The diagram of harmonious sound and singing, section on the upper tone (Shang Sheng) with the harmonious singing of the second and sixth tones, and the pronunciation with a dull sound and the second and seventh tones of the law.

上聲翕唱呂二之六 發音濁和律二之七 古甲九癸甬甬甬甬 南南南南多可個舌 一音 □□近揆甬甬甬甬 七音 南南南南禾火化八 六聲 坤巧丘棄甬甬甬甬 一聲 南南南南開宰愛○ □□乾蚪甬甬甬甬 南南南南迴每退○ 黑花香血甬甬甬甬 南南南南良兩向○ 二音 黃華雄賢甬甬甬甬 七音 南南南南光廣況○ 六聲 五瓦仰□甬甬甬甬 二聲 南南南南丁井亙○ 吾牙月堯甬甬甬甬 南南南南兄永瑩○ 安亞乙一甬甬甬甬 南南南南千典旦○ 三音 □爻壬寅甬甬甬甬 七音 南南南南元犬半○ 六聲 母馬美米甬甬甬甬 三聲 南南南南臣引艮○ 目貌眉民甬甬甬甬 南南南南君允巽○

Two diagrams are changed to a new page simultaneously: the left diagram "Upper tone harmonious singing Lu Er Zhi Liu" is changed to the sixth tone of upper tone harmonious singing "Yong"; the right diagram "Speech浊 and harmonious law Er Qi" is changed to the seventh tone of speech浊 "Nan". On the left half, starting from the first tone: "Gu Jia Ji 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". On the right half, using the "Nan" tone with the first tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Geng ○", "Xiong Yong Ying ○", the third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○". The "Yong" tone is taken from the sixth tone "Long Yong Yong ○" in the upper tone position, and the "Nan" tone is taken from the seventh tone "Nei Nan Nian ■" in the speech浊 position.

夫法□飛甬甬甬甬 南南南南刀早孝嶽 四音 父凡□吠甬甬甬甬 七音 南南南南毛寶報霍 六聲 武晚□尾甬甬甬甬 四聲 南南南南牛斗奏六 文萬□未甬甬甬甬 南南南南○○○玉 卜百丙必甬甬甬甬 南南南南妻子四日 五音 步白備鼻甬甬甬甬 七音 南南南南衰○帥骨 六聲 普撲品匹甬甬甬甬 五聲 南南南南○○○德 旁排平瓶甬甬甬甬 南南南南龜水貴北 東丹帝○甬甬甬甬 南南南南宮孔眾○ 六音 兌大弟■甬甬甬甬 七音 南南南南龍甬用○ 六聲 土貪天■甬甬甬甬 六聲 南南南南魚鼠去○ 同覃田■甬甬甬甬 南南南南烏虎兔○ 乃你女■甬甬甬甬 南南南南心審禁○ 七音 內南年■甬甬甬甬 七音 南南南南○○○十 六聲 老冷呂■甬甬甬甬 七聲 南南南南男坎欠○ 鹿犖離■甬甬甬甬 南南南南○○○妾

The left half uses the sound "甬" to chant the fourth to seventh tones: 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 water element's last character in the original text is marked as "○", but according to the general rule it should be "■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". The right half consists of the seventh tone "Nan" 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 ○", "○○○ Qie". The ending characters of the four lines in the fourth tone are all "□", and the closing characters of the sixth and seventh tones are all "■"; in the right diagram, the first three characters of the fourth tone line "Chen" marked as "○○○ Yu" and the ending characters of each line in the seventh tone are all marked with sound positions but without characters.

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

The left half uses the "甬" sound to sing 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", and two lines with blanks; the tenth tone includes "Shan Shou", "Shi Shi", "Er", and "Er". The right half is the "nan" sound and the eighth, ninth, and tenth tones, with all three tones having no phonetic positions, and twelve lines written continuously as "●●●●". For the ninth tone, the lines for "tu" and "shi" and the tenth tone's opening positions alternate between "□" and "■", clearly showing the distinction between having a phonetic position without a character and having no phonetic position at all. The "甬" sound diagram has passed through forty lines, leaving only the eleventh and twelfth tones. The right diagram's "nan" sound has already filled all forty phonetic positions, with the last three tones' twelve positions being entirely imaginary, leaving only the first seven tones' twenty-eight positions capable of forming syllables.

發音濁和律二之八 ■莊震■甬甬甬甬 在在在在多可個舌 十一音 ■乍□■甬甬甬甬 八音 在在在在禾火化八 六聲 ■叉赤■甬甬甬甬 一聲 在在在在開宰愛○ ■崇辰■甬甬甬甬 在在在在回每退○ ■卓中■甬甬甬甬 在在在在良兩向○ 十二音 ■宅直■甬甬甬甬 八音 在在在在光廣況○ 六聲 ■拆丑■甬甬甬甬 二聲 在在在在丁井亙○ ■茶呈■甬甬甬甬 在在在在兄永瑩○

The left half concludes the eleventh tone with the sound "甬" as "■庄震■", "■乍□■", "■叉赤■", "■崇辰■", and the twelfth tone as "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The sound "甬" thus covers forty-eight tone positions. The right half starts with "发音浊和律二之八", using the eighth tone with a heavy sound "在", first combining with the first tone "多可个舌", "禾火化八", "开宰爱○", "回每退○", then combining with the second tone "良两向○", "光广况○", "丁井亘○", "兄永莹○".

上聲翕唱呂二之七 古甲九癸○○○○ 在在在在千典旦○ 一音 □□近揆○○○○ 八音 在在在在元犬半○ 七聲 坤巧丘棄○○○○ 三聲 在在在在臣引艮○ □□乾蚪○○○○ 在在在在君允巽○ 黑花香血○○○○ 在在在在刀早孝嶽 二音 黃華雄賢○○○○ 八音 在在在在毛寶報霍 七聲 五瓦仰□○○○○ 四聲 在在在在牛斗奏六 吾牙月堯○○○○ 在在在在○○○玉 安亞乙一○○○○ 在在在在妻子四日 三音 □爻壬寅○○○○ 八音 在在在在衰○帥骨 七聲 母馬美米○○○○ 五聲 在在在在○○○○ 目貌眉民○○○○ 在在在在龜水貴北 夫法□飛○○○○ 在在在在宮孔眾○ 四音 父凡□吠○○○○ 八音 在在在在龍甬用○ 七聲 武晚□尾○○○○ 六聲 在在在在魚鼠去○ 文萬□未○○○○ 在在在在烏虎兔○

The left half begins anew with "Upper tone rising and singing the second of the seventh." The seventh tone of "rising upper tone" is also "○," which has a tone position but no character to match, so four "○" are written at the end of the line. It starts singing from the first tone: first tone "Ancient Jia, ninth Gui," "□□ near揆," "Kun skill Qiu discard," "□□ Qian蚪," second tone "Black flower fragrant blood," "Yellow flower strong virtuous," "Five Wa look up □," "I tooth moon Yao," third tone "An Ya Yi one," "□ yao Renyin," "Mother horse beauty rice," "Eye appearance eyebrow people," fourth tone "He law □ fly," "Father all □ bark," "Wu late □ tail," "Wen ten thousand □ not yet." The right half is the eighth tone "In" continuing with the third to sixth tones: third tone "Thousand classics dawn ○," "Original dog half ○," "Minister lead Gen ○," "King allow Xun ○," fourth tone "Knife early filial mountain," "Hair treasure report Huo," "Ox struggle present six," "○○○ jade," fifth tone "Spouse wife four day," "Decline ○ general bone," "○○○○," "Turtle water noble north" — the original text of the star's manuscript lacks the character "De," it should be "○○○ De," sixth tone "Palace Kong crowd ○," "Dragon Yong use ○," "Fish rat go ○," "Crow tiger rabbit ○."

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

The left half uses the seventh tone's "○" 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 "Zai" 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 sound positions, all twelve rows are "●●●●", and the "Zai" tone completes one round here. The closed positions for the sixth to eighth tones are all "■", which have no sound; the last positions of the four lines in the seventh tone on the right side are marked with "○", indicating a sound position without a character. Among the ten rising tones, the fifth and seventh tones have positions without characters, and the eighth to tenth tones also have no characters. Only the tones of Huo, Guang, Quan, Bao, and Yong can be sung; however, the diagram includes all ten tones to make up the whole number of ten multiplied by forty-eight, providing a basis for the total number of one thousand six hundred and forty rising tones.

發音濁和律二之九 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○ ■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

On the right side, it begins with "Phonetic浊 and Law Two of Nine," switching to the ninth phonetic tone which has a position but no character, so the entire passage is written as "□□□□." This tone successively pairs 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 seventh tone's "O" 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 ■." Among the twelve phonetic tones with浊 sound, the first and ninth tones are both position-based but have no characters, written as "□," while the remaining ten tones each have their own characters. Therefore, the forty lines before this round are all written as "□□□□."

上聲翕唱呂二之八 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 夫法□飛●●●● □□□□●●●● 四音 父凡□吠●●●● 九音 □□□□●●●● 八聲 武晚□尾●●●● 八聲 □□□□●●●● 文萬□未●●●● □□□□●●●●

The left half begins again with 「上声翕唱吕二之八」. The eighth tone is written as 「●」, and there is no connected tone position. At the end of the line, only four 「●」 can be connected, but the twelve tones still need to be arranged one by one: 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, which is a tone without a character, combined 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 no character position in all four lines. Since the eighth tone has no character position, it can only be paired with a number; this tone in the right diagram is also a position without a character. Both sides are empty but the positions are still listed in order. This clearly shows that this diagram is based on numbers rather than characters. The fixed number of forty-eight lines for the tone diagram and forty lines for the sound diagram never decrease due to empty positions.

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■●●●● □□□□●●●●

The left half uses the eighth tone's empty position to sing the fifth tone with the phrases "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", and "Pang Pai Ping Ping". The sixth tone includes "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", and "Tong Tan Tian ■". The right half consists of the ninth tone and the ninth and tenth tones, which have no sound positions, and all eight lines are written as "●●●●". In this passage, the empty symbols on the left and right have different origins: on the left, there is no sound but there is a tone, while on the right, there is a tone with a position but no character, and both the sound and the position are absent. The closed positions for the four lines of the sixth tone are all marked with "■", which differ again from the origins of the two empty symbols on the right.

發音濁和律二之十 乃你女■●●●● 士士士士多可個舌 七音 內南年■●●●● 十音 士士士士禾火化八 八聲 老冷呂■●●●● 一聲 士士士士開宰愛○ 鹿犖離■●●●● 士士士士回每退○ 走哉足■●●●● 士士士士良兩向○ 八音 自在匠■●●●● 十音 士士士士光廣況○ 八聲 草采七■●●●● 二聲 士士士士丁井亙○ 曹才全■●●●● 士士士士兄永瑩○ 思三星■●●●● 士士士士千典旦○ 九音 寺□象■●●●● 十音 士士士士元犬半○ 八聲 □□□■●●●● 三聲 士士士士臣引艮○ □□□■●●●● 士士士士君允巽○ ■山手■●●●● 士士士士刀早孝嶽 十音 ■士石■●●●● 十音 士士士士毛寶報霍 八聲 ■□耳■●●●● 四聲 士士士士牛斗奏六 ■□二■●●●● 士士士士○○○玉

On the right side, it begins again with "sound is浊 and law two ten," using the tenth sound "shi" which is浊. It is then paired sequentially 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 eighth tone remains with the empty position in the eighth tone still in the singing of 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 "shi" is taken from the tenth tone "□ shi shi," which has no sound in the open and closed positions. The "□" in the ninth tone's "tu" and "shi" rows on the left side and the "■" in the tenth tone's open position are still considered to have a sound position but no character or no sound position respectively.

■莊震■●●●● 士士士士妻子四日 十一音 ■乍□■●●●● 十音 士士士士衰○帥骨 八聲 ■叉赤■●●●● 五聲 士士士士○○○德 ■崇辰■●●●● 士士士士龜水貴北 ■卓中■●●●● 士士士士宮孔眾○ 十二音 ■宅直■●●●● 十音 士士士士龍甬用○ 八聲 ■拆丑■●●●● 六聲 士士士士魚鼠去○ ■茶呈■●●●● 士士士士烏虎兔○

The left half ends the eighth tone's empty position with the eleventh tone "Zhuang Zhen", "Zha Xie", "Cha Che", "Chong Chen" and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Che Chou", "Cha Cheng". The right half includes the tenth tone "Shi" and the fifth tone "Zi Qi Si Ri", "Shuai Xiang Shuai Gu", "Xiang Xiang Xiang De", "Gui Shui Gui Bei" and the sixth tone "Gong Kong Zhong Xiang", "Long Yong Yong Xiang", "Yu Shu Qu Xiang", "Wu Hu Tu Xiang", where the upper tone position of "Shuai Xiang Shuai Gu" and the level, rising, and falling tone positions of "Xiang Xiang Xiang De" all have tone positions but no characters.

上聲翕唱呂二之九 古甲九癸●●●● 士士士士心審禁○ 一音 □□近揆●●●● 十音 士士士士○○○十 九聲 坤巧丘棄●●●● 七聲 士士士士男坎欠○ □□乾蚪●●●● 士士士士○○○妾 黑花香血●●●● 士士士士●●●● 二音 黃華雄賢●●●● 十音 士士士士●●●● 九聲 五瓦仰□●●●● 八聲 士士士士●●●● 吾牙月堯●●●● 士士士士●●●● 安亞乙一●●●● 士士士士●●●● 三音 □爻壬寅●●●● 十音 士士士士●●●● 九聲 母馬美米●●●● 九聲 士士士士●●●● 目貌眉民●●●● 士士士士●●●● 夫法□飛●●●● 士士士士●●●● 四音 父凡□吠●●●● 十音 士士士士●●●● 九聲 武晚□尾●●●● 十聲 士士士士●●●● 文萬□未●●●● 士士士士●●●●

The left half starts anew with 「上声翕唱吕二之九」, the ninth tone is also 「●」, which has no sound to sing, so the twelve tones are still arranged in order: 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 「士」 tone and the seventh to tenth tones: the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, the eighth, ninth, and tenth tones are all silent positions, and twelve lines are written as 「●●●●」, completing one round of the 「士」 tone. After one round of the 「士」 tone is completed, the pronunciation of the twelve tones has already matched ten tones, leaving two tones 「乍」 and 「宅」 remaining. The ninth tone on the left and the eighth tone belong to the same category and both have no sound positions, so at the end of the four lines, only 「●」 is written continuously. However, 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 written as 「□」, indicating that those are sound positions without characters. The real sounds are still listed below the empty tones, which is the reason these two diagrams are independent and parallel.

發音濁和律二之十一 卜百丙必●●●● 乍乍乍乍多可個舌 五音 步白備鼻●●●● 十一音 乍乍乍乍禾火化八 九聲 普撲品匹●●●● 一聲 乍乍乍乍開宰愛○ 旁排平瓶●●●● 乍乍乍乍回每退○ 東丹帝■●●●● 乍乍乍乍良兩向○ 六音 兌大弟■●●●● 十一音 乍乍乍乍光廣況○ 九聲 土貪天■●●●● 二聲 乍乍乍乍丁井亙○ 同覃田■●●●● 乍乍乍乍兄永瑩○ 乃你女■●●●● 乍乍乍乍千典旦○ 七音 內南年■●●●● 十一音 乍乍乍乍元犬半○ 九聲 老冷呂■●●●● 三聲 乍乍乍乍臣引艮○ 鹿犖離■●●●● 乍乍乍乍君允巽○

On the right side, a new section begins with "Sound and Law Two, Number Eleven," which uses the eleventh sound with a heavy tone, "zha." It first combines with the first tone: "duo ke ge she," "he huohua 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 ninth tone remains, with the empty position in the fifth to seventh sounds: the fifth sound "bu bai bing bi," "bu bai bei bi," "pu pu pin pi," "pang pai ping ping." The sixth sound "dong dan di," "dui da di," "tu tan tian," "tong tan tian." The seventh sound "nai ni nv," "nei nan nian," "lao leng lv," "lu luo li." The sound "zha" is taken from the eleventh sound "zha," which has no sound at the opening position and a sound without a character at the closing position. Within one row, both types of empty symbols appear.

走哉足■●●●● 乍乍乍乍刀早孝嶽 八音 自在匠■●●●● 十一音 乍乍乍乍毛寶報霍 九聲 草采七■●●●● 四聲 乍乍乍乍牛斗奏六 曹才全■●●●● 乍乍乍乍○○○玉 思三星■●●●● 乍乍乍乍妻子四日 九音 寺□象■●●●● 十一音 乍乍乍乍衰○帥骨 九聲 □□□■●●●● 五聲 乍乍乍乍○○○德 □□□■●●●● 乍乍乍乍龜水貴北 ■山手■●●●● 乍乍乍乍宮孔眾○ 十音 ■士石■●●●● 十一音 乍乍乍乍龍甬用○ 九聲 ■□耳■●●●● 六聲 乍乍乍乍魚鼠去○ ■□二■●●●● 乍乍乍乍烏虎兔○

The left half uses the ninth tone's empty position to sing the eighth to tenth tones: 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 "Zha" 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 closed positions and open positions of the eighth to tenth tones are mostly marked with "■", while the earth and stone lines of the ninth tone are written continuously as "□"; the first three positions of the fourth tone in the辰 line and the two missing positions in the fifth tone are all positions with sound but without characters.

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

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 "Zha" and the seventh tone with four lines "Xin Shen Jin," "Shi," "Nan Kan Qian," "Jie Qie," and the eighth tone with four lines "●●●●." The seventh tone only has the daily line "Xin Shen Jin" and the stellar line "Nan Kan Qian" that actually have characters, while the rest have tone positions but no characters.

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

On the left side, it begins with "Shang Sheng Xi Chang Lv Er Zhi Shi," the tenth tone also being "●," which is silent and cannot be sung. It first arranges the first tone "Gu Jia Jiu 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 the "Zha" tone and the ninth and tenth tones, with two silent tones, and all eight lines are written as "●●●●." The "Zha" tone covers forty tone positions in one round, completing the matching here. The Shang Sheng Xi ten tones have all been arranged in the diagram, among which five tones have characters, two tones have positions but no characters, and three tones have both positions and no characters, with no position omitted at all.

發音濁和律二之十二 安亞乙一●●●● 宅宅宅宅多可個舌 三音 □爻壬寅●●●● 十二音 宅宅宅宅禾火化八 十聲 母馬美米●●●● 一聲 宅宅宅宅開宰愛○ 目貌眉民●●●● 宅宅宅宅回每退○ 夫法□飛●●●● 宅宅宅宅良兩向○ 四音 父凡□吠●●●● 十二音 宅宅宅宅光廣況○ 十聲 武晚□尾●●●● 二聲 宅宅宅宅丁井亙○ 文萬□未●●●● 宅宅宅宅兄永瑩○ 卜百丙必●●●● 宅宅宅宅千典旦○ 五音 步白備鼻●●●● 十二音 宅宅宅宅元犬半○

On the right side, a new line begins with "The twelfth of the two tones of浊 and 律". It switches to the last浊 tone "zhai", first harmonizing with the first tone "duo ke ge she", "he huohua ba", "kai zai ai", "hui mei tui". Then it harmonizes with the second tone "liang liang xiang", "guang guang kuang", "ding jing gen", "xiong yong ying". Next, it harmonizes with the third tone's day and month lines "qian dian dan", "yuan quan ban". On the left side, the tenth tone's empty position remains, singing 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's water and fire lines "bu bai bing bi", "bu bai bei bi". Both diagrams are not yet fully sung and will be continued in the following text.

十聲 普撲品匹●●●● 三聲 宅宅宅宅臣引艮○；旁排平瓶●●●● 宅宅宅宅君允巽○；東丹帝■●●●● 宅宅宅宅刀早孝嶽；六音 兌大弟■●●●● 十二音 宅宅宅宅毛寶報霍；十聲 土貪天■●●●● 四聲 宅宅宅宅牛斗奏六；同覃田■●●●● 宅宅宅宅○○○玉；乃你女■●●●● 宅宅宅宅妻子四日；七音 內南年■●●●● 十二音 宅宅宅宅衰○帥骨；十聲 老冷呂■●●●● 五聲 宅宅宅宅○○○德；鹿犖離■●●●● 宅宅宅宅龜水貴北。

Continuing from the previous two comparison tables 「Upper tone with rising and singing of the second of the tenth tones」 and 「Vocalization with turbid and harmonious tones of the second of the twelfth」. The left half belongs to the correct tone chart: the tones sung are the tenth tone, while the tenth tone such as 「monthly tone rising」 originally has no tone position, so after each line of phonetic characters, 「●●●●」 is added, with all four columns empty. The listed tone positions are the last two levels of the fifth tone 「Pu Pu Pin Pi」, the four levels of the sixth tone 「Dong Dan Di ■」, 「Dui Da Di ■」, 「Tu Tan Tian ■」, 「Tong Tan Tian ■」, the four levels of the seventh tone 「Nai Ni Nu ■」, 「Nei Nan Nian ■」, 「Lao Leng Lv ■」, 「Lu Luo Li ■」; the fourth column of the sixth and seventh tones is uniformly marked as 「■」, indicating that there is no tone position to establish there. The right half belongs to the correct tone chart: the initial 「Zhai Zhai Zhai Zhai」 is the twelfth tone 「Zhai」 being harmonized, followed by the third tone 「Chen Yin Gen ○」, 「Jun Yun Xun ○」, 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」. 「○」 indicates that there is a tone position but no character to match, clearly different from 「●」 which means there is no tone position at all. The correct tone chart has four columns per tone, from left to right corresponding to open, initial, closing, and final; the correct tone chart has four columns per tone, from left to right corresponding to level, rising, falling, and entering. For example, the sixth tone 「Dong Dan Di ■」, Dong is in the open position, Dan is in the initial position, Di is in the closing position, and the final position has no tone; the fourth tone 「Dao Zao Xiao Yue」, Dao is level tone, Zao is rising tone, Xiao is falling tone, Yue is entering tone, with all four columns fully present.

走哉足■●●●● 宅宅宅宅宮孔眾○；八音 自在匠■●●●● 十二音 宅宅宅宅龍甬用○；十聲 草采七■●●●● 六聲 宅宅宅宅魚鼠去○；曹才全■●●●● 宅宅宅宅烏虎兔○；思三星■●●●● 宅宅宅宅心審禁○；九音 寺□象■●●●● 十二音 宅宅宅宅○○○十；十聲 □□□■●●●● 七聲 宅宅宅宅男坎欠○；□□□■●●●● 宅宅宅宅○○○妾。

The two tables continue downward. The chart of correct tones lists four categories under the eighth tone: "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", and "Cao Cai Quan ■", and four categories under the ninth tone: "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", and "□ □ □ ■". At the end of the line, it still ends with "●●●●", indicating that the tenth tone has no position to be assigned. The last two categories of the ninth tone have the first three characters written as "□", meaning that there was a tone position but no corresponding character available; the last character in each of the four categories is marked with "■", indicating that there was no tone position at all. On the right side, it still harmonizes with the twelfth tone "Zhai", sequentially matching the sixth tone's "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", and "Wu Hu Tu ○", and the seventh tone's "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", and "○○○ Qie". The empty spaces in each line of these two tones are all marked with "○", indicating that the tone positions are real but no corresponding characters could be provided at that time. The headings at the beginning of each line, "Ba Yin" and "Jiu Yin", indicate the tone levels on the left table, "Shi Sheng" indicates the tone being sung, and "Shi Er Yin", "Liu Sheng", and "Qi Sheng" indicate the tones being harmonized with and the tones being matched on the right table. Considering the four categories, the eighth tone "Zou Zai Zu ■" has "Zou" belonging to the open position, "Zai" to the initial position, "Zu" to the closing position, and the closed position has no tone; the sixth tone "Gong Kong Zhong ○" has "Gong" as level tone, "Kong" as rising tone, "Zhong" as falling tone, and the entering tone has a position but no corresponding character.

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

The last three sounds in the Zhengyin Tu are listed here: the tenth sound 「■shan shou■」「■shi shi■」「■□er■」「■□er■」, the eleventh sound 「■zhuang zhen■」「■zha □■」「■cha chi■」「■chong chen■」, and the twelfth sound 「■zhuo zhong■」「■zhai zhi■」「■che chou■」「■cha cheng■」. The first and last characters of these three sounds are all marked 「■」, indicating that among the four levels, only the middle two can produce sounds, while the ends have no sound positions. Occasionally, the symbol 「□」 appears, such as in 「■□er■」「■□er■」「■zha □■」, which indicates there is a position but no character. The sound sung remains the tenth tone, so the last four characters on the left side are all marked 「●」. On the right side, the twelfth sound 「zhai」 is paired with the eighth, ninth, and thirteenth tones, but these three tones do not produce sounds within the 「shangsheng xi」 series, so after 「zhai zhai zhai zhai」, the four characters are neatly filled with 「●●●●」, with no characters written. The row labels 「shiyin」「shiyin」「shiyin」 indicate the sound level, 「sheng」 indicates the tone sung, and 「basheng」「jusheng」「shusheng」 indicate the tones paired on the right table. The three sounds below the tenth sound only produce sounds at the beginning and end: 「■shi shi■」 has only the characters shi and shi, and 「■zhuo zhong■」 has only the characters zhuo and zhong. The opening and closing ends are all marked 「■」. The sound and harmony diagram from the Guanwu Chapter forty ends here.

月星聲上闢 火土音發清；宰井引斗○ 巧瓦馬晚樸貪；鼠坎●●● 冷採□□義坼；月星聲七，下唱地之 火土音十二，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。 月星聲上之三辟 火土音發之三清。

This passage is divided into two columns. The left column, titled 「月星声上辟」, refers to the ten categories of correct tones, specifically the upper tones in the third row of the star sequence, which corresponds to the open sound 「辟」. The right column, titled 「火土音发清」, refers to the twelve categories of correct sounds, specifically the sound category in the third row of the earth sequence, which corresponds to the clear sound 「清」. Below these titles, the representative characters for each category are listed: the ten sounds of 「上声辟」 are in order 宰, 井, 引, 斗, ○, 鼠, 坎, ●, ●, ●; the twelve sounds of 「发音清」 are in order 巧, 瓦, 马, 晚, 朴, 贪, 冷, 采, □, □, 义, 坼. The symbols have specific meanings: 「○」 indicates a sound position with no corresponding character, 「●」 indicates a position without sound, 「□」 indicates a sound position with no corresponding character, and 「■」 indicates a position without sound. Below these, there are notes that read the two columns together: the left column reads 「月星声七，下唱地之用音一百五十二，是谓上声辟音，上声辟音一千六十四」, meaning that among the ten sounds, there are actually seven sounds, and seven multiplied by 152 gives exactly 1064; the right column reads 「火土音十二，上和天之用声一百一十二，是谓发音清声，发音清声一千三百四十四」, meaning that each of the twelve sounds corresponds to 112 tones, resulting in exactly 1344. The final line 「月星声上之三辟」「火土音发之三清」 indicates that the following tables all belong to the third category, hence their titles are all referred to as 「唱吕三之某」「和律三之某」. The title of the passage 「月星」「火土」 both use two characters: 「月」 refers to the upper tones, and 「星」 refers to the third row of the correct tone diagram; 「火」 refers to the sound category, and 「土」 refers to the third row of the correct sound diagram. Shao Yong paired the rising and falling tones with the sun, moon, and stars, and paired the opening and closing sounds with water, fire, earth, and stone, hence the title of the passage simultaneously indicates tone categories, rows, opening and closing, and clear and浊 sounds.

上聲闢唱呂三之一 發音清和律三之一；古甲九癸宰宰宰宰 巧巧巧巧多可個舌；一音 □□近揆宰宰宰宰 一音 巧巧巧巧禾火化八；一聲 坤巧丘棄宰宰宰宰 一聲 巧巧巧巧開宰愛○；□□乾蚪宰宰宰宰 巧巧巧巧回每退○；黑花香血宰宰宰宰 巧巧巧巧良兩向○；二音 黃華雄賢宰宰宰宰 一音 巧巧巧巧光廣況○；一聲 五瓦仰□宰宰宰宰 二聲 巧巧巧巧丁井亙○；吾牙月堯宰宰宰宰 巧巧巧巧兄永瑩○；安亞乙一宰宰宰宰 巧巧巧巧乾典旦○；三音 □爻壬寅宰宰宰宰 一音 巧巧巧巧元犬半○；一聲 母馬美米宰宰宰宰 三聲 巧巧巧巧臣引艮○；目貌眉民宰宰宰宰 巧巧巧巧君允巽○；夫法□飛宰宰宰宰 巧巧巧巧刀早孝嶽；四音 父凡□吠宰宰宰宰 一音 巧巧巧巧毛寶報霍；一聲 武晚□尾宰宰宰宰 四聲 巧巧巧巧牛斗奏六；文萬□未宰宰宰宰 巧巧巧巧○○○玉。

"The upper tone 'Shangsheng' is divided into three parts, with the first part 'Bì' being the first tone 'Zai', which is used to sing through the correct tone chart, so after each row of tone characters, 'Zai Zai Zai Zai' is added four times; 'Clear tone and law three parts, first part' refers to using the first clear tone 'Qiao' to harmonize with the correct tone chart, so before each row of tone characters, 'Qiao Qiao Qiao Qiao' is added. On the left side, the four levels of the first tone are listed in order: 'Gu Jia Ji Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu'; the four levels of the second tone are: 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the four levels of the third tone are: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; the four levels of the fourth tone are: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'; among these, the '□' in '□□ Jin Kui', '□□ Qian Tu', 'Wu Wa Yang □', '□ Yao Ren Yin', 'Fu Fa □ Fei' indicate that there are tone positions but no corresponding characters. On the right side, the four levels of the first tone are listed in order: 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○'; the four levels of the second tone are: 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○'; the four levels of the third tone are: 'Gan Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the four levels of the fourth tone are: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the '○' in the rows indicate that there are sound positions but no corresponding characters. The original text for the third tone's first level is 'Gan Dian Dan ○', and 'Gan' is likely a mistake for 'Qian'. The row labels 'One tone' to 'Four tones' refer to the left chart of tone levels, while 'One tone' to 'Four tones' refer to the right chart of tone categories. The four sections of the tone chart are in order: open, release, close, and close, so the first tone should be read as 'Gu' (open), 'Jia' (release), 'Jiu' (close), and 'Gui' (close); the four sections of the sound chart are in order: level, rising, falling, and entering, so the first tone should be read as 'Du' (level), 'Ke' (rising), 'Ge' (falling), and 'She' (entering). The 'Zai' sung in this chart is exactly the third level of the first tone 'Kai Zai Ai ○' in the rising tone category."

卜百丙必宰宰宰宰 巧巧巧巧妻子四日；五音 步白備鼻宰宰宰宰 一音 巧巧巧巧衰○帥骨；一聲 普撲品匹宰宰宰宰 五聲 巧巧巧巧○○○德；旁排平瓶宰宰宰宰 巧巧巧巧龜水貴北；東丹帝■宰宰宰宰 巧巧巧巧宮孔眾○；六音 兌大弟■宰宰宰宰 一音 巧巧巧巧龍甬用○；一聲 上貪天■宰宰宰宰 六聲 巧巧巧巧魚鼠去○；同覃田■宰宰宰宰 巧巧巧巧烏虎兔○；乃你女■宰宰宰宰 巧巧巧巧心審禁○；七音 內南年■宰宰宰宰 一音 巧巧巧巧○○○十；一聲 老冷呂■宰宰宰宰 七聲 巧巧巧巧男坎欠○；鹿犖離■宰宰宰宰 巧巧巧巧○○○妾；走哉足■宰宰宰宰 巧巧巧巧●●●●；八音 自在匠■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 草采七■宰宰宰宰 八聲 巧巧巧巧●●●●；曹才全■宰宰宰宰 巧巧巧巧●●●●。

The same pair of characters 「宰」 and 「巧」 are continued below. The section of the rhyme chart for the fifth tone includes four categories: 「卜百丙必」「步白备鼻」「普扑品匹」「旁排平瓶」. The sixth tone includes four categories: 「东丹帝■」「兑大弟■」「上贪天■」「同覃田■」. The seventh tone includes four categories: 「乃你女■」「内南年■」「老冷吕■」「鹿荦离■」. The eighth tone includes four categories: 「走哉足■」「自在匠■」「草采七■」「曹才全■」. Among these, the third category of the sixth tone originally reads 「上贪天■」, where 「上」 is likely a mistake for 「土」. All four categories of the fifth tone have characters, but for the sixth, seventh, and eighth tones, the fourth category is uniformly marked with 「■」, indicating that there was no sound in the closed position. The section of the rhyme chart for the fifth tone onwards is as follows: 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」 are the four categories of the fifth tone; 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」 are the four categories of the sixth tone; 「心审禁○」「○○○十」「男坎欠○」「○○○妾」 are the four categories of the seventh tone. For the eighth tone, all four lines are marked with 「●●●●」, because the rising tone is silent from the eighth tone onwards. The 「○」 in 「衰○帅骨」「○○○德」「○○○十」「○○○妾」 indicates cases where there was a position but no character. The 「巧」 used in this chart corresponds to the first tone's third category 「坤巧丘弃」, which is one of the positions. All characters used as headings are taken from a specific column in the chart, and when reading the chart, one can find the corresponding character by following the heading.

思三星■宰宰宰宰 巧巧巧巧●●●●；九音 寺□象■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 □□□■宰宰宰宰 九聲 巧巧巧巧●●●●；□□□■宰宰宰宰 巧巧巧巧●●●●；■山手■宰宰宰宰 巧巧巧巧●●●●；十音 ■士石■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 ■□耳■宰宰宰宰 十聲 巧巧巧巧●●●●；■□二■宰宰宰宰 巧巧巧巧●●●●；發音清和律三之二；■莊震■宰宰宰宰 瓦瓦瓦瓦多可個舌；十一音 ■乍□■宰宰宰宰 二音 瓦瓦瓦瓦禾火化八；一聲 ■叉赤■宰宰宰宰 一聲 瓦瓦瓦瓦開宰愛○；■崇辰■宰宰宰宰 瓦瓦瓦瓦回每退○；■卓中■宰宰宰宰 瓦瓦瓦瓦良兩向○；十二音 ■宅直■宰宰宰宰 二音 瓦瓦瓦瓦光廣況○；一聲 ■拆丑■宰宰宰宰 二聲 瓦瓦瓦瓦丁井亙○；■茶呈■宰宰宰宰 瓦瓦瓦瓦兄永瑩○。

The last four sounds of the Zhengyin Tu are listed here: the ninth sound includes 「Si San Xing ■」, 「Si ■ Xiang ■」, 「■ ■ ■ ■」, and 「■ ■ ■ ■」; the tenth sound includes 「■ Shan Shou ■」, 「■ Shi Shi ■」, 「■ ■ Er ■」, and 「■ ■ Er ■」; the eleventh sound includes 「■ Zhuang Zhen ■」, 「■ Zha ■ ■」, 「■ Cha Chi ■」, and 「■ Chong Chen ■」; the twelfth sound includes 「■ Zhuo Zhong ■」, 「■ Zhai Zhi ■」, 「■ Chai Chou ■」, and 「■ Cha Cheng ■」. These four sounds have many missing characters. The 「□」 indicates a position with no character, while the 「■」 indicates no position at all. The sound being sung remains the first tone 「Zai」. The first eight lines on the right side are the first sound 「Qiao」 harmonizing with the ninth and tenth tones, but these two tones have no positions, so the entire line is written as 「●●●●」. Afterwards, a new section titled 「Fayin Qing He Lu San Zhi Er」 begins, with the second sound 「Wa」 harmonizing with the standard tone: 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, and 「Hui Mei Tui ○」 are the four variations of the first tone, while 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Geng ○」, and 「Xiong Yong Ying ○」 are the four variations of the second tone. The left table has forty-eight lines and the right table has forty lines, making the number of lines unequal. Therefore, the tone table is not yet complete while the tone table has already changed to a new section. Subsequent sections follow this pattern of irregular shifts, so there is no need to doubt they are misplaced. From the tenth to the twelfth tones, both open and closed positions are missing, so each line has 「■」 at the beginning and end, with characters only at the start and end positions, making this section the most incomplete among the twelve tones.

上聲闢唱呂三之二；古甲九癸井井井井 瓦瓦瓦瓦千典旦○；一音 □□近揆井井井井 二音 瓦瓦瓦瓦元犬半○；二聲 坤巧丘棄井井井井 三聲 瓦瓦瓦瓦臣引艮○；□□乾蚪井井井井 瓦瓦瓦瓦君允巽○；黑花香血井井井井 瓦瓦瓦瓦刀早孝嶽；二音 黃華雄賢井井井井 二音 瓦瓦瓦瓦毛寶報霍；二聲 五瓦仰□井井井井 四聲 瓦瓦瓦瓦牛斗奏六；吾牙月堯井井井井 瓦瓦瓦瓦○○○玉；安亞乙一井井井井 瓦瓦瓦瓦妻子四日；三音 □爻壬寅井井井井 二音 瓦瓦瓦瓦衰○帥骨；二聲 母馬美米井井井井 五聲 瓦瓦瓦瓦○○○德；目貌眉民井井井井 瓦瓦瓦瓦龜水貴北；夫法□飛井井井井 瓦瓦瓦瓦宮孔眾○；四音 父凡□吠井井井井 二音 瓦瓦瓦瓦龍甬用○；二聲 武晚□尾井井井井 六聲 瓦瓦瓦瓦魚鼠去○；文萬□未井井井井 瓦瓦瓦瓦烏虎兔○。

"Upper tone 'Bi' sings 'Jing' for the second sound, starting a new table. The sound 'Jing' is sung throughout, with each line ending in 'Jing Jing Jing Jing'. The tones sung are the first four levels of the first tone: 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Yu'; the second four levels of the second tone: 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the third four levels of the third tone: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; the fourth four levels of the fourth tone: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. These are exactly the same as the previous table, differing only in the sound used, which is changed from 'Zai' to 'Jing'. The right half continues with 'Clear and Harmonious Law Three Two', still using the second sound 'Wa' as the basis, then listing the third tone's four levels: 'Qian Dian Dan □', 'Yuan Quan Ban □', 'Chen Yin Gen □', 'Jun Yun Xun □'; the fourth tone's four levels: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '□ □ □ Yu'; the fifth tone's four levels: 'Zi Qi Si Ri', 'Shuai □ Shuai Gu', '□ □ □ De', 'Gui Shui Gui Bei'; the sixth tone's four levels: 'Gong Kong Zhong □', 'Long Yong Yong □', 'Yu Shu Qu □', 'Wu Hu Tu □'. All instances marked with '□' indicate that the sound position exists but there is no corresponding character. After finishing one table, another table is started, with the singer advancing one tone while the tones sung remain unchanged. Ten tones are sung in sequence, and the diagram of correct tones is thus sung ten times, which is why it is called 'Singing Lu'."

卜百丙必井井井井 瓦瓦瓦瓦心審禁○；五音 步白備鼻井井井井 二音 瓦瓦瓦瓦○○○十；二聲 普撲品匹井井井井 七聲 瓦瓦瓦瓦男坎欠○；旁排平瓶井井井井 瓦瓦瓦瓦○○○妾；東丹帝■井井井井 瓦瓦瓦瓦●●●●；六音 兌大弟■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 土貪天■井井井井 八聲 瓦瓦瓦瓦●●●●；同覃田■井井井井 瓦瓦瓦瓦●●●●；乃你女■井井井井 瓦瓦瓦瓦●●●●；七音 內南年■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 老冷呂■井井井井 九聲 瓦瓦瓦瓦●●●●；鹿犖離■井井井井 瓦瓦瓦瓦●●●●；走哉足■井井井井 瓦瓦瓦瓦●●●●；八音 自在匠■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 草采七■井井井井 十聲 瓦瓦瓦瓦●●●●；曹才全■井井井井 瓦瓦瓦瓦●●●●。

The character 「井」sings and 「瓦」responds, indicating continuation. The diagram of correct tones lists the fifth tone as 「卜百丙必」「步白备鼻」「普扑品匹」「旁排平瓶」, the sixth tone as 「东丹帝■」「兑大弟■」「土贪天■」「同覃田■」, the seventh tone as 「乃你女■」「内南年■」「老冷吕■」「鹿荦离■」, and the eighth tone as 「走哉足■」「自在匠■」「草采七■」「曹才全■」. In the fourth column of the sixth, seventh, and eighth tones, the character 「■」appears, indicating a closed position with no sound. On the side of the diagram of correct tones, starting from the seventh tone, the entries are 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and there are still characters that can be cited. However, the eighth, ninth, and thirteenth tones, which total twelve rows, are all marked as 「●●●●」, because the system of rising tones only has sound in the first seven tones, and the last three tones have no sound positions. This aligns with the opening statement 「月星声七」, which means that out of ten tones, seven are actually used. The headings at the beginning of each row, such as 「五音」to 「八音」, indicate the corresponding tones on the left table, while 「二声」indicates that the sung tone is the second tone 「井」. On the right side, the headings such as 「二音」indicate that the responding tone is the second tone 「瓦」, and 「七声」and below indicate the corresponding tones. The left table sings one tone and covers all forty-eight positions of the twelve tones, while the right table responds to one tone and covers all forty positions of the ten tones. Therefore, the left table is always eight rows longer than the right table.

發音清和律三之三；思三星■井井井井 馬馬馬馬多可個舌；九音 寺□象■井井井井 三音 馬馬馬馬禾火化八；二聲 □□□■井井井井 一聲 馬馬馬馬開宰愛○；□□□■井井井井 馬馬馬馬回每退○；■山手■井井井井 馬馬馬馬良兩向○；十音 ■士石■井井井井 三音 馬馬馬馬光廣況○；二聲 ■□耳■井井井井 二聲 馬馬馬馬丁井亙○；■□二■井井井井 馬馬馬馬兄永瑩○；■莊震■井井井井 馬馬馬馬千典旦○；十一音 ■乍□■井井井井 三音 馬馬馬馬元犬半○；二聲 ■叉赤■井井井井 三聲 馬馬馬馬臣引艮○；■崇辰■井井井井 馬馬馬馬君允巽○；■卓中■井井井井 馬馬馬馬刀早孝嶽；十二音 ■宅直■井井井井 三音 馬馬馬馬毛寶報霍；二聲 ■拆丑■井井井井 四聲 馬馬馬馬牛斗奏六；■茶呈■井井井井 馬馬馬馬○○○玉。

"Phonetic clarity and harmony of the third tone three times" starts a new section, changing to the third tone "Ma" for harmonizing with the standard tone, so each line on the right side begins with "Ma Ma Ma Ma". The left side still belongs to the "Well" section, listing the last four tones of the standard phonetic chart: 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 ■". On the right side, starting from the first tone, the four categories are: first tone "Da Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○"; second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○"; 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". The left chart uses "□" and "■", while the right chart uses "○" and "●". These two sets of symbols have distinct functions and cannot be mixed or treated as missing characters to be deleted. From the ninth tone "Si San Xing ■" onwards, any entire line marked as "□ □ □ ■" remains in its position, as the number of sounds is calculated by multiplying according to their positions. Deleting one position would result in an incorrect total.

上聲闢唱呂三之三；古甲九癸引引引引 馬馬馬馬妻子四日；一音 □□近揆引引引引 三音 馬馬馬馬衰○帥骨；三聲 坤巧丘棄引引引引 五聲 馬馬馬馬○○○德；□□乾蚪引引引引 馬馬馬馬龜水貴北；黑花香血引引引引 馬馬馬馬宮孔眾○；二音 黃華雄賢引引引引 三音 馬馬馬馬龍甬用○；三聲 五瓦仰□引引引引 六聲 馬馬馬馬魚鼠去○；吾牙月堯引引引引 馬馬馬馬烏虎兔○；安亞乙一引引引引 馬馬馬馬心審禁○；三音 □爻壬寅引引引引 三音 馬馬馬馬○○○十；三聲 母馬美米引引引引 七聲 馬馬馬馬男坎欠○；目貌眉民引引引引 馬馬馬馬○○○妾；夫法□飛引引引引 馬馬馬馬●●●●；四音 父凡□吠引引引引 三音 馬馬馬馬●●●●；三聲 武晚□尾引引引引 八聲 馬馬馬馬●●●●；文萬□未引引引引 馬馬馬馬●●●●。

"The upper tone 'Shangsheng' is used to sing the third tone 'Yin' three times, and the word 'Yin' is repeated at the end of each line, resulting in 'YinYinYinYin'. The listed words remain the first tone 'GujiajiuGui', '□□JinKui', 'KunQiaoQiuQi', '□□QianYu', the second tone 'HeiHuaXiangXue', 'HuangHuaXiongXian', 'WuWaYang□', 'WuYaYueYao', the third tone 'AnYaYiYi', '□YaoRenYin', 'MuMaMeiMi', 'MuMaoMeiMin', and the fourth tone 'FuFa□Fei', 'FuFan□Fei', 'WuWan□Wei', 'WenWan□Wei'. The right half continues with the third tone 'Ma', listing the fifth tone in four categories 'ZiqiSiri', 'Shuai○ShuaiGu', '○○○De', 'GuiShuiGuiBei', the sixth tone in four categories 'GongKongZhong○', 'LongYongYong○', 'YuShuQu○', 'WuHuTu○', the seventh tone in four categories 'XinShenJin○', '○○○Shi', 'NanKanQian○', '○○○Jie', and by the eighth tone, all four lines are marked as '●●●●'. The same set of phonetic characters reappear, but the tones they are paired with change progressively, which is the method of 'Changhe' (singing and harmonizing): ten tones take turns singing the twelve phonetic categories, and the twelve phonetic categories take turns harmonizing the ten tones, thus deriving the number of all sounds in the world. 'Yin' refers to the first category of the third tone 'ChenYinGen○', and 'Ma' refers to the first category of the third tone 'MuMaMeiMi', with the headings corresponding directly to the characters in the diagram."

卜百丙必引引引引 馬馬馬馬●●●●；五音 步白備鼻引引引引 三音 馬馬馬馬●●●●；三聲 普撲品匹引引引引 九聲 馬馬馬馬●●●●；旁排平瓶引引引引 馬馬馬馬●●●●；東丹帝■引引引引 馬馬馬馬●●●●；六音 兌大弟■引引引引 三音 馬馬馬馬●●●●；三聲 土貪天■引引引引 十聲 馬馬馬馬●●●●；同覃田■引引引引 馬馬馬馬●●●●；發音清和律三之四；乃你女■引引引引 晚晚晚晚多可個舌；七音 內南年■引引引引 四音 晚晚晚晚禾火化八；三聲 老冷呂■引引引引 一聲 晚晚晚晚開宰愛○；鹿犖離■引引引引 晚晚晚晚回每退○；走哉足■引引引引 晚晚晚晚良兩向○；八音 自在匠■引引引引 四音 晚晚晚晚光廣況○；三聲 草采七■引引引引 二聲 晚晚晚晚丁井亙○；曹才全■引引引引 晚晚晚晚兄永瑩○。

This passage is divided into two parts on either side. The phonetic chart first presents the fifth tone with the phrases "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", and "Pang Pai Ping Ping", and the sixth tone with "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", and "Tong Tan Tian ■", still using the third tone "Yin" for singing. In the middle, it inserts the section "Phonetic Pronunciation Clear and Harmonious, Third and Fourth Laws", indicating that the right chart now shifts to the fourth tone "Wan" for harmony, after which the left chart continues with the seventh tone "Nai Ni Nü ■", "Nei Nan Nian ■", "Lao Leng Lv ■", and "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", and "Cao Cai Quan ■". The first eight lines on the right side are paired with the third tone "Ma" and the ninth and tenth tones, both of which have no tone positions, so they are all marked as "●●●●". After changing the section, the fourth tone "Wan" starts from the first tone, listing "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", followed by the second tone's "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", and "Xiong Yong Ying ○". The phonetic chart has forty-eight lines and the tone chart forty lines, with uneven lengths, so the section changes always fall within the lines. The section for the fourth tone "Wan" is taken from the third level of the fourth tone "Wu Wan □ Wei" in the phonetic chart; among the four levels of "Wu Wan □ Wei", there are no characters in the receiving position, so it is marked as "□".

思三星■引引引引 晚晚晚晚千典旦○；九音 寺□象■引引引引 四音 晚晚晚晚元犬半○；三聲 □□□■引引引引 三聲 晚晚晚晚臣引艮○；□□□■引引引引 晚晚晚晚君允巽○；■山手■引引引引 晚晚晚晚刀早孝嶽；十音 ■士石■引引引引 四音 晚晚晚晚毛寶報霍；三聲 ■□耳■引引引引 四聲 晚晚晚晚牛斗奏六；■□二■引引引引 晚晚晚晚○○○玉；■莊震■引引引引 晚晚晚晚妻子四日；十一音 ■乍□■引引引引 四音 晚晚晚晚衰○帥骨；三聲 ■叉赤■引引引引 五聲 晚晚晚晚○○○德；■崇辰■引引引引 晚晚晚晚龜水貴北；■卓中■引引引引 晚晚晚晚宮孔眾○；十二音 ■宅直■引引引引 四音 晚晚晚晚龍甬用○；三聲 ■拆丑■引引引引 六聲 晚晚晚晚魚鼠去○；■茶呈■引引引引 晚晚晚晚烏虎兔○。

The "Yin" tone continues to descend with the "Wan" tone. The diagram of correct tones lists 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 ■"; the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The right half begins with the fourth tone "Wan" in the upper harmony, followed by the third tone with four levels: "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○"; the fourth tone with four levels: "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu"; the fifth tone with four levels: "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei"; the sixth tone with four levels: "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The tones below the ninth tone mostly use "■", which Shao Yong believed represented positions where sound should not exist. The use of "□" indicates that the positions still exist, but there are no characters to fill them, and they may be filled in the future. The meanings of these symbols are different and should not be confused. The "Wan" harmony stops at the sixth tone "Wu Hu Tu ○", and the next section continues with the seventh tone, showing that one tone must be harmonized across ten tones and forty positions to form one diagram.

上聲闢唱呂三之四；古甲九癸斗斗斗斗 晚晚晚晚心審禁○；一音 □□近揆斗斗斗斗 四音 晚晚晚晚○○○十；四聲 坤巧丘棄斗斗斗斗 七聲 晚晚晚晚男坎欠○；□□乾蚪斗斗斗斗 晚晚晚晚○○○妾；黑花香血斗斗斗斗 晚晚晚晚●●●●；二音 黃華雄賢斗斗斗斗 四音 晚晚晚晚●●●●；四聲 五瓦仰□斗斗斗斗 八聲 晚晚晚晚●●●●；吾牙月堯斗斗斗斗 晚晚晚晚●●●●；安亞乙一斗斗斗斗 晚晚晚晚●●●●；三音 □爻壬寅斗斗斗斗 四音 晚晚晚晚●●●●；四聲 母馬美米斗斗斗斗 九聲 晚晚晚晚●●●●；目貌眉民斗斗斗斗 晚晚晚晚●●●●；夫法□飛斗斗斗斗 晚晚晚晚●●●●；四音 父凡□吠斗斗斗斗 四音 晚晚晚晚●●●●；四聲 武晚□尾斗斗斗斗 十聲 晚晚晚晚●●●●；文萬□未斗斗斗斗 晚晚晚晚●●●●。

The tone "Shang Sheng Pi" is changed to use the fourth tone "Dou" of "Shang Sheng Pi" for singing the correct tone, resulting in "Dou Dou Dou Dou" at the end of each line. The tone positions sung remain the first tone "Gu Jia Ji Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," the second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." In the fourth tone third category "Wu Wan □ Wei," the character "Wan" corresponds exactly to the fourth tone heading in the right table, allowing for cross-reference. The right half still continues with the fourth tone "Wan," starting with the seventh tone fourth category "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie," followed by the eighth, ninth, and thirteenth tones, totaling twelve lines all marked as "●●●●." This shows that among the ten tones, "Shang Sheng Pi" only has actual tone positions in the first seven categories, while the last three are empty. The table explicitly marks these empty categories rather than omitting them, to clearly calculate the number of tones on the diagram. "Dou" refers to the first category of the fourth tone "Niu Dou Zou Liu." Among the ten tones, the tones "Zai," "Jing," "Yin," and "Dou" have characters, but from the fifth tone onwards, there are positions without characters.

發音清和律三之五；卜百丙必斗斗斗斗 樸樸樸樸多可個舌；五音 步白備鼻斗斗斗斗 五音 樸樸樸樸禾火化八；四聲 普撲品匹斗斗斗斗 一聲 樸樸樸樸開宰愛○；旁排平瓶斗斗斗斗 樸樸樸樸回每退○；東丹帝■斗斗斗斗 樸樸樸樸良兩向○；六音 兌大弟■斗斗斗斗 五音 樸樸樸樸光廣況○；四聲 土貪天■斗斗斗斗 二聲 樸樸樸樸丁井亙○；同覃田■斗斗斗斗 樸樸樸樸兄永瑩○；乃你女■斗斗斗斗 樸樸樸樸千典旦○；七音 內南年■斗斗斗斗 五音 樸樸樸樸元犬半○；四聲 老冷呂■斗斗斗斗 三聲 樸樸樸樸臣引艮○；鹿犖離■斗斗斗斗 樸樸樸樸君允巽○；走哉足■斗斗斗斗 樸樸樸朴刀早孝嶽；八音 自在匠■斗斗斗斗 五音 樸樸樸樸毛寶報霍；四聲 草采七■斗斗斗斗 四聲 樸樸樸樸牛斗奏六；曹才全■斗斗斗斗 樸樸樸樸○○○玉。

A section titled "Phonetic clarity and the third level of the fifth tone" is established separately. The right table is revised to use the fifth tone "Pu" as the standard tone, with each line prefixed by "PuPuPuPu." "Pu" refers to the second character of the third rank in the fifth tone of the standard tone chart, "Pu Pu Pin Pi." The heading at the beginning of the section is marked as "Pu," while within the table it is written as "Pu," representing the same character with different script. The left half still follows the fourth tone "Dou," listing the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■." The right half starts from the first tone: " Duo 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 ○," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu." The lines "Duo Ke Ge She" and "He Huo Hua Ba" contain all four categories of level, tone, and entry. The lines "Kai Zai Ai ○" and "Hui Mei Tui ○" lack characters in the entry tone category, so each is followed by an "○."

思三星■斗斗斗斗 樸樸樸樸妻子四日；九音 寺□象■斗斗斗斗 五音 樸樸樸樸衰○帥骨；四聲 □□□■斗斗斗斗 五聲 樸樸樸樸○○○德；□□□■斗斗斗斗 樸樸樸樸龜水貴北；■山手■斗斗斗斗 樸樸樸樸宮孔眾○；十音 ■士石■斗斗斗斗 五音 樸樸樸樸龍甬用○；四聲 ■□耳■斗斗斗斗 六聲 樸樸樸樸魚鼠去○；■□二■斗斗斗斗 樸樸樸樸烏虎兔○；■莊震■斗斗斗斗 樸樸樸樸心審禁○；十一音 ■乍□■斗斗斗斗 五音 樸樸樸樸○○○十；四聲 ■叉赤■斗斗斗斗 七聲 樸樸樸樸男坎欠○；■崇辰■斗斗斗斗 樸樸樸樸○○○妾；■卓中■斗斗斗斗 樸樸樸樸●●●●；十二音 ■宅直■斗斗斗斗 五音 樸樸樸樸●●●●；四聲 ■拆丑■斗斗斗斗 八聲 樸樸樸樸●●●●；■茶呈■斗斗斗斗 樸樸樸樸●●●●。

The "Dǒu" (a term in divination) sings and the "Pǔ" (another term) harmonizes, continuing the sequence. The diagram of correct tones concludes with the last four tones: the ninth tone includes "Si San Xing", "Si Xiao Xiang", "□□□", and "□□□"; the tenth tone includes "Shan Shou", "Shi Shi Shi", "□□Er", and "□□Er"; the eleventh tone includes "Zhuang Zhen", "Zha □", "Cha Chi", and "Chong Chen"; the twelfth tone includes "Zhuo Zhong", "Zhai Zhi", "Che Chou", and "Cha Cheng". Each ending is followed by "Dǒu Dǒu Dǒu Dǒu". The right half begins with the fifth tone "Pǔ" harmonizing, then lists the four categories of the fifth tone: "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", and "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", and "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", and "○○○ Qie"; the eighth tone consists entirely of "●●●●". The four symbols must be remembered: "○" represents a position with sound but no character, "●" represents a position with no sound at all, "□" represents a position with sound but no character, and "■" represents a position with no sound at all. Among the twelve tones, the first five tones have many complete positions, but from the sixth tone onwards, the closed positions gradually become empty, and from the ninth tone onwards, the open positions also become empty. The more towards the end, the more the gaps increase, which is exactly what Shao Yong meant by the idea that tones have completeness and absence.

上聲闢唱呂三之五；古甲九癸○○○○ 樸樸樸樸●●●●；一音 □□近揆○○○○ 五音 樸樸樸樸●●●●；五聲 坤巧丘棄○○○○ 九聲 樸樸樸樸●●●●；□□乾蚪○○○○ 樸樸樸樸●●●●；黑花香血○○○○ 樸樸樸樸●●●●；二音 黃華雄賢○○○○ 五音 樸樸樸樸●●●●；五聲 五瓦仰□○○○○ 十聲 樸樸樸樸●●●●；吾牙月堯○○○○ 樸樸樸樸●●●●；發音清和律三之六；安亞乙一○○○○ 貪貪貪貪多可個舌；三音 □爻壬寅○○○○ 六音 貪貪貪貪禾火化八；五聲 母馬美米○○○○ 一聲 貪貪貪貪開宰愛○；目貌眉民○○○○ 貪貪貪貪回每退○；夫法□飛○○○○ 貪貪貪貪良兩向○；四音 父凡□吠○○○○ 六音 貪貪貪貪光廣況○；五聲 武晚□尾○○○○ 二聲 貪貪貪貪丁井亙○；文萬□未○○○○ 貪貪貪貪兄永瑩○。

The "upper tone" being sung is the fifth tone of "upper tone," which has a position but no character, so no character is written at the end, only four blanks "○○○○." On the left side, the first tone "Gu Jia Ji Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Yu" and the second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao" are listed first. In the middle, the section "clear and harmonious tone, third law six" is inserted. On the right side, the sixth tone "Tan" is paired with the first tone, and then the left side continues with the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min" and the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The first eight lines on the right side pair the fifth tone "Pu" with the ninth and tenth tones, but the second tone has no position, so it is written as "●●●●" continuously. After changing the section, "Tan" starts from the first tone, listing "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 ○." Although the fifth tone has no character to cite, its position cannot be removed, otherwise the number of ten tones would be insufficient. Among the ten tones, the fifth tone has a position but no character, and the eighth, ninth, and thirteenth tones also have no positions. Therefore, the actual number of tones used in the "upper tone" is seven, matching the initial statement "moon and star tones seven."

卜百丙必○○○○ 貪貪貪貪千典旦○；五音 步白備鼻○○○○ 六音 貪貪貪貪元犬半○；五聲 普撲品匹○○○○ 三聲 貪貪貪貪臣引艮○；旁排平瓶○○○○ 貪貪貪貪君允巽○；東丹帝■○○○○ 貪貪貪貪刀早孝嶽；六音 兌大弟■○○○○ 六音 貪貪貪貪毛寶報霍；五聲 土貪天■○○○○ 四聲 貪貪貪貪牛斗奏六；同覃田■○○○○ 貪貪貪貪○○○玉；乃你女■○○○○ 貪貪貪貪妻子四日；七音 內南年■○○○○ 六音 貪貪貪貪衰○帥骨；五聲 老冷呂■○○○○ 五聲 貪貪貪貪○○○德；鹿犖離■○○○○ 貪貪貪貪龜水貴北；走哉足■○○○○ 貪貪貪貪宮孔眾○；八音 自在匠■○○○○ 六音 貪貪貪貪龍甬用○；五聲 草采七■○○○○ 六聲 貪貪貪貪魚鼠去○；曹才全■○○○○ 貪貪貪貪烏虎兔○。

The fifth tone (which has a position but no character, hence marked as "○") is sung, and the sixth tone "Tan" is harmonized with it, continuing below. The main tone chart lists the fifth tone as "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone as "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; the seventh tone as "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; the eighth tone as "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The end of each line still has four "○". The third entry of the sixth tone "Tu Tan Tian ■" contains "Tan", which is exactly the heading of the sixth tone used in the right table. The right half continues with the third tone's fourth entry "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○"; the fourth tone's fourth entry "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone's fourth entry "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone's fourth entry "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The left table uses "■" to mark closed positions with no sound, while the right table uses "○" to mark positions with no character. The symbols on both sides do not overlap. Within one table, the last four sections on the left side remain the same (this table is four "○"), and the first four sections on the right side also remain the same (this table is four "Tan"). This shows that the singer and the harmonizer remain stationary, while the corresponding positions shift line by line.

思三星■○○○○ 貪貪貪貪心審禁○；九音 寺□象■○○○○ 六音 貪貪貪貪○○○十；五聲 □□□■○○○○ 七聲 貪貪貪貪男坎欠○；□□□■○○○○ 貪貪貪貪○○○妾；■山手■○○○○ 貪貪貪貪●●●●；十音 ■士石■○○○○ 六音 貪貪貪貪●●●●；五聲 ■□耳■○○○○ 八聲 貪貪貪貪●●●●；■□二■○○○○ 貪貪貪貪●●●●；■莊震■○○○○ 貪貪貪貪●●●●；十一音 ■乍□■○○○○ 六音 貪貪貪貪●●●●；五聲 ■叉赤■○○○○ 九聲 貪貪貪貪●●●●；■崇辰■○○○○ 貪貪貪貪●●●●；■卓中■○○○○ 貪貪貪貪●●●●；十二音 ■宅直■○○○○ 六音 貪貪貪貪●●●●；五聲 ■拆丑■○○○○ 十聲 貪貪貪貪●●●●；■茶呈■○○○○ 貪貪貪貪●●●●。

The fifth tone is still being sung, and the sixth tone "Tan" is harmonizing. The diagram of correct tones ends with the last four tones: the ninth tone "Si San Xing", "Si Xiang Xiang", "San Xing Xiang", "San Xing Xiang"; the tenth tone "Shan Shou", "Shi Shi Shi", "Er Er E", "Er Er Er"; the eleventh tone "Zhuang Zhen", "Zha Xiang", "Cha Chi", "Chong Chen"; and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng". On the right side, "Tan" harmonizes with the fourth level of the seventh tone "Xin Shen Jin", "Shen Shen Shen Shí", "Nan Kan Qian", "Qian Qian Qian Qie". Below this, the eighth, ninth, and thirteenth tones, totaling twelve rows, are all marked as "●●●●". The four "○" at the end of each row on the left indicate tones that have a position but no character, while the four "●" at the end of each row on the right indicate tones that have neither position nor character. Although both types of blank spaces appear in the same row, their meanings are entirely different, and it is most important to distinguish them when reading the diagram. The row headings "Nine Tones" to "Twelve Tones" and "Five Tones" and "Six Tones" respectively indicate the tone levels being sung on the left table and the tones being harmonized on the right table. By this point, the sixth tone "Tan" has harmonized with ten tones and forty positions, completing the first table. The next table will switch to the seventh tone "Leng", and thus each of the twelve tones will form one table, exactly matching the twelve harmonized tones.

上聲闢唱呂三之六 發音清和律三之七；古甲九癸鼠鼠鼠鼠 冷冷冷冷多可個舌；一音 □□近揆鼠鼠鼠鼠 七音 冷冷冷冷禾火化八；六聲 坤巧丘棄鼠鼠鼠鼠 一聲 冷冷冷冷開宰愛○；□□乾蚪鼠鼠鼠鼠 冷冷冷冷回每退○；黑花香血鼠鼠鼠鼠 冷冷冷冷良兩向○；二音 黃華雄賢鼠鼠鼠鼠 七音 冷冷冷冷光廣況○；六聲 五瓦仰□鼠鼠鼠鼠 二聲 冷冷冷冷丁井亙○；吾牙月堯鼠鼠鼠鼠 冷冷冷冷兄永瑩○；安亞乙一鼠鼠鼠鼠 冷冷冷冷千典旦○；三音 □爻壬寅鼠鼠鼠鼠 七音 冷冷冷冷元犬半○；六聲 母馬美米鼠鼠鼠鼠 三聲 冷冷冷冷臣引艮○；目貌眉民鼠鼠鼠鼠 冷冷冷冷君允巽○；夫法□飛鼠鼠鼠鼠 冷冷冷冷刀早孝嶽；四音 父凡□吠鼠鼠鼠鼠 七音 冷冷冷冷毛寶報霍；六聲 武晚□尾鼠鼠鼠鼠 四聲 冷冷冷冷牛斗奏六；文萬□未鼠鼠鼠鼠 冷冷冷冷○○○玉。

The lines "Upper tone 'Shi' sings 'Lu' third tone sixth" and "Clear tone 'Feng' harmonizes 'Lv' third tone seventh" start on the same line: the left table uses the sixth tone "Shu" of the upper tone "Shi" to chant the correct tone repeatedly, while the right table uses the seventh tone "Leng" of the clear tone "Feng" to harmonize the correct tone. The left column's first tone includes "Gu Jia Ji Gui", "□□ Ji Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu", the second tone includes "Hei Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", the third tone includes "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min", the fourth tone includes "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", and each line ends with "Shu Shu Shu Shu". The right column's first tone includes "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 ○", the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", and each line begins with "Leng Leng Leng Leng". Occasionally, the headings of the two tables align on the same line because one table has forty-eight lines and the other forty lines, and they are shifted to align here. In the diagram of the correct tones, among the four lines for each tone, the first and third lines belong to the open "Bi" sound, while the second and fourth lines belong to the closed "Xi" sound; the upper tone "Bi" selects the third line's upper tone, so its ten tones are marked as "Zai Jing Yin Dou ○ Shu Kan ●●●".

卜百丙必鼠鼠鼠鼠 冷冷冷冷妻子四日；五音 步白備鼻鼠鼠鼠鼠 七音 冷冷冷冷衰○帥骨；六聲 普撲品匹鼠鼠鼠鼠 五聲 冷冷冷冷○○○德；旁排平瓶鼠鼠鼠鼠 冷冷冷冷龜水貴北；東丹帝■鼠鼠鼠鼠 冷冷冷冷宮孔眾○；六音 兌大弟■鼠鼠鼠鼠 七音 冷冷冷冷龍甬用○；六聲 土貪天■鼠鼠鼠鼠 六聲 冷冷冷冷魚鼠去○；同覃田■鼠鼠鼠鼠 冷冷冷冷烏虎兔○；乃你女■鼠鼠鼠鼠 冷冷冷冷心審禁○；七音 內南年■鼠鼠鼠鼠 七音 冷冷冷冷○○○十；六聲 老冷呂■鼠鼠鼠鼠 七聲 冷冷冷冷男坎欠○；鹿犖離■鼠鼠鼠鼠 冷冷冷冷○○○妾；走哉足■鼠鼠鼠鼠 冷冷冷冷●●●●；八音 自在匠■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 草采七■鼠鼠鼠鼠 八聲 冷冷冷冷●●●●；曹才全■鼠鼠鼠鼠 冷冷冷冷●●●●。

The term "mouse" sings in harmony with "cold" as a continuation. The section of the tone chart refers to the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■." The third entry in the seventh tone "Lao Leng Lv ■" with "Leng" corresponds exactly to the seventh tone in the right column, thus confirming each other. In the right column, 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," and in the eighth tone all four lines are "● ● ● ●." The third entry in the sixth tone "Yu Shu Qu ○" with "Shu" corresponds exactly to the tone sung in the left column, and can be compared accordingly: the title characters used in the chart are originally taken from within the chart. The three lines below the eighth tone are all "●," indicating that the rising tone has no more tones to sing beyond this point; hence, in all subsequent charts, whenever the eighth, ninth, or thirteenth tones appear, they are all marked with black circles.

思三星■鼠鼠鼠鼠 冷冷冷冷●●●●；九音 寺□象■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 □□□■鼠鼠鼠鼠 九聲 冷冷冷冷●●●●；□□□■鼠鼠鼠鼠 冷冷冷冷●●●●；■山手■鼠鼠鼠鼠 冷冷冷冷●●●●；十音 ■士石■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 ■□耳■鼠鼠鼠鼠 十聲 冷冷冷冷●●●●；■□二■鼠鼠鼠鼠 冷冷冷冷●●●●；發音清和律三之八；■莊震■鼠鼠鼠鼠 采采采采多可個舌；十一音 ■乍□■鼠鼠鼠鼠 八音 采采采采禾火化八；六聲 ■叉赤■鼠鼠鼠鼠 一聲 采采采采開宰愛○；■崇辰■鼠鼠鼠鼠 采采采采回每退○；■卓中■鼠鼠鼠鼠 采采采采良兩向○；十二音 ■宅直■鼠鼠鼠鼠 八音 采采采采光廣況○；六聲 ■拆丑■鼠鼠鼠鼠 二聲 采采采采丁井亙○；■茶呈■鼠鼠鼠鼠 采采采采兄永瑩○。

The left half first lists the ninth tone "Si San Xing" "Si Xiang Xiang" "Xiang Xiang Xiang" "Xiang Xiang Xiang" and the tenth tone "Shan Shou" "Shi Shi Shi" "Er Er Er" "Er Er Er", still using the sixth tone "Shu" for singing; in the middle, the item "Fang Yin Qing He Lv San Ba" is inserted. The right table then shifts to the eighth tone "Cai" harmonizing with the first tone, after which the left table continues with the eleventh tone "Zhuang Zhen" "Zha Cha" "Cha Chi" "Chong Chen" and the twelfth tone "Zhuo Zhong" "Zhai Zhi" "Chai Chou" "Cha Cheng". The first eight lines of the right half are the seventh tone "Leng" paired with the ninth and tenth tones, with no position for the second tone, so they are marked as "●●●●". After changing the item, "Cai" starts from the first tone, listing "Du Ke Ge She" "He Huo Hua Ba" "Kai Zai Ai" "Hui Mei Tui" and the second tone's "Liang Liang Xiang" "Guang Guang Kuang" "Ding Jing Gen" "Xiong Yong Ying". The item "Cai" of the eighth tone is the second character of the eighth tone third grade "Cao Cai Qi" in the correct tone diagram. The eleventh and twelfth tones have both open and closed positions missing, among which "Zha Cha" only has the open position character "Zha" and the closed position is marked as "□", meaning there is a position but no character.

上聲闢唱呂三之七；古甲九癸坎坎坎坎 采采采采千典旦○；一音 □□近揆坎坎坎坎 八音 采采采采元犬半○；七聲 坤巧丘棄坎坎坎坎 三聲 采采采采臣引艮○；□□乾蚪坎坎坎坎 采采采采君允巽○；黑花香血坎坎坎坎 采采采采刀早孝嶽；二音 黃華雄賢坎坎坎坎 八音 采采采采毛寶報霍；七聲 五瓦仰□坎坎坎坎 四聲 采采采采牛斗奏六；吾牙月堯坎坎坎坎 采采采采○○○玉；安亞乙一坎坎坎坎 采采采采妻子四日；三音 □爻王寅坎坎坎坎 八音 采采采采衰○帥骨；七聲 母馬美米坎坎坎坎 五聲 采采采采○○○德；目貌眉民坎坎坎坎 采采采采龜水貴北；夫法□飛坎坎坎坎 采采采采宮孔眾○；四音 父凡□吠坎坎坎坎 八音 采采采采龍甬用○；七聲 武晚□尾坎坎坎坎 六聲 采采采采魚鼠去○；文萬□未坎坎坎坎 采采采采烏虎兔○。

"The upper tone 'Shangsheng Bi' is changed to the seventh tone 'Kan' of 'Shangsheng Bi', and the correct pronunciation is sung repeatedly, with 'Kan Kan Kan Kan' at the end of each line. The listed tones are the first tone 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu'; the second tone 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the third tone 'An Ya Yi Yi', '□ Yao Wang 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 third tone's second variant reads '□ Yao Wang Yin', but 'Wang' is likely a mistake for 'Ren', as elsewhere it is '□ Yao Ren Yin'. The right side begins with the eighth tone 'Cai', followed by the third tone 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the fifth tone 'Zi Qi Si Ri', 'Cui ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei'; the sixth tone 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'. 'Kan' is both the seventh tone of 'Shangsheng Bi' and the second character of the seventh tone's third variant 'Nan Kan Qian ○' in the correct tone chart. The seventh tone of 'Shangsheng Bi' has now reached the final tone. The eighth, ninth, and thirteenth tones have no corresponding positions, so they cannot be sung. The right side has only reached the eighth tone 'Cai', with four more tones remaining."

卜百丙必坎坎坎坎 采采采采心審禁○；五音 步白備鼻坎坎坎坎 八音 采采采采○○○十；七聲 普撲品匹坎坎坎坎 七聲 采采采采男坎欠○；旁排平瓶坎坎坎坎 采采采采○○○妾；東丹帝■坎坎坎坎 采采采采●●●●；六音 兌大弟■坎坎坎坎 八音 采采采采●●●●；七聲 土貪天■坎坎坎坎 八聲 采采采采●●●●；同覃田■坎坎坎坎 采采采采●●●●；乃你女■坎坎坎坎 采采采采●●●●；七音 內南年■坎坎坎坎 八音 采采采采●●●●；七聲 老冷呂■坎坎坎坎 九聲 采采采采●●●●；鹿犖離■坎坎坎坎 采采采采●●●●；走哉足■坎坎坎坎 采采采采●●●●；八音 自在匠■坎坎坎坎 八音 采采采采●●●●；七聲 草采七■坎坎坎坎 十聲 采采采采●●●●；曹才全■坎坎坎坎 采采采采●●●●。

The trigram "Kan" (Water) continues with the harmonization of "Cai" (采). The correct tone chart lists four categories for the fifth tone: "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", "Cao Cai Qi Qi". For the sixth tone: "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". For the seventh tone: "Nai Ni Nü ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". For the eighth tone: "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". Each ending is followed by "Kan Kan Kan Kan". On the right side, starting from the eighth tone "Cai", the seventh tone is harmonized first, listing four categories: "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". Below that, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all written as "●●●●". Among the four categories of the seventh tone, only the characters "Xin", "Shen", "Jin", "Nan", "Kan", "Qian", "Shi", and "Qie" are actual characters, while the rest are positions without characters, so they are marked with "○" instead of "●". By this point, the eighth tone "Cai" has harmonized all ten tones across forty positions, completing the chart. Considering the four categories, for the fifth tone "Bu Bai Bing Bi", "Bu" is in the open position, "Bai" in the initial position, "Bing" in the closing position, and "Bi" in the closed position, all four categories are present. For the sixth tone and below, the closed position is empty, so "Dong Dan Di ■" only has the characters for open, initial, and closing positions. On the right side, the seventh tone "Xin Shen Jin ○", "Xin" is level tone, "Shen" is rising tone, "Jin" is falling tone, and the entering tone has a position but no character, hence it is marked with "○".

發音清和律三之九；思三星■坎坎坎坎 □□□□多可個舌；九音 寺□象■坎坎坎坎 九音 □□□□禾火化八；七聲 □□□■坎坎坎坎 一聲 □□□□開宰愛○；□□□■坎坎坎坎 □□□□回每退○；■山手■坎坎坎坎 □□□□良兩向○；十音 ■士石■坎坎坎坎 九音 □□□□光廣況○；七聲 ■□耳■坎坎坎坎 二聲 □□□□丁井亙○；■□二■坎坎坎坎 □□□□兄永瑩○；■莊震■坎坎坎坎 □□□□千典旦○；十一音 ■乍□■坎坎坎坎 九音 □□□□元犬半○；七聲 ■叉赤■坎坎坎坎 三聲 □□□□臣引艮○；■崇辰■坎坎坎坎 □□□□君允巽○；■卓中■坎坎坎坎 □□□□刀早孝嶽；十二音 ■宅直■坎坎坎坎 九音 □□□□毛寶報霍；七聲 ■拆丑■坎坎坎坎 四聲 □□□□牛斗奏六；■茶呈■坎坎坎坎 □□□□○○○玉。

A separate section is labeled "发音清和律三之九". Among the twelve tones, the ninth tone has a clear sound but no character assigned to it. Since there is no character, it cannot be used as a heading, so each line on the right side can only be prefixed with "□□□□" four squares. Although there is no character, it still counts as a table and is not omitted. The left side continues with the seventh tone "坎" (Water), listing the ninth tone as "思三星■", "寺□象■", "□□□■", "□□□■"; the tenth tone as "■山手■", "■士石■", "■□耳■", "■□二■"; the eleventh tone as "■庄震■", "■乍□■", "■叉赤■", "■崇辰■"; and the twelfth tone as "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". On the right side, starting from the first tone: "多可个舌", "禾火化八", "开宰爱○", "回每退○"; the second tone: "良两向○", "光广况○", "丁井亘○", "兄永莹○"; the third tone: "千典旦○", "元犬半○", "臣引艮○", "君允巽○"; the fourth tone: "刀早孝岳", "毛宝报霍", "牛斗奏六", "○○○玉". The third entry of the ninth tone is "□□□■", and the position for the sound is exactly "□". The right table uses four "□" as a heading, which comes from this. The third entry of the tenth tone "■□耳■" also has the sound position as "□", so the heading of the next table is also "□□□□". These two tables can only be distinguished by their order "和律三之九" and "和律三之十", and should not be confused.

上聲闢唱呂三之八；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；東丹帝■●●●● □□□□●●●●；四音 允大第■●●●● 九音 □□□□●●●●；八聲 士貪天■●●●● 八聲 □□□□●●●●；同覃田■●●●● □□□□●●●●。

The "upper tone" is the eighth tone, and the "upper tone" begins from the eighth tone downward with no further tones, so the left half of each line ends with "●●●●", indicating no phonetic position. Yet the entire table must still list all twelve tones and forty-eight positions in order. The sequence of phonetic positions in this table differs from other tables: after the first, second, and third tones, the marked "fourth tone" consists of the group "East Dan Di ■", "Yun Da Di ■", "Shi Tan Tian ■", "Tong Tan Tian ■". In other tables, this group is listed as the sixth tone. The original text here contains errors: "Yun" should be "Dui", "Di" should be "Di", and "Shi" should be "Tu". The right half continues with the ninth tone's empty position "□□□□", and sequentially matches the fourth tone of the fifth tone "Zi Qi Si Ri", "Cui Ou Shuai Gu", "Ou Ou Ou De", "Gui Shui Gui Bei"; the fourth tone of the sixth tone "Gong Kong Zhong Ou", "Long Yong Yong Ou", "Yu Shu Qu Ou", "Wu Hu Tu Ou"; the fourth tone of the seventh tone "Xin Shen Jin Ou", "Ou Ou Ou Shi", "Nan Kan Qian Ou", "Ou Ou Ou Jie"; and the eighth tone has four lines all marked "●●●●". Both sides have empty positions, but the symbols differ: the left side uses "●" to indicate an empty phonetic position, while the right side uses "□" to indicate a position with no character. Careful examination of the four tones: "East Dan Di ■" has East as opening, Dan as initial, and Di as closing, with no sound at the closed position; "Yun Da Di ■" should be "Dui Da Di ■", with Dui as opening, Da as initial, and Di as closing; "Shi Tan Tian ■" should be "Tu Tan Tian ■", with Tu as opening, Tan as initial, and Tian as closing; "Tong Tan Tian ■" has Tong as opening, Tan as initial, and Tian as closing. The original text marks this group as "four tones," which does not match the other tables where it is listed as the sixth tone. This discrepancy is likely due to errors in the printing process, and it is still recorded as is without alteration.

爾你女■●●●● □□□□●●●●；五音 內南年■●●●● 九音 □□□□●●●●；八聲 老冷呂■●●●● 九聲 □□□□●●●●；鹿牽離■●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；六音 父凡□吠●●●● 九音 □□□□●●●●；八聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□末●●●● □□□□●●●●；發音清和律三之十；卜白丙必●●●● □□□□多可個舌；七音 步白備鼻●●●● 十音 □□□□禾火化八；八聲 普樸呂匹●●●● 一聲 □□□□開宰愛○；旁排平瓶●●●● □□□□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○。

Following the previous table, the order of the phonetic positions remains disordered: those marked as 'Five Sounds' are 'er ni nv ■', 'nei nan nian ■', 'lao leng lv ■', 'lu qian li ■', which are listed as the seventh sound in another table, where 'er' should be 'nai' and 'qian' should be 'luo'; those marked as 'Six Sounds' are 'fu fa □ fei', 'fu fan □ fei', 'wu wan □ wei', 'wen wan □ mo', listed as the fourth sound in another table, where 'mo' should be 'wei'; those marked as 'Seven Sounds' are 'bu bai bing bi', 'bu bai bei bi', 'pu pu lv pi', 'pang pai ping ping', listed as the fifth sound in another table, where 'bai' should be 'bai', 'pu' should be 'pu', and 'lv' should be 'pin'; then comes the eighth sound 'zou zai zu ■', 'zi zai jiang ■', 'cao cai qi ■', 'cao cai quan ■'. The tones sung still remain without clear phonetic positions, hence the end of each line is marked with '●●●●'. In between, there is an entry 'Clear Pronunciation and the Third Law of Ten Sounds', where the right table is changed to the tenth sound. The tenth sound has no clear tones, so it still starts with '□□□□', and the first sound 'duo ke ge she', 'he hu hua ba', 'kai zai ai ○', 'hui mei tui ○' and the second sound 'liang liang xiang ○', 'guang guang kuang ○', 'ding jing gen ○', 'xiong yong ying ○' are arranged. Although the order of the fourth to seventh sounds is disordered, the four levels within each group remain intact. Considering the entire context, the table still maintains twelve sounds and forty-eight positions, with none missing; thus, the disorder lies only in the headings and the order, while the number of positions in the chart remains unaffected. This table contains the most errors in the entire text, and it must be cross-referenced with other tables when reading.

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○；■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 eighth tone is sung, and the tenth tone is harmonized, continuing below. The diagram of correct tones is collected in the following four tones: the ninth tone "Think of three stars ■", "Temple ■ image ■", "■ ■ ■ ■", "■ ■ ■ ■", the tenth tone "■ mountain hand ■", "■ person stone ■", "■ ■ ear ■", "■ ■ two ■", the eleventh tone "■ village thunder ■", "■ sudden ■", "■ fork red ■", "■ high morning ■", the twelfth tone "■ outstanding middle ■", "■ residence straight ■", "■ split chou ■", "■ tea present ■", and the end of the line remains "●●●●". On the right side, continuing from the harmonization of the tenth tone, the third tone is "Thousand classics dawn ○", "Origin dog half ○", "Minister lead gen ○", "King yin xun ○", the fourth tone is "Knife early filial mountain", "Hair treasure report hu", "Ox constellation present six", "○○○ jade", the fifth tone is "Wife child four days", "Decline ○ general bone", "○○○ virtue", "Turtle water noble north", the sixth tone is "Palace hole crowd ○", "Dragon yong use ○", "Fish rat go ○", "Crow tiger rabbit ○". The headings on both sides of the table are all empty: the tones sung have no position, the tones harmonized have no characters, yet the number of sung and harmonized tones remains valid, indicating that Shao Yong emphasized position rather than the presence or absence of characters. Dividing into four parts, "Think of three stars ■" has "think" opening, "three" emitting, "star" closing, with no tone at the closed position; "■ mountain hand ■" has nothing at both the opening and closing ends, leaving only the characters "mountain" and "hand"; "■ sudden ■" has not even the character for the closing position, written as "□". On the right side, the four characters "knife early filial mountain" have all four tones level, rising, falling, and entering, fully present, forming a contrast with the incompleteness on the left.

上聲闢唱呂三之九；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●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 十音 □□□□●●●●；九聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□未●●●● □□□□●●●●。

"The upper tone 'Shang Sheng' (rising tone) is sung with the ninth tone throughout, and since the ninth tone also lacks a tone position, the end remains '●●●●'. The order of the tone positions in this table has returned to the normal sequence: the first tone 'Gu Jia Ji Gui' ('□□ Near Kui'), 'Kun Qiao Qi Qi', '□□ Qian Yu', 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 fourth tone 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei', which can be compared with the previous table's disorder. The right half still continues from the empty position of the tenth tone '□□□□', first listing the fourth level of the seventh tone 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', followed by the eighth, ninth, and thirteenth tones, which together make twelve lines all marked '●●●●'. The tenth tone table ends here. The entire table is filled with black and white circles throughout, with no single character written, clearly showing the intention of establishing numbers based on positions. Once the upper tone 'Shang Sheng' has exhausted the seven tones, the subsequent eighth, ninth, and thirteenth tables are names with no actual singing, which corresponds with the beginning statement 'Moon and star tones seven, below singing the use of one hundred and fifty-two tones': each of the seven tones sings one hundred and fifty-two tones, totaling one thousand and sixty-four, while the three silent tables are not counted."

發音清和律三之十一；卜百丙必●●●● 義義義義多可個舌；五音 步白備鼻●●●● 十一音 義義義義禾火化八；九聲 普撲品匹●●●● 一聲 義義義義開宰愛○；旁排平瓶●●●● 義義義義回每退○；東丹帝■●●●● 義義義義良兩向○；六音 兌大弟■●●●● 十一音 義義義義光廣況○；九聲 土貪天■●●●● 二聲 義義義義丁井亙○；同覃田■●●●● 義義義義兄永瑩○；乃你女■●●●● 義義義義千典旦○；七音 內南年■●●●● 十一音 義義義義元犬半○；九聲 老冷呂■●●●● 三聲 義義義義臣引艮○；鹿犖離■●●●● 義義義義君允巽○；走哉足■●●●● 義義義義刀早孝嶽；八音 自在匠■●●●● 十一音 義義義義毛寶報霍；九聲 草采七■●●●● 四聲 義義義義牛斗奏六；曹才全■●●●● 義義義義○○○玉。

"The pronunciation is clear and follows the eleventh of the three laws." Start anew, with the right table now based on the eleventh sound "Yi" and the upper part. Each line is prefixed with "YiYiYiYi." "Yi" refers to the third level of the eleventh sound in the correct pronunciation chart, marked as "■叉赤■," indicating the position of the sound. The heading is marked as "Yi," while within the table it is marked as "Chā," which are different forms of the same character. The left half continues with the ninth tone, listing the fifth sound "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth sound "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh sound "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth sound "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," with each line ending with "●●●●." The right half starts with the first tone: "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," 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 most important difference between this table and the previous two is that the right-side heading has changed from an empty square "□" to the actual character "Yi." The ninth and tenth sounds have no clear characters for the clear tones, while the eleventh and twelfth sounds do have characters, so the last two tables can use actual characters as headings without needing to use squares to represent the absence of characters.

思三星■●●●● 義義義義妻子四日；九音 寺□象■●●●● 十一音 義義義義衰○帥骨；九聲 □□□■●●●● 五聲 義義義義○○○德；□□□■●●●● 義義義義龜水貴北；■山手■●●●● 義義義義宮孔眾○；十音 ■士石■●●●● 十一音 義義義義龍甬用○；九聲 ■□耳■●●●● 六聲 義義義義魚鼠去○；■□二■●●●● 義義義義烏虎兔○；■莊震■●●●● 義義義義心審禁○；十一音 ■乍□■●●●● 十一音 義義義義○○○十；九聲 ■叉赤■●●●● 七聲 義義義義男坎欠○；■崇辰■●●●● 義義義義○○○妾；■卓中■●●●● 義義義義●●●●；十二音 ■宅直■●●●● 十一音 義義義義●●●●；九聲 ■拆丑■●●●● 八聲 義義義義●●●●；■茶呈■●●●● 義義義義●●●●。

The ninth tone sings, and the eleventh tone 「Yi」 harmonizes with it, continuing the sequence. The final four tones in the standard tone chart are: 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 ■」. On the right side, from 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」, to the eighth tone, all four lines are 「● ● ● ●」. On the left side, the third line of the eleventh tone 「■ Cha Chi ■」 corresponds exactly to the position of the label 「Yi」 on the right side. The two tables align perfectly here, showing that all labels within the chart are derived from the chart itself. Within the four sections of 「■ Cha Chi ■」, the open position and closed position are both 「■」, but the sound position 「Cha」 and the ending position 「Chi」 form the tone. The initial label takes the sound position and writes it as 「Yi」, so 「Yi」 and 「Cha」 actually refer to the same position. On the right side, the fifth tone 「Zi Qi Si Ri」 has all four sections complete, with 「Qi」 being level, 「Zi」 being rising, 「Si」 being departing, and 「Ri」 being entering.

上聲闢唱呂三之十；古甲九癸●●●● 義義義義●●●●；一音 □□近揆●●●● 十一音 義義義義●●●●；十聲 坤巧丘棄●●●● 九聲 義義義義●●●●；□□乾蚪●●●● 義義義義●●●●；黑花香血●●●● 義義義義●●●●；二音 黃華雄賢●●●● 十一音 義義義義●●●●；十聲 五瓦仰□●●●● 十聲 義義義義●●●●；吾牙月堯●●●● 義義義義●●●●；發音清和律三之十二；安亞乙一●●●● 坼坼坼坼多可個舌；三音 □爻王寅●●●● 十二音 坼坼坼坼禾火化八；十聲 母馬美米●●●● 一聲 坼坼坼坼開宰愛○；目貌眉民●●●● 坼坼坼坼回每退○；夫法□飛●●●● 坼坼坼坼良兩向○；四音 父凡□吠●●●● 十二音 坼坼坼坼光廣況○；十聲 武晚□尾●●●● 二聲 坼坼坼坼丁井亙○；文萬□未●●●● 坼坼坼坼兄永瑩○。

"The Upper Tone 'Bì' is sung with the tenth tone, repeating the correct pronunciation throughout. The tenth tone also has no position, and at the end, it is marked as '●●●●'. The left half first lists the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu' and the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; in the middle, the section 'Clear Pronunciation and the Third Law of Twelve Tones' is inserted. The right table is then changed to the twelfth tone 'Chè' with the first tone, and after that, the left table continues with the third tone 'Ān Yà Yǐ Yī', '□ Yué Wáng Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín' and the fourth tone 'Fū Fǎ □ Fēi', 'Fù Fán □ Fèi', 'Wǔ Wǎn □ Wěi', 'Wén Wàn □ Wèi', where the 'Wáng' in '□ Yué Wáng Yín' is still an error for 'Rén'. The first eight lines of the right half are the eleventh tone 'Yì' paired with the ninth and tenth tones, all marked as '●●●●'. After changing the section, 'Chè' starts from the first tone, listing 'Duō Kě Gè Shé', 'Hé Huǒ Huà Bā', 'Kāi Zǎi Ài ○', 'Huí Měi Tuì ○' and the second tone 'Liáng Liǎng Xiàng ○', 'Guāng Guǎng Kuàng ○', 'Dīng Jǐng Gèn ○', 'Xióng Yǒng Yíng ○'. 'Chè' refers to the third category of the twelfth tone '■ Chāi Chǒu ■', marked as 'Chè' in the title but as 'Chāi' in the table. The Upper Tone 'Bì' with ten tones is now completed: the tones of 'Zǎi', 'Jǐng', 'Yǐn', 'Dòu' have characters, the fifth tone has a position but no character, the tones of 'Shǔ', 'Kǎn' have characters, and the tones from the eighth downwards have both positions and no characters, totaling seven positions, matching the number 'seven tones of the moon and stars'; the twelve tones of 'Qīng' are completed up to the twelfth tone."

卜百丙必●●●● 坼坼坼坼千典旦○；五音 步白備鼻●●●● 十二音 坼坼坼坼元犬半○；十聲 普撲品匹●●●● 三聲 坼坼坼坼臣引艮○；旁排平瓶●●●● 坼坼坼坼君允巽○；東丹帝■●●●● 坼坼坼坼刀早孝嶽；六音 兌大弟■●●●● 十二音 坼坼坼坼毛寶報霍；十聲 土貪天■●●●● 四聲 坼坼坼坼牛斗奏六；同覃田■●●●● 坼坼坼坼○○○玉；乃你女■●●●● 坼坼坼坼妻子四日；七音 內南年■●●●● 十二音 坼坼坼坼衰○帥骨；十聲 老冷呂■●●●● 五聲 坼坼坼坼○○○德；鹿犖離■●●●● 坼坼坼坼龜水貴北；走哉足■●●●● 坼坼坼坼宮孔眾○；八音 自在匠■●●●● 十二音 坼坼坼坼龍甬用○；十聲 草采七■●●●● 六聲 坼坼坼坼魚鼠去○；曹才全■●●●● 坼坼坼坼烏虎兔○。

The tenth tone is followed by the twelfth tone 「chāi」, continuing below. The correct tone chart lists the fifth tone as 「bǔ bǎi bǐng bì」「bù bái bèi bì」「pǔ pū pǐn pǐ」「páng pái píng píng」, the sixth tone as 「dōng dān dì ■」「duì dà dì ■」「tǔ tān tiān ■」「tóng tán tián ■」, the seventh tone as 「nǎi nǐ nǚ ■」「nèi nán nián ■」「lǎo lěng lǚ ■」「lù luò lí ■」, and the eighth tone as 「zǒu zāi zú ■」「zì zài jiàng ■」「cǎo cǎi qī ■」「cáo cái quán ■」, with each line ending in 「●●●●」. On the right side, the third tone's fourth category continues with 「qiān diǎn dàn ○」「yuán quǎn bàn ○」「chén yǐn gèn ○」「jūn yǔn xùn ○」, the fourth tone's fourth category as 「dāo zǎo xiào yuè」「máo bǎo bào huò」「niú dòu zòu liù」「○○○ yù」, the fifth tone's fourth category as 「qī zǐ sì rì」「shuāi ○ shuài gǔ」「○○○ dé」「guī shuǐ guì běi」, and the sixth tone's fourth category as 「gōng kǒng zhòng ○」「lóng yǒng yòng ○」「yú shǔ qù ○」「wū hǔ tù ○」. The two tables in the "Observing Things" section, chapter forty-one, now reach the final entry: the left table ends with the tenth tone, and the right table ends with the twelfth tone, followed by the closing mark. 「Chāi」 is located at the position of the twelfth tone in the correct tone chart, adjacent to 「chā」 at the eleventh tone position; among the twelve tones, the last four tones only have characters at the initial and final positions, with the opening and closing ends marked as 「■」, making this the most sparse section of the entire chart. The 「●」 at the end of the left column and the 「○」 in the middle of the right column represent absence of position and absence of character respectively, and should still be viewed separately.

思三星■●●●● 坼坼坼坼心審禁○；九音 寺□象■●●●● 十二音 坼坼坼坼○○○十；十聲 ■□□■●●●● 七聲 坼坼坼坼男坎欠○；□□□■●●●● 坼坼坼坼○○○妾；■山手■●●●● 坼坼坼坼●●●●；十音 ■士石■●●●● 十二音 坼坼坼坼●●●●；十聲 ■□耳■●●●● 八聲 坼坼坼坼●●●●；■□二■●●●● 坼坼坼坼●●●●；■莊震■●●●● 坼坼坼坼●●●●；十一音 ■乍□■●●●● 十二音 坼坼坼坼●●●●；十聲 ■叉赤■●●●● 九聲 坼坼坼坼●●●●；■崇辰■●●●● 坼坼坼坼●●●●；■卓中■●●●● 坼坼坼坼●●●●；十二音 ■宅直■●●●● 十二音 坼坼坼坼●●●●；十聲 ■拆丑■●●●● 十聲 坼坼坼坼●●●●；■茶呈■●●●● 坼坼坼坼●●●●。

The final paragraph of this section lists the ninth tone as "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", and "■ ■ ■ ■"; the tenth tone as "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", and "■ ■ Er ■"; the eleventh tone as "■ Zhuang Zhen ■", "■ Zha ■ ■", "■ Cha Chi ■", and "■ Chong Chen ■"; and the twelfth tone as "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", and "■ Cha Cheng ■". The third entry of the ninth tone's third category is written as "■ ■ ■ ■" in the base text, while other versions read "■ ■ ■ ■". The character "■" in the first column is likely a mistake for "■". The right half begins with the twelfth tone "Che" and the fourth category of the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", and "○ ○ ○ Qie". Below these, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked as "● ● ● ●". By this point, the ten tones of the rising tone have each been sung once with their correct pronunciation, and the twelve clear tones have each been harmonized once with their correct sound. The entire sound and harmony diagram from the "Observing Things" section is now fully derived. In total, there are seven rising tones, each with 152 phonetic uses, totaling 1,064; and twelve clear tones, each with 112 harmonic sounds, totaling 1,344. The numbers mentioned in the two columns of small notes at the beginning of the section are now all reflected in the diagram.