on the next line, but in fact, starting from the line "Zou Zai Zu", it has already entered the eighth tone. Continuous writing is used without omission because this diagram requires a complete structure of ten tones and twelve sounds. The "□" in the ninth tone for the earth and stone rows represents a tone position without a character, while the "■" in the tenth tone's opening position represents neither a tone position nor a character.

發音清和律一之八 ■莊震■孔孔孔孔 哉哉哉哉多可個舌 十一音 ■乍□■孔孔孔孔 八音 哉哉哉哉禾火化八 六聲 ■叉赤■孔孔孔孔 一聲 哉哉哉哉開宰愛○ ■崇辰■孔孔孔孔 哉哉哉哉回每退○ ■卓中■孔孔孔孔 哉哉哉哉良兩向○ 十二音 ■宅直■孔孔孔孔 八音 哉哉哉哉光廣況○ 六聲 ■拆丑■孔孔孔孔 二聲 哉哉哉哉丁井亙○ ■茶呈■孔孔孔孔 哉哉哉哉兄永瑩○

On the left side, after completing the eleventh tone "■Zhuang Zhen■", "■Zha □■", "■Cha Chi■", and "■Chong Chen■", the sound "Kong" is paired with forty-eight tone positions. On the right side, a new start is made with "Fayin Qing He Lu Yi Ba", using the eighth clear tone "Zai", first harmonizing the four lines of the first tone: "Day, Moon, Star, and Morning Star" with "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", and "Hui Mei Tui ○", then harmonizing the four lines of the second tone: "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", and "Xiong Yong Ying ○".

上聲闢唱呂一之七 古甲九癸審審審審 哉哉哉哉千典旦○ 一音 □□近揆審審審審 八音 哉哉哉哉元犬半○ 七聲 坤巧丘棄審審審審 三聲 哉哉哉哉臣引艮○ □□乾蚪審審審審 哉哉哉哉君允巽○ 黑花香血審審審審 哉哉哉哉刀早孝嶽 二音 黃華雄賢審審審審 八音 哉哉哉哉毛寶報霍 七聲 五瓦仰□審審審審 四聲 哉哉哉哉牛斗奏六 吾牙月堯審審審審 哉哉哉哉○○○玉 安亞乙一審審審審 哉哉哉哉妻子四日 三音 □爻壬寅審審審審 八音 哉哉哉哉衰○帥骨 七聲 母馬美米審審審審 五聲 哉哉哉哉○○○德 目貌眉民審審審審 哉哉哉哉龜水貴北 夫法□飛審審審審 哉哉哉哉宮孔眾○ 四音 父凡□吠審審審審 八音 哉哉哉哉龍甬用○ 七聲 武晚□尾審審審審 六聲 哉哉哉哉魚鼠去○ 文萬□未審審審審 哉哉哉哉烏虎兔○

The left half begins anew with "Shangsheng Bi Chang Lv Yi Qi Qi", switching to the seventh tone "Shen" of Shangsheng Bi, which is also the last tone in this passage with a character that can be sung. It starts from the first tone: first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu"; 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 eighth tone "Zai" and the third to sixth tones: third tone "Qian Dian Dan □", "Yuan Quan Ban □", "Chen Yin 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 tone "Shen" is taken from the upper position of the seventh tone "Xin Shen Jin □", being the last tone in the ten tones that can have a character assigned, and the following three tones are left with empty brackets.

卜百丙必審審審審 哉哉哉哉心審禁○ 五音 步白備鼻審審審審 八音 哉哉哉哉○○○十 七聲 普撲品匹審審審審 七聲 哉哉哉哉男坎欠○ 旁排平瓶審審審審 哉哉哉哉○○○妾 東丹帝■審審審審 哉哉哉哉●●●● 六音 兌大弟■審審審審 八音 哉哉哉哉●●●● 七聲 土貪天■審審審審 八聲 哉哉哉哉●●●● 同田覃■審審審審 哉哉哉哉●●●● 乃你女■審審審審 哉哉哉哉●●●● 七音 內南年■審審審審 八音 哉哉哉哉●●●● 七聲 老冷呂■審審審審 九聲 哉哉哉哉●●●● 鹿犖離■審審審審 哉哉哉哉●●●● 走哉足■審審審審 哉哉哉哉●●●● 八音 自在匠■審審審審 八音 哉哉哉哉●●●● 七聲 草采七■審審審審 十聲 哉哉哉哉●●●● 曹才全■審審審審 哉哉哉哉●●●●

The left half uses the "shen" sound to chant the fifth to eighth tones: fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tian Tan ■" — the bottom original reads "Tong Tian Tan" while elsewhere it reads "Tong Tan Tian"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The right half is the "zai" sound and the seventh to tenth tones: seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; the eighth, ninth, and tenth tones have no sound positions, and all twelve lines are "●●●●", and the "zai" sound is thus matched with one round. The "zai" sound is taken from the eighth tone "Zou Zai Zu ■" sound position. The right diagram thus completes forty sound positions for the "zai" sound, of which only twenty-eight positions from the first seven tones can form actual syllables, while the twelve positions from the last three tones are entirely imaginary. The actual number of sounds is seven, and the actual number of tones is twelve. The two total numbers in this passage, 1,640 and 1,344, are derived by multiplying these actual numbers of sounds and tones.

發音清和律一之九 思三星■審審審審 三三三三多可個舌 九音 寺□象■審審審審 九音 三三三三禾火化八 七聲 □□□■審審審審 一聲 三三三三開宰愛○ □□□■審審審審 三三三三回每退○ ■山手■審審審審 三三三三良兩向○ 十音 ■士石■審審審審 九音 三三三三光廣況○ 七聲 ■□耳■審審審審 二聲 三三三三丁井亙○ ■□二■審審審審 三三三三兄永瑩○ ■莊震■審審審審 三三三三千典旦○ 十一音 ■乍□■審審審審 九音 三三三三元犬半○ 七聲 ■叉赤■審審審審 三聲 三三三三臣引艮○ ■崇辰■審審審審 三三三三君允巽○ ■卓中■審審審審 三三三三刀早孝嶽 十二音 ■宅直■審審審審 九音 三三三三毛寶報霍 七聲 ■拆丑■審審審審 四聲 三三三三牛斗奏六 ■茶呈■審審審審 三三三三○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of nine," switching to the ninth clear tone "San," which is matched sequentially 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 "Shen" tone sings the last four tones: the ninth tone "Si San Xing ■," "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 ■." Once the "Shen" tone has sung, the seven tones with characters are all sung through. The "San" tone is taken from the phonetic position of the ninth tone "Si San Xing ■." By this point, the left diagram has matched the "Shen" tone with all forty-eight phonetic positions, completing one round of the tones with characters.

上聲闢唱呂一之八 古甲九癸●●●● 三三三三妻子四日 一音 □□近揆●●●● 九音 三三三三衰○帥骨 八聲 坤巧丘棄●●●● 五聲 三三三三○○○德 □□乾蚪●●●● 三三三三龜水貴北 黑花香血●●●● 三三三三宮孔眾○ 二音 黃華雄賢●●●● 九音 三三三三龍甬用○ 八聲 五瓦仰□●●●● 六聲 三三三三魚鼠去○ 吾牙月堯●●●● 三三三三烏虎兔○ 安亞乙一●●●● 三三三三心審禁○ 三音 □爻壬寅●●●● 九音 三三三三○○○十 八聲 母馬美米●●●● 七聲 三三三三男坎欠○ 目貌眉民●●●● 三三三三○○○妾 夫法□飛●●●● 三三三三●●●● 四音 父凡□吠●●●● 九音 三三三三●●●● 八聲 武晚□尾●●●● 八聲 三三三三●●●● 文萬□未●●●● 三三三三●●●●

The left half starts with 「上声辟唱吕一之八」. The eighth tone of 「上声辟」 itself is 「●」, and since this position is silent, only four 「●」 can be written at the end of each line. However, the positions of the twelve tones must still be recorded: the first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, the second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, the third tone 「安亚乙一」「□爻壬寅」「母马美米」「目貌眉民」, the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half is the ninth tone 「三」 continuing with the fifth to eighth tones: the fifth tone 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」, the sixth tone 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」, the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and the eighth tone has four lines with no sound positions. The positions of silence still need to be drawn, because the layout of ten tones and twelve tones must first be fully established before removing the positions without characters to obtain 112 used tones and 152 used sounds.

卜百丙必●●●● 三三三三●●●● 五音 步白備鼻●●●● 九音 三三三三●●●● 八聲 普撲品匹●●●● 九聲 三三三三●●●● 旁排平瓶●●●● 三三三三●●●● 東丹帝■●●●● 三三三三●●●● 六音 兌大弟■●●●● 九音 三三三三●●●● 八聲 土貪天■●●●● 十聲 三三三三●●●● 同覃田■●●●● 三三三三●●●●

The left half uses the eighth tone's empty position to chant 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 ■", with four "●" following each line. The right half consists of the third tone and the ninth and tenth tones, which have no tone positions, and all eight lines are marked as "●●●●". When there is no tone but there is a sound, and when there is a sound but no tone, the empty positions on both sides are offset from each other, clearly showing that Shao Yong first filled in the grid according to the principles, then checked how many grids could actually be filled with actual sounds.

發音清和律一之十 乃你女■●●●● 山山山山多可個舌 七音 內南年■●●●● 十音 山山山山禾火化八 八聲 老冷呂■●●●● 一聲 山山山山開宰愛○ 鹿犖離■●●●● 山山山山回每退○ 走哉足■●●●● 山山山山良兩向○ 八音 自在匠■●●●● 十音 山山山山光廣況○ 八聲 草采七■●●●● 二聲 山山山山丁井亙○ 曹才全■●●●● 山山山山兄永瑩○ 思三星■●●●● 山山山山千典旦○ 九音 寺□象■●●●● 十音 山山山山元犬半○ 八聲 □□□■●●●● 三聲 山山山山臣引艮○ □□□■●●●● 山山山山君允巽○ ■山手■●●●● 山山山山刀早孝嶽 十音 ■士石■●●●● 十音 山山山山毛寶報霍 八聲 ■□耳■●●●● 四聲 山山山山牛斗奏六 ■□二■●●●● 山山山山○○○玉

On the right side, it begins anew with "Phonetic clarity and tone one ten," switching to the tenth tone "Shan" with a clear sound. It proceeds in sequence with the first tone "Duoke ge she," "Hehuohua 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," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." The left side still maintains the eighth tone's empty position while singing the seventh to tenth tones: the seventh tone "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," the ninth tone "Si san xing," "Si □ xiang," "□□□," "□□□," and the tenth tone "■ shan shou," "■ shi shi," "■ □ er," "■ □ er." The "Shan" is taken from the tenth tone "■ shan shou," where the opening and closing positions originally had no sound, hence both sides are marked with "■." Although this round on the left side has no sound to sing, the tone positions are still fully arranged without omission, matching exactly with the tones that have characters.

■莊震■●●●● 山山山山妻子四日 十一音 ■乍□■●●●● 十音 山山山山衰○帥骨 八聲 ■叉赤■●●●● 五聲 山山山山○○○德 ■崇辰■●●●● 山山山山龜水貴北 ■卓中■●●●● 山山山山宮孔眾○ 十二音 ■宅直■●●●● 十音 山山山山龍甬用○ 八聲 ■拆丑■●●●● 六聲 山山山山魚鼠去○ ■茶呈■●●●● 山山山山烏虎兔○

The left half ends the eighth tone with the eleventh sound 「■Zhuang Zhen■」「■Zha □■」「■Cha Chi■」「■Chong Chen■」and the twelfth sound 「■Zhuo Zhong■」「■Zhai Zhi■」「■Chai Chou■」「■Cha Cheng■」, with four 「●」at the end of each line. The right half includes the tenth sound 「Shan」and the fifth tone 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○○○ De」「Gui Shui Gui Bei」and the sixth tone 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, where the rising tone position in 「Shuai ○ Shuai Gu」and the level, rising, and falling tone positions in 「○○○ De」are all marked with tones but have no characters.

上聲闢唱呂一之九 古甲九癸●●●● 山山山山心審禁○ 一音 □□近揆●●●● 十音 山山山山○○○十 九聲 坤巧丘棄●●●● 七聲 山山山山男坎欠○ □□乾蚪●●●● 山山山山○○○妾 黑花香血●●●● 山山山山●●●● 二音 黃華雄賢●●●● 十音 山山山山●●●● 九聲 五瓦仰□●●●● 八聲 山山山山●●●● 吾牙月堯●●●● 山山山山●●●● 安亞乙一●●●● 山山山山●●●● 三音 □爻壬寅●●●● 十音 山山山山●●●● 九聲 母馬美米●●●● 九聲 山山山山●●●● 目貌眉民●●●● 山山山山●●●● 夫法□飛●●●● 山山山山●●●● 四音 父凡□吠●●●● 十音 山山山山●●●● 九聲 武晚□尾●●●● 十聲 山山山山●●●● 文萬□未●●●● 山山山山●●●●

The left half begins with "Shang Sheng Pi Chang Lv Yi Ji Jiú", the ninth tone is also "●", which is silent and cannot be sung, yet the twelve tones are still arranged in order: the first tone "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", the third tone "Ān Yà Yǐ Yī" "□ Yué Rén Yín" "Mǔ Mǎ Měi Mǐ" "Mù Mào Méi Mín", the fourth tone "Fū Fǎ □ Fēi" "Fù Fán □ Fèi" "Wǔ Wǎn □ Wěi" "Wén Wàn □ Wèi". The right half is the "Shān" tone and the seventh to tenth tones: the seventh tone "Xīn Shěn Jìn ○" "○○○ Shí" "Nán Kǎn Qiàn ○" "○○○ Jiè", the eighth, ninth, and tenth tones are silent positions, and twelve lines are written as "●●●●", and the "Shān" tone is completed here. Once the "Shān" tone is completed, the clear twelve tones have been matched with ten tones, leaving the tones "Zhuāng" and "Zhuó" still unassigned. The ninth tone on the left is like the eighth tone, just a vacant position, but the forty-eight positions of the twelve tones in four rows are still fully arranged, showing that Shao Yong's diagram emphasizes the completeness of numbers rather than the presence or absence of characters. The opening and initial positions of the fire and stone rows in the first tone, and the closing position of the earth row in the second tone, are still positions with sound but without characters, marked as "□".

發音清和律一之十一 卜百丙必●●●● 莊莊莊莊多可個舌 五音 步白備鼻●●●● 十一音 莊莊莊莊禾火化八 九聲 普撲品匹●●●● 一聲 莊莊莊莊開宰愛○ 旁排平瓶●●●● 莊莊莊莊回每退○ 東丹帝■●●●● 莊莊莊莊良兩向○ 六音 兌大弟■●●●● 十一音 莊莊莊莊光廣況○ 九聲 土貪天■●●●● 二聲 莊莊莊莊丁井亙○ 同覃田■●●●● 莊莊莊莊兄永瑩○ 乃你女■●●●● 莊莊莊莊千典旦○ 七音 內南年■●●●● 十一音 莊莊莊莊元犬半○ 九聲 老冷呂■●●●● 三聲 莊莊莊莊臣引艮○ 鹿犖離■●●●● 莊莊莊莊君允巽○

On the right side, it starts again with "Phonetic Clarity and Rhythm One, Number Eleven," using the eleventh tone with clear pronunciation "Zhuang." It first combines with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui." Then it combines with the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying." Next, it combines with the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun." The left side still keeps the ninth tone's empty position for singing the fifth to seventh 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." The tone "Zhuang" is taken from the eleventh tone "Zhuang zhen," where this tone has no sound in the open and closed positions, so it is marked with "■" before and after.

走哉足■●●●● 莊莊莊莊刀早孝嶽 八音 自在匠■●●●● 十一音 莊莊莊莊毛寶報霍 九聲 草采七■●●●● 四聲 莊莊莊莊牛斗奏六 曹才全■●●●● 莊莊莊莊○○○玉 思三星■●●●● 莊莊莊莊妻子四日 九音 寺□象■●●●● 十一音 莊莊莊莊衰○帥骨 九聲 □□□■●●●● 五聲 莊莊莊莊○○○德 □□□■●●●● 莊莊莊莊龜水貴北 ■山手■●●●● 莊莊莊莊宮孔眾○ 十音 ■士石■●●●● 十一音 莊莊莊莊龍甬用○ 九聲 ■□耳■●●●● 六聲 莊莊莊莊魚鼠去○ ■□二■●●●● 莊莊莊莊烏虎兔○

The left half sings the eighth to tenth tones with the ninth tone's empty position: the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■". The right half is the eleventh tone "Zhuang" and the fourth to sixth tones: 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 fifth tone "Shuai ○ Shuai Gu" has an upward tone position, and the star tone "○○○ De" has the level, upward, and departing tones, all of which have tone positions but no characters, and should not be considered as missing in the reading of the diagram.

■莊震■●●●● 莊莊莊莊心審禁○ 十一音 ■乍□■●●●● 十一音 莊莊莊莊○○○十 九聲 ■叉赤■●●●● 七聲 莊莊莊莊男坎欠○ ■崇辰■●●●● 莊莊莊莊○○○妾 ■卓中■●●●● 莊莊莊莊●●●● 十二音 ■宅直■●●●● 十一音 莊莊莊莊●●●● 九聲 ■拆丑■●●●● 八聲 莊莊莊莊●●●● ■茶呈■●●●● 莊莊莊莊●●●●

The left half ends the ninth tone's empty position with the eleventh tone: "Zhuang Zhen", "Zha Zhi", "Cha Chi", "Chong Chen", and the twelfth tone: "Zhuo Zhong", "Zhai Zhi", "Che Chou", "Cha Cheng". The right half consists of the tone "Zhuang" and the seventh tone: "Xin Shen Jin", "Shi", "Nan Kan Qian", "Jie", "Nv", and the eighth tone with four lines: "●●●●". The seventh tone only has the three characters "Xin Shen Jin" for the day line and "Nan Kan Qian" for the star line actually filled in, while the rest have positions but no characters.

上聲闢唱呂一之十 古甲九癸●●●● 莊莊莊莊●●●● 一音 □□近揆●●●● 十一音 莊莊莊莊●●●● 十聲 坤巧丘棄●●●● 九聲 莊莊莊莊●●●● □□乾蚪●●●● 莊莊莊莊●●●● 黑花香血●●●● 莊莊莊莊●●●● 二音 黃華雄賢●●●● 十一音 莊莊莊莊●●●● 卜聲 五瓦仰□●●●● 十聲 莊莊莊莊●●●● 吾牙月堯●●●● 莊莊莊莊●●●●

The left half begins with "Shang Sheng Pi Chang Lv Yi Zhi Shi," the tenth tone also being "●," which is silent and cannot be sung. It first lists the first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," and the second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao." The heading for the second tone, originally carved as "Bu Sheng," should be "Shi Sheng." The right half consists of the "Zhuang" tone and the ninth and tenth tones, with two tones being silent. All eight lines are "●●●●." The "Zhuang" tone completes one round. The Shang Sheng and Shi Sheng tones have all been covered in the diagram, with seven tones having characters and the last three tones only having empty positions, none of which were omitted.

發音清和律一之十二 安亞乙一●●●● 卓卓卓卓多可個舌 三音 □爻壬寅●●●● 十二音 卓卓卓卓禾火化八 十聲 母馬美米●●●● 一聲 卓卓卓卓開宰愛○ 目貌眉民●●●● 卓卓卓卓回每退○ 夫法□飛●●●● 卓卓卓卓良兩向○ 四音 父凡□吠●●●● 十二音 卓卓卓卓光廣況○ 十聲 武晚□尾●●●● 二聲 卓卓卓卓丁井亙○ 文萬□未●●●● 卓卓卓卓兄永瑩○ 卜百丙必●●●● 卓卓卓卓千典旦○ 五音 步白備鼻●●●● 十二音 卓卓卓卓元犬半○ 十聲 普撲品匹●●●● 三聲 卓卓卓卓臣引艮○ 旁排平瓶●●●● 卓卓卓卓君允巽○

On the right side, a new section begins with "Clear and Harmonious Tone One, Section Twelve," using the last clear-sounding tone "Zhuo." It first combines with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui." Then it combines with the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying." Next, it combines with the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun." On the left side, the tenth tone's empty position is used for singing the third to fifth tones: the third tone "An ya yi yi," "Xiao yao ren yin," "Mu ma mei mi," "Mu mao mei min," the fourth tone "Fu fa xiao fei," "Fu fan xiao fei," "Wu wan xiao wei," "Wen wan xiao wei," and the fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping." The tone "Zhuo" is taken from the twelfth tone "Zhuo zhong," which is the last position of the twelve clear-sounding tones. This tone has no corresponding sounds for its open and closed positions.

東丹帝■●●●● 卓卓卓卓刀早孝嶽 六音 兌大弟■●●●● 十二音 卓卓卓卓毛寶報霍 十聲 土貪天■●●●● 四聲 卓卓卓卓牛斗奏六 同覃田■●●●● 卓卓卓卓○○○玉 乃你女■●●●● 卓卓卓卓妻子四日 七音 內南年■●●●● 十二音 卓卓卓卓衰○帥骨 十聲 老冷呂■●●●● 五聲 卓卓卓卓○○○德 鹿犖離■●●●● 卓卓卓卓龜水貴北 走哉足■●●●● 卓卓卓卓宮孔眾○ 八音 自在匠■●●●● 十二音 卓卓卓卓龍甬用○ 十聲 草采七■●●●● 六聲 卓卓卓卓魚鼠去○ 曹才全■●●●● 卓卓卓卓烏虎兔○ 思三星■●●●● 卓卓卓卓心審禁○ 九音 寺□象■●●●● 十二音 卓卓卓卓○○○十 十聲 □□□■●●●● 七聲 卓卓卓卓男坎欠○ □□□■●●●● 卓卓卓卓○○○妾

The left half uses the tenth tone's empty position to sing the sixth to ninth tones: sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■". The right half is the twelfth tone "Zhuo" and the fourth to seventh tones: 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 ○"; seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". The closing positions for the sixth to eighth tones are all "■". For the ninth tone, the rows of "Tu" and "Shi" have the opening, issuing, and closing positions all marked as "□": the former indicates no tone position, while the latter indicates a tone position but no suitable character could be found. These two types of empty marks alternate in these sixteen lines, clearly showing the density of Shao Yong's punctuation.

■山手■●●●● 卓卓卓卓●●●● 十音 ■士石■●●●● 十二音 卓卓卓卓●●●● 十聲 ■□耳■●●●● 八聲 卓卓卓卓●●●● ■□二■●●●● 卓卓卓卓●●●● ■莊震■●●●● 卓卓卓卓●●●● 十一音 ■乍□■●●●● 十二音 卓卓卓卓●●●● 十聲 ■叉赤■●●●● 九聲 卓卓卓卓●●●● ■崇辰■●●●● 卓卓卓卓●●●● ■卓中■●●●● 卓卓卓卓●●●● 十二音 ■宅直■●●●● 十二音 卓卓卓卓●●●● 十聲 ■拆丑■●●●● 十聲 卓卓卓卓●●●● ■茶呈■●●●● 卓卓卓卓●●●●

The left half concludes the tenth sound with the tenth tone 「■ Mountain hand ■」「■ Scholar stone ■」「■ ■ ear ■」「■ ■ two ■」, the eleventh tone 「■ Zhuang Zhen ■」「■ Zha ■」「■ Cha red ■」「■ Chong Chen ■」, and the twelfth tone 「■ Zhuo Zhong ■」「■ Zhai straight ■」「■ Che丑 ■」「■ Cha Cheng ■」. The right half consists of the sound 「Zhuo」 and the eighth, ninth, and tenth tones, with all three tones having no position, and all twelve lines written as 「●●●●」. At this point, the ten diagrams of 「Moon day sound above division」 from the 「Observing Things Chapter 39」 and the twelve diagrams of 「Fire water sound emit clear」 are fully paired: each sound diagram has forty-eight lines, covering twelve tones; each sound diagram has forty lines, covering ten tones, corresponding exactly to the numbers of one thousand six hundred forty sound divisions and one thousand three hundred forty-four clear sounds. Although the number of lines in the two diagrams differ, the time they are completed is the same, which reflects the mutual connection between twelve multiplied by four and ten multiplied by four, each forming their own numbers.

觀物篇四十 月月聲上翕 火火音發濁 火廣犬寶○ □華爻凡白大 甬○●●● 南在□士乍宅 月月聲七，下唱地之 火火音十二，上和天 用音一百五十二，是 之用聲一百一十二， 謂上聲翕音。上聲翕 是謂發音濁聲。發音 音一千六十四。 濁聲一千三百四十四。 月月聲上之二翕 火火音發之二濁

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 refers to "Guanwu Pian Sìshí" (Observing Things Chapter Forty), paired with "Yueyue Sheng Shàng Xī" and "Huohuo Yīn Fā Zhuó." "Yueyue" refers to taking the rising tone (Yue) and matching it with the second line of each tone (Yue line), which belongs to the closed mouth sound, hence called "Xī." The rising tone characters in the ten tones for the Yue line are "Huǒ, Guang, Quǎn, Bǎo, ○, Yǒng, ○," where the fifth and seventh tones are marked with "○," indicating that there are tone positions but no corresponding characters, and the eighth, ninth, and tenth tones are marked with "●," indicating no tone positions. "Huohuo" refers to taking the sound (Huǒ) and matching it with the second line of each sound (Huǒ line), which belongs to the浊 sound, hence called "Zhuó." The sound characters in the twelve sounds for the Huǒ line are "□, Huá, Yáo, Fán, Bái, Dà, Nán, Zài, □, Shì, Zhà, Zhai," where the two "□" indicate that there are sound positions but no corresponding characters. The original text writes both columns: the left column states that the Yueyue tones total seven, and the downward singing of the earth's sounds totals 152, called the rising tone Xī sound, totaling 164; the right column states that the Huohuo sounds total twelve, and the upward harmonizing with the heavens' sounds totals 112, called the sound ZHUO sound, totaling 1344. The final line, "Yueyue Sheng Shàng Zhi Er Xī" and "Huohuo Yīn Fā Zhi Er Zhuó," serves as the general title for the following two diagrams.

上聲翕唱呂二之一 發音濁和律二之一 古甲九癸火火火火 □□□□多可個舌 一音 □□近揆火火火火 一音 □□□□禾火化八 一聲 坤巧丘棄火火火火 一聲 □□□□開宰愛○ □□乾蚪火火火火 □□□□回每退○ 黑花香血火火火火 □□□□良兩向○ 二音 黃華雄賢火火火火 一音 □□□□光廣況○ 一聲 五瓦仰□火火火火 二聲 □□□□丁井亙○ 吾牙月堯火火火火 □□□□兄永瑩○ 安亞乙一火火火火 □□□□千典旦○ 三音 □爻壬寅火火火火 一音 □□□□元犬半○ 一聲 母馬美米火火火火 三聲 □□□□臣引艮○ 目貌眉民火火火火 □□□□君允巽○

Two diagrams start simultaneously: the left diagram "Upper tone rising and singing Lu two one," sings the first tone of the upper tone rising "Fire"; the right diagram "vocalization turbid and harmonizing law two one," harmonizes the first tone of the turbid vocalization, which has a position but no character, so the entire passage is written as "□□□□." The left half uses the "Fire" tone to sing the first tone "Ancient Jia Ji Gui," "□□ near揆," "Kun Qiao Qiu Qi," "□□ Qian Tu," the second tone "Black flower fragrant blood," "Yellow flower strong virtuous," "Five Wa Yang □," "Wu Ya Yue Yao," and the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mother Ma Mei Mi," "Eye Mao Mei Min." The right half uses that tone without a character to harmonize 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 Geng ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○."

夫法□飛火火火火 □□□□刀早孝嶽 四音 父凡□吠火火火火 一音 □□□□毛寶報霍 一聲 武晚□尾火火火火 四聲 □□□□牛斗奏六 文萬□未火火火火 □□□□○○○玉 卜百丙必火火火火 □□□□妻子四日 五音 步白備鼻火火火火 一音 □□□□衰○帥骨 一聲 普撲品匹火火火火 五聲 □□□□○○○德 旁排平瓶火火火火 □□□□龜水貴北 東丹帝■火火火火 □□□□宮孔眾○ 六音 兌大弟■火火火火 一音 □□□□龍甬用○ 一聲 土貪天■火火火火 六聲 □□□□魚鼠去○ 同覃田■火火火火 □□□□烏虎兔○ 乃你女■火火火火 □□□□心審禁○ 七音 內南年■火火火火 一音 □□□□○○○十 一聲 老冷呂■火火火火 七聲 □□□□男坎欠○ 鹿犖離■火火火火 □□□□○○○妾

The left half uses the sound of "fire" to chant the fourth to seventh tones: the fourth tone includes "Fu Fa Fei," "Fu Fan Fei," "Wu Wan Wei," "Wen Wan Wei"; 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 Yi," "Dui Da Di Di," "Tu Tan Tian Tian," "Tong Tan Tian Tian"; the seventh tone includes "Nai Ni Nu Nu," "Nei Nan Nian Nian," "Lao Leng Lv Lv," "Lu Luo Li Li." The right half still uses the first tone, which is a position without a character "□," to harmonize with the fourth to seventh tones: the fourth tone includes "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu"; the fifth tone includes "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie." The ending characters of the four lines in the fourth tone are all "□," while the closing characters of the sixth and seventh tones are all "■." The former has a phonetic position but no character, and the latter has neither a phonetic position nor a character. The tone in the right diagram itself is "□," using a sound without a character to harmonize with a sound with a character, resulting in an empty position, yet the position cannot be missing.

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

The left half uses the sound of "fire" to chant the eighth, ninth, and tenth tones: the eighth tone is "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; the ninth tone is "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■"; the tenth tone is "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■" — the original text of the tenth tone in the earth row reads "■ Kou Er ■", where "Kou" should be a mistake for "■". The right half consists of the first tone and the eighth, ninth, and tenth tones, with three tones having no sound positions, and all twelve rows are marked as "●●●●". On one side, there are sound positions with the character "□" but no corresponding characters, while on the other side, there are no sound positions marked with "●". By comparing these two types of empty positions within the same row, we can best see the intention behind Shao Yong's use of separate symbols. In the "fire" sound diagram with forty-eight rows, forty rows have already been arranged, leaving only the eleventh and twelfth tones to be sung.

發音濁和律二之二 ■莊震■火火火火 華華華華多可個舌 十一音 ■乍□■火火火火 二音 華華華華禾火化八 一聲 ■叉赤■火火火火 一聲 華華華華開宰愛○ ■崇辰■火火火火 華華華華回每退○ ■卓中■火火火火 華華華華良兩向○ 十二音 ■宅直■火火火火 二音 華華華華光廣況○ 一聲 ■拆丑■火火火火 二聲 華華華華丁井亙○ ■茶呈■火火火火 華華華華兄永瑩○

The left half concludes the eleventh sound with the sound "fire" as "Zhuang Zhen," "Zha Zhang," "Cha Che," and "Chong Chen," and the twelfth sound as "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng," thus completing forty-eight sound positions with the "fire" sound. The right half starts with "emission of a thick and harmonious tone of the second of the second," using the second thick sound "Hua," first harmonizing with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," then harmonizing with the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O."

上聲翕唱呂二之二 古甲九癸廣廣廣廣 華華華華千典旦○ 一音 □□近揆廣廣廣廣 二音 華華華華元犬半○ 二聲 坤巧丘棄廣廣廣廣 三聲 華華華華臣引艮○ □□乾蚪廣廣廣廣 華華華華君允巽○ 黑花香血廣廣廣廣 華華華華刀早孝嶽 二音 黃華雄賢廣廣廣廣 二音 華華華華毛寶報霍 二聲 五瓦仰□廣廣廣廣 四聲 華華華華牛斗奏六 吾牙月堯廣廣廣廣 華華華華○○○玉 安亞乙一廣廣廣廣 華華華華妻子四日 三音 □爻壬寅廣廣廣廣 二音 華華華華衰○帥骨 二聲 母馬美米廣廣廣廣 五聲 華華華華○○○德 目貌眉民廣廣廣廣 華華華華龜水貴北 夫法□飛廣廣廣廣 華華華華宮孔眾○ 四音 父凡□吠廣廣廣廣 二音 華華華華龍甬用○ 二聲 武晚□尾廣廣廣廣 六聲 華華華華魚鼠去○ 文萬□未廣廣廣廣 華華華華烏虎兔○

The left half begins anew with "Shangsheng Xi Chang Lü Er Zhi Er," switching to the second tone of Shangsheng Xi, "Guang," starting 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." The right half continues with the second tone "Hua" and the third to sixth tones: third tone "Qian Dian Dan □," "Yuan Quan Ban □," "Chen Yin 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 □." "Guang" is taken from the second tone "Guang Guang Kuang □" of the Shangsheng Xi, being the second character of the Shangsheng Xi's ten tones corresponding to the moon's movement; "Hua" is taken from the second tone "Huang Hua Xiong Xian," being the second character of the twelve tones of the fire element.

卜百丙必廣廣廣廣 華華華華心審禁○ 五音 步白備鼻廣廣廣廣 二音 華華華華○○○十 二聲 普撲品匹廣廣廣廣 七聲 華華華華男坎欠○ 旁排平瓶廣廣廣廣 華華華華○○○妾 東丹帝■廣廣廣廣 華華華華●●●● 六音 兌大弟■廣廣廣廣 二音 華華華華●●●● 二聲 土貪天■廣廣廣廣 八聲 華華華華●●●● 同覃田■廣廣廣廣 華華華華●●●● 乃你女■廣廣廣廣 華華華華●●●● 七音 內南年■廣廣廣廣 二音 華華華華●●●● 二聲 老冷呂■廣廣廣廣 九聲 華華華華●●●● 鹿犖離■廣廣廣廣 華華華華●●●● 走哉足■廣廣廣廣 華華華華●●●● 八音 自在匠■廣廣廣廣 二音 華華華華●●●● 二聲 草采七■廣廣廣廣 十聲 華華華華●●●● 曹才全■廣廣廣廣 華華華華●●●●

The left half uses the "Guang" sound to chant the fifth to eighth tones: fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The right half is the "Hua" sound and the seventh to tenth tones: seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; the eighth, ninth, and tenth tones have no sound positions, and twelve lines of "●●●●" are written continuously. The "Hua" sound covers forty sound positions in one round, completing the matching. The closed positions of the sixth, seventh, and eighth tones are all "■", meaning no sound; the last positions of the four lines in the seventh tone are mostly "○", indicating sound positions without characters. The distinction between the rising tone "Xi" and "Bi" lies only in whether the lunar or solar cycle is taken: the solar cycle is an open mouth and called "Bi", while the lunar cycle is a closed mouth and called "Xi". The matched sound positions and tone positions are identical, so the layout of lines and character order in both texts are entirely consistent.

發音濁和律二之三 思三星■廣廣廣廣 爻爻爻爻多可個舌 九音 寺□象■廣廣廣廣 三音 爻爻爻爻禾火化八 二聲 □□□■廣廣廣廣 一聲 爻爻爻爻開宰愛○ □□□■廣廣廣廣 爻爻爻爻回每退○ ■山手■廣廣廣廣 爻爻爻爻良兩向○ 十音 ■士石■廣廣廣廣 三音 爻爻爻爻光廣況○ 二聲 ■□耳■廣廣廣廣 二聲 爻爻爻爻丁井亙○ ■□二■廣廣廣廣 爻爻爻爻兄永瑩○ ■莊震■廣廣廣廣 爻爻爻爻千典旦○ 十一音 ■乍□■廣廣廣廣 三音 爻爻爻爻元犬半○ 二聲 ■叉赤■廣廣廣廣 三聲 爻爻爻爻臣引艮○ ■崇辰■廣廣廣廣 爻爻爻爻君允巽○ ■卓中■廣廣廣廣 爻爻爻爻刀早孝嶽 十二音 ■宅直■廣廣廣廣 三音 爻爻爻爻毛寶報霍 二聲 ■拆丑■廣廣廣廣 四聲 爻爻爻爻牛斗奏六 ■茶呈■廣廣廣廣 爻爻爻爻○○○玉

On the right side, starting anew with "sound and tone law two of three," it switches to the third tone with a heavy sound "yao." It then proceeds in sequence with the first tone "duo ke ge she," "he huoa 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," "chén 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 "guang" sound sings the last four tones: the ninth tone "si san xing," "si xiang xiang," "□□□," "□□□," the tenth tone "shan shou," "shi shi," "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 "yao" sound is taken from the third tone "□ yao ren yin." In the left diagram, the rows of earth and stone in the ninth tone are almost all "□," and the open and closed positions in the tenth to twelfth tones are all "■." Thus, the "guang" sound covers all forty-eight tone positions.

上聲翕唱呂二之三 古甲九癸犬犬犬犬 爻爻爻爻妻子四日 一音 □□近揆犬犬犬犬 三音 爻爻爻爻衰○帥骨 三聲 坤巧丘棄犬犬犬犬 五聲 爻爻爻爻○○○德 □□乾蚪犬犬犬犬 爻爻爻爻龜水貴北 黑花香血犬犬犬犬 爻爻爻爻宮孔眾○ 二音 黃華雄賢犬犬犬犬 三音 爻爻爻爻龍甬用○ 三聲 五瓦仰□犬犬犬犬 六聲 爻爻爻爻魚鼠去○ 吾牙月堯犬犬犬犬 爻爻爻爻烏虎兔○ 安亞乙一犬犬犬犬 爻爻爻爻心審禁○ 三音 □爻壬寅犬犬犬犬 三音 爻爻爻爻○○○十 三聲 母馬美米犬犬犬犬 七聲 爻爻爻爻男坎欠○ 目貌眉民犬犬犬犬 爻爻爻爻○○○妾 夫法□飛犬犬犬犬 爻爻爻爻●●●● 四音 父凡□吠犬犬犬犬 三音 爻爻爻爻●●●● 三聲 武晚□尾犬犬犬犬 八聲 爻爻爻爻●●●● 文萬□未犬犬犬犬 爻爻爻爻●●●●

The left half starts anew with "Shang Sheng Xi Chang Lv Er Zhi San," switching to the third tone of Shang Sheng Xi, "Quan," and begins singing from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," 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 "Yao" and 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 "●●●●." The character "Quan" is taken from the third character of "Yuan Quan Ban □" in the Shang Sheng position, which is the third character of the Shang Sheng Xi ten tones monthly sequence. The four lines of the eighth tone all "●" indicate no tone position; the "○" in the fifth tone monthly sequence indicates only a tone position without a character. In the diagram, their shapes are similar but their meanings are different.

卜百丙必犬犬犬犬 爻爻爻爻●●●● 五音 步白備鼻犬犬犬犬 三音 爻爻爻爻●●●● 三聲 普撲品匹犬犬犬犬 九聲 爻爻爻爻●●●● 旁排平瓶犬犬犬犬 爻爻爻爻●●●● 東丹帝■犬犬犬犬 爻爻爻爻●●●● 六音 兌大弟■犬犬犬犬 三音 爻爻爻爻●●●● 三聲 土貪天■犬犬犬犬 十聲 爻爻爻爻●●●● 同覃田■犬犬犬犬 爻爻爻爻●●●●

The left half uses the sound "qian" to connect with the fifth tone "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", and "pang pai ping ping", and the sixth tone "dong dan di ", "dui da di ", "tu tan tian ", "tong tan tian ". All the closing positions in the four lines of the sixth tone have no corresponding sounds. The right half uses the sound "yao" with the ninth and tenth tones, both of which have no corresponding positions, and all eight lines are marked as "●●●●", completing the matching of the "yao" sound. Among the ten tones of the rising tone, only the sounds fire, broad, dog, treasure, and bell have actual characters that can be sung, while the other five positions either have sound positions without characters or have neither sound nor characters.

發音濁和律二之四 乃你女■犬犬犬犬 凡凡凡凡多可個舌 七音 內南年■犬犬犬犬 四音 凡凡凡凡禾火化八 三聲 老冷呂■犬犬犬犬 一聲 凡凡凡凡開宰愛○ 鹿犖離■犬犬犬犬 凡凡凡凡回每退○ 走哉足■犬犬犬犬 凡凡凡凡良兩向○ 八音 自在匠■犬犬犬犬 四音 凡凡凡凡光廣況○ 三聲 草采七■犬犬犬犬 二聲 凡凡凡凡丁井亙○ 曹才全■犬犬犬犬 凡凡凡凡兄永瑩○ 思三星■犬犬犬犬 凡凡凡凡千典旦○ 九音 寺□象■犬犬犬犬 四音 凡凡凡凡元犬半○ 三聲 □□□■犬犬犬犬 三聲 凡凡凡凡臣引艮○ □□□■犬犬犬犬 凡凡凡凡君允巽○ ■山手■犬犬犬犬 凡凡凡凡刀早孝嶽 十音 ■士石■犬犬犬犬 四音 凡凡凡凡毛寶報霍 三聲 ■□耳■犬犬犬犬 四聲 凡凡凡凡牛斗奏六 ■□二■犬犬犬犬 凡凡凡凡○○○玉

On the right side, it begins again with "Phonetic浊 and Law Two, Fourth Tone," using the fourth tone "Fan" with a浊 sound. It follows in sequence with the first tone "Duoke ge she," "Hehuohua 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," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." On the left side, the sound "Quan" continues with the seventh to tenth tones: the seventh tone "Nai ni nv," "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 sound "Fan" is taken from the fourth tone "Fu fan □ fei," where the sound position has a sound but no character, hence it is written as "□." The empty spaces in the ninth tone's last two lines and the beginning of the tenth tone on the left diagram still distinguish between having a position without a character and having a combined position without a character.

■莊震■犬犬犬犬 凡凡凡凡妻子四日 十一音 ■乍□■犬犬犬犬 四音 凡凡凡凡衰○帥骨 三聲 ■叉赤■犬犬犬犬 五聲 凡凡凡凡○○○德 ■崇辰■犬犬犬犬 凡凡凡凡龜水貴北 ■卓中■犬犬犬犬 凡凡凡凡宮孔眾○ 十二音 ■宅直■犬犬犬犬 四音 凡凡凡凡龍甬用○ 三聲 ■拆丑■犬犬犬犬 六聲 凡凡凡凡魚鼠去○ ■茶呈■犬犬犬犬 凡凡凡凡烏虎兔○

On the left side, after the sound of "dog" is completed, the eleventh tone "■Zhuang Zhen■", "■Zha □■", "■Cha Chi■", and "■Chong Chen■" are sung, and the opening and closing positions of the two tones have no sounds. On the right side, the fourth tone "Fan" and the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei" are present, along with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The upper tone position of the fifth tone for the moon's movement and the level, rising, and falling tone positions of the star's movement are all marked with "○", indicating that these are tone positions with sound but no corresponding characters.

上聲翕唱呂二之四 古甲九癸寶寶寶寶 凡凡凡凡心審禁○ 一音 □□近揆寶寶寶寶 四音 凡凡凡凡○○○十 四聲 坤巧丘棄寶寶寶寶 七聲 凡凡凡凡男坎欠○ □□乾蚪寶寶寶寶 凡凡凡凡○○○妾 黑花香血寶寶寶寶 凡凡凡凡●●●● 二音 黃華雄賢寶寶寶寶 四音 凡凡凡凡●●●● 四聲 五瓦仰□寶寶寶寶 八聲 凡凡凡凡●●●● 吾牙月堯寶寶寶寶 凡凡凡凡●●●● 安亞乙一寶寶寶寶 凡凡凡凡●●●● 三音 □爻壬寅寶寶寶寶 四音 凡凡凡凡●●●● 四聲 母馬美米寶寶寶寶 九聲 凡凡凡凡●●●● 目貌眉民寶寶寶寶 凡凡凡凡●●●● 夫法□飛寶寶寶寶 凡凡凡凡●●●● 四音 父凡□吠寶寶寶寶 四音 凡凡凡凡●●●● 四聲 武晚□尾寶寶寶寶 十聲 凡凡凡凡●●●● 文萬□未寶寶寶寶 凡凡凡凡●●●●

The left half starts anew with "Shangsheng Xi Chang Lv Er Zi Si" and switches to the fourth tone of Shangsheng Xi, "Bao," beginning from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," 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 consists of the "Fan" tone and the seventh to tenth tones: seventh tone "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie," the eighth, ninth, and tenth tones have no positions, and all twelve rows are written as "●●●●," completing the "Fan" tone round. "Bao" is taken from the fourth tone "Mao Bao Bao Huo" in the Shangsheng position, which is the fourth character of the Shangsheng Xi ten-tone lunar cycle. The right diagram's "Fan" tone round completes forty tone positions, among which only the first seven tones' twenty-eight positions can form syllables. In the left diagram's four tones, the first tone has the open and initial positions of fire and stone rows, the second tone has the closed position of earth row, the third tone has the open position of fire row, and the fourth tone has the closing position of four rows; all these have tone positions but no characters.

發音濁和律二之五 卜百丙必寶寶寶寶 白白白白多可個舌 五音 步白備鼻寶寶寶寶 五音 白白白白禾火化八 四聲 普撲品匹寶寶寶寶 一聲 白白白白開宰愛○ 旁排平瓶寶寶寶寶 白白白白回每退○ 東丹帝□寶寶寶寶 白白白白良兩向○ 六音 兌大弟■寶寶寶寶 五音 白白白白光廣況○ 四聲 土貪天■寶寶寶寶 二聲 白白白白丁井亙○ 同覃田■寶寶寶寶 白白白白兄永瑩○ 乃你女■寶寶寶寶 白白白白乾典旦○ 七音 內南年■寶寶寶寶 五音 白白白白元犬半○ 四聲 老冷呂■寶寶寶寶 三聲 白白白白臣引艮○ 鹿犖離■寶寶寶寶 白白白白君允巽○ 走哉足■寶寶寶寶 白白白白刀早孝嶽 八音 自在匠■寶寶寶寶 五音 白白白白毛寶報霍 四聲 草采七■寶寶寶寶 四聲 白白白白牛斗奏六 曹才全■寶寶寶寶 白白白白○○○玉

On the right side, it begins again with 「Sound and tone of the second fifth」, switching to the fifth tone with a浊 sound 「Bai」, and proceeds to match 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 Geng」, 「Xiong Yong Ying」, the third tone 「Gan Dian Dan」, 「Yuan Quan Ban」, 「Chen Yin Gen」, 「Jun Yun Xun」—the third tone in the original text reads 「Gan」, but should be taken as 「Qian」 according to other instances, the fourth tone 「Dao Zao Xiao Yue」, 「Mao Bao Bao Huo」, 「Niu Dou Zou Liu」, 「○○○ Yu」. On the left side, the 「Bao」 tone continues to sing the fifth to 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 last character in the water row in the original text reads 「□」, but elsewhere it is written as 「■」, the seventh tone 「Nai Ni Nu」, 「Nei Nan Nian」, 「Lao Leng Lü」, 「Lu Luo Li」, the eighth tone 「Zou Zai Zu」, 「Zi Zai Jiang」, 「Cao Cai Qi」, 「Cao Cai Quan」.

思三星■寶寶寶寶 白白白白妻子四日 九音 寺□象■寶寶寶寶 五音 白白白白衰○帥骨 四聲 □□□■寶寶寶寶 五聲 白白白白○○○德 □□□■寶寶寶寶 白白白白龜水貴北 ■山手■寶寶寶寶 白白白白宮孔眾○ 十音 ■士石■寶寶寶寶 五音 白白白白龍甬用○ 四聲 ■□耳■寶寶寶寶 六聲 白白白白魚鼠去○ ■□二■寶寶寶寶 白白白白烏虎兔○ ■莊震■寶寶寶寶 白白白白心審禁○ 十一音 ■乍□■寶寶寶寶 五音 白白白白○○○十 四聲 ■叉赤■寶寶寶寶 七聲 白白白白男坎欠○ ■崇辰■寶寶寶寶 白白白白○○○妾 ■卓中■寶寶寶寶 白白白白●●●● 十二音 ■宅直■寶寶寶寶 五音 白白白白●●●● 四聲 ■拆丑■寶寶寶寶 八聲 白白白白●●●● ■茶呈■寶寶寶寶 白白白白●●●●

The left half uses the sound "bao" to chant the ninth to twelfth tones: the ninth tone "si san xing", "si xiang xiang", " ", " "; the tenth tone "shan shou", "shi shi shi", "er er", "er er"; the eleventh tone "zhuang zhen", "zha ", "cha chi", "chong chen"; the twelfth tone "zhuo zhong", "zhai zhi", "che chou", "cha cheng". The sound "bao" thus chants through 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", " ", "guishui guibei"; the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu "; the seventh tone "xin shen jin ", " ", "nan kan qian ", " "; the eighth tone has four lines with no tone positions. "Bao" is the last tone in the rising tone with a direct character, while the fifth and seventh tones only have "○", and the eighth to tenth tones are marked with "●". The last positions of the four lines in the seventh tone on the right have tone positions but no characters, while the eighth tone has all four lines empty.

上聲翕唱呂二之五 古甲九癸○○○○ 白白白白●●●● 一音 □□近揆○○○○ 五音 白白白白●●●● 五聲 坤巧丘棄○○○○ 九聲 白白白白●●●● □□乾蚪○○○○ 白白白白●●●● 黑花香血○○○○ 白白白白●●●● 二音 黃華雄賢○○○○ 五音 白白白白●●●● 五聲 五瓦仰□○○○○ 十聲 白白白白●●●● 吾牙月堯○○○○ 白白白白●●●●

On the left side, it begins again with "Upper tone rising and singing Lu Er Wu Wu". The fifth tone of "rising tone" is written as "○", indicating there is this tone position but no character can be paired with it. This is different from "●" which is used for the eighth to tenth tones, indicating no tone position at all. It first lists the first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu" and the second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", with four "○" at the end of each line. On the right side, it is "Bai" tone and the ninth and tenth tones, which have no tone positions, and all eight lines are written as "●●●●".

發音濁和律二之六 安亞乙一○○○○ 大大大大多可個舌 三音 □爻壬寅○○○○ 六音 大大大大禾火化八 五聲 母馬美米○○○○ 一聲 大大大大開宰愛○ 目貌眉民○○○○ 大大大大回每退○ 夫法□飛○○○○ 大大大大良兩向○ 四音 父凡□吠○○○○ 六音 大大大大光廣況○ 五聲 武晚□尾○○○○ 二聲 大大大大丁井亙○ 文萬□未○○○○ 大大大大兄永瑩○ 卜百丙必○○○○ 大大大大千典旦○ 五音 步白備鼻○○○○ 六音 大大大大元犬半○ 五聲 普撲品匹○○○○ 三聲 大大大大臣引艮○ 旁排平瓶○○○○ 大大大大君允巽○ 東丹帝■○○○○ 大大大大刀早孝嶽 六音 兌大弟■○○○○ 六音 大大大大毛寶報霍 五聲 土貪天■○○○○ 四聲 大大大大牛斗奏六 同覃田■○○○○ 大大大大○○○玉

On the right side, a new section begins with "Sound of浊 and律 two of six," switching to the浊 sixth tone "Da." It follows in sequence with the first tone "Duoke ge she," "Hehuohua 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," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." The left side still retains the fifth tone, which is a symbol "○" with position but no character, singing the third to sixth tones: third tone "An yia 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," fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping," sixth tone "Dong dan di ■," "Dui da di ■," "Tu tan tian ■," "Tong tan tian ■." The "Da" is taken from the sixth tone "Dui da di ■" position, which is a closed position with no sound. Since the left diagram's main tone is the "○" with position but no character, each line's singing is only a hollow pairing, yet the forty-eight tone positions are still listed one by one.

乃你女■○○○○ 大大大大妻子四日 七音 內南年■○○○○ 六音 大大大大衰○帥骨 五聲 老冷呂■○○○○ 五聲 大大大大○○○德 鹿犖離■○○○○ 大大大大龜水貴北 走哉足■○○○○ 大大大大宮孔眾○ 八音 自在匠■○○○○ 六音 大大大大龍甬用○ 五聲 草采七■○○○○ 六聲 大大大大魚鼠去○ 曹才全■○○○○ 大大大大烏虎兔○ 思三星■○○○○ 大大大大心審禁○ 九音 寺□象■○○○○ 六音 大大大大○○○十 五聲 □□□■○○○○ 七聲 大大大大男坎欠○ □□□■○○○○ 大大大大○○○妾 ■山手■○○○○ 大大大大●●●● 十音 ■士石■○○○○ 六音 大大大大●●●● 五聲 ■□耳■○○○○ 八聲 大大大大●●●● ■□二■○○○○ 大大大大●●●●

The left half continues with the fifth tone "○" for the seventh to tenth tones: the seventh tone "Nai ni nv ■", "Nei nan nian ■", "Lao leng lv ■", "Lu luo li ■"; the eighth tone "Zou zai zu ■", "Zi zai jiang ■", "Cao cao qi ■", "Cao cai quan ■"; the ninth tone "Si san xing ■", "Si □ xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth tone "■ shan shou ■", "■ shi shi ■", "■ □ er ■", "■ □ er ■". The right half is the sixth tone "Da" and the fifth to eighth tones: 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 seventh tone "Xin shen jin ○", "○ ○ ○ shi", "Nan kan qian ○", "○ ○ ○ qie"; the eighth tone has four lines all "● ● ● ●". The closing positions of the seventh and eighth tones are all "■". In the ninth tone, the rows for soil and stone are almost all "□". In the tenth tone, the opening positions are all "■". In the right diagram, the upper tone position of the moon row in the fifth tone and the level, rising, and falling tones of the star row are all "○". The eighth tone has four lines all "● ● ● ●". The positions with sounds but no characters and those with no sound positions are clearly contrasted in these sixteen lines.

■莊震■○○○○ 大大大大●●●● 十一音 ■乍□■○○○○ 六音 大大大大●●●● 五聲 ■叉赤■○○○○ 九聲 大大大大●●●● ■崇辰■○○○○ 大大大大●●●● ■卓中■○○○○ 大大大大●●●● 十二音 ■宅直■○○○○ 六音 大大大大●●●● 五聲 ■拆丑■○○○○ 十聲 大大大大●●●● ■茶呈■○○○○ 大大大大●●●●

The left half uses the fifth tone "○" to complete the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", and "■ Chong Chen ■", as well as the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", and "■ Cha Cheng ■". The right half consists of the tone "Da" and the ninth and tenth tones, with two tones having no sound positions, and all eight lines written as "●●●●". The tone "Da" is matched with forty sound positions in one round. Sound positions without characters are still required to cover forty-eight sound positions, which is a general rule established by Shao Yong in his diagram. The fifth tone "Xī" thus covers all forty-eight positions of the twelve tones, following exactly the same path as the tones with characters.