Observing Things Chapter 42 · Sounds and Harmonies Diagram (When the moon and the day are in the upper position, the sound is high and clear; when fire and stone produce sound, it is low and thick)

月辰聲上翕 火石音發濁；每永允○水 牙貌萬排覃；虎○●●● 犖才□□崇茶；月辰聲七，下唱地之 火石音十二，上和天；用音一百五十二，是 之用聲一百一十一， 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。 月辰聲上之四翕 火石音發之四濁。

This section is still divided into two columns. The left column, "Moon and Day Sound Upper Tone 'Xī'", refers to the ten categories of standard tones, specifically the upper tone group in the fourth row, which corresponds to the closed mouth sound "Xī". The right column, "Fire and Stone Sound 'Dú'", refers to the twelve categories of standard sounds, specifically the "Fa" group in the fourth row, which corresponds to the "Dú" tone. Below these, two rows list their respective representative characters: the ten sounds of the upper tone "Xī" are each, yǒng, yǔn, empty, shuǐ, hǔ, empty, black dot, black dot, black dot; the twelve sounds of the浊 tone, the first sound has no character to represent it, so the original text only lists the characters ya, mào, wàn, pái, tán, luò, cái, empty, empty, chóng, chá, omitting the first "empty" character, and when reading, the number should be completed to twelve. Below this, there are small notes for reading both columns together: the left column reads as "Moon and Day Sound Seven, below singing the use of sound one hundred fifty-two, this is called the upper tone 'Xī' sound, upper tone 'Xī' sound one thousand six hundred forty"; the right column reads as "Fire and Stone Sound Twelve, above harmonizing with the use of sound one hundred eleven, this is called the浊 sound,浊 sound one thousand three hundred forty-four"—note that twelve multiplied by one hundred eleven gives one thousand three hundred forty-four, so "one hundred eleven" should be "one hundred twelve", but the original text is retained as is. The last line, "Moon and Day Sound Upper Four 'Xī'" and "Fire and Stone Sound Fa Four 'Dú'", indicates that the following tables all belong to the fourth category. The upper tone 'Xī' and the upper tone 'Pì' from the previous section both belong to the upper tone, but they differ in that one is "Pì" (open mouth) and the other is "Xī" (closed mouth), so their tone positions are the same but the sounds they represent are different; the浊 sound and the清 sound both belong to the "Fa" position, but they differ in that one is clear and the other is浊, so their sound positions are the same but the sounds they represent are different. The four categories are paired together, and only then do the standard tones and standard sounds fully cover all possibilities.

上聲翕唱呂四之一 發音濁和律四之一；古甲九癸每每每每 □□□□多可個舌；一音 □□近揆每每每每 一音 □□□□禾火化八；一聲 坤巧丘棄每每每每 一聲 □□□□開宰愛○；□□乾蚪每每每每 □□□□回每退○；黑花香血每每每每 □□□□良兩向○；二音 黃華雄賢每每每每 一音 □□□□光廣況○；一聲 五瓦仰□每每每每 二聲 □□□□丁井亙○；吾牙月堯每每每每 □□□□兄永瑩○；安亞乙一每每每每 □□□□千典旦○；三音 □爻壬寅每每每每 一音 □□□□元犬半○；一聲 母馬美米每每每每 三聲 □□□□臣引艮○；目貌眉民每每每每 □□□□君允巽○；夫法□飛每每每每 □□□□刀早孝嶽；四音 父凡□吠每每每每 一音 □□□□毛寶報霍；一聲 武晚□尾每每每每 四聲 □□□□牛斗奏六；文萬□未每每每每 □□□□○○○玉。

"The upper tone 'every' is sung in the first tone of the upper tone 'every' throughout, with 'every every every' added at the end of each line; 'the tone is thick and harmonized with the law of the fourth tone,' which should be harmonized with the first tone's thick sound, but since the position of the first tone's fourth level '□□Qian Tu' has no character, the right half can only be prefixed with '□□□□'. The left half lists the four levels of the first tone in order: 'Ancient Jia Ji Gui', '□□Near Kui', 'Kun Qiao Qiu Qi', '□□Qian Tu'; the four levels of the second tone: 'Black Flower Fragrant Blood', 'Yellow Flower Strong Virtue', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the four levels of the third tone: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mother Ma Mei Mi', 'Eye Mao Mei Min'; the four levels of the fourth tone: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The right half lists the four levels of the first tone: 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○'; the four levels of the second tone: 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○'; the four levels of the third tone: 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the four levels of the fourth tone: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'. The 'every' being sung is exactly the first tone's fourth level 'Hui Mei Tui ○' of the upper tone. Although the first tone's harmonized sound has no character to cite, its position cannot be missing, so the 'Harmonizing the Law of the Fourth Tone' is still established as a table, listed alongside the following eleven tables; this is the same format as the previous article's ninth and tenth tones, which use '□' as the heading. The two lines on the left '□□Near Kui' and '□□Qian Tu' have no characters for the opening and initial positions but have characters for the closing and final positions, which is the same principle."

卜百丙必每每每每 □□□□妻子四日；五音 步白備鼻每每每每 一音 □□□□衰○帥骨；一聲 普撲品匹每每每每 五聲 □□□□○○○德；旁排平瓶每每每每 □□□□龜水貴北；東丹帝■每每每每 □□□□宮孔眾○；六音 兌大弟■每每每每 一音 □□□□龍甬用○；一聲 土貪天■每每每每 六聲 □□□□魚鼠去○；同覃田■每每每每 □□□□烏虎兔○；乃你女■每每每每 □□□□心審禁○；七音 內南年■每每每每 一音 □□□□○○○十；一聲 老冷呂■每每每每 七聲 □□□□男坎欠○；鹿犖離■每每每每 □□□□○○○妾；走哉足■每每每每 □□□□●●●●；八音 自在匠■每每每每 一音 □□□□●●●●；一聲 草采七■每每每每 八聲 □□□□●●●●；曹才全■每每每每 □□□□●●●●。

Each line continues with the following rhyme patterns. 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 fourth column below the sixth tone is marked with "■", indicating a closed position with no sound. The right half still harmonizes with the empty positions of the first tone "□□□□", and is sequentially paired with the four categories of the fifth tone "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 eighth tone includes four lines "●●●●". The rising tone (shang sheng) is similar to the falling tone (bu sheng), having sound positions only in the first seven tones, and none in the eighth tone and beyond. Therefore, the beginning refers to "Yue Chen Sheng Qi", which matches the number of the falling tone. Divided into four categories, the seventh tone "Nai Ni Nu ■" has "Nai" as the opening, "Ni" as the onset, and "Nu" as the closing. The eighth tone "Zou Zai Zu ■" has "Zou" as the opening, "Zai" as the onset, and "Zu" as the closing, with both tones having the closed position marked as "■". On the right side, "Zi Qi Si Ri" includes all four categories of level, rising, falling, and entering tones. "Shuai ○ Shuai Gu" lacks the rising tone category, and "○○○ De" only retains the entering tone character "De".

思三星■每每每每 □□□□●●●●；九音 寺□象■每每每每 一音 □□□□●●●●；一聲 □□□■每每每每 九聲 □□□□●●●●；□□□■每每每每 □□□□●●●●；■山手■每每每每 □□□□●●●●；十音 ■士石■每每每每 一音 □□□□●●●●；一聲 ■□耳■每每每每 十聲 □□□□●●●●；■□二■每每每每 □□□□●●●●；發音濁和律四之二；■莊震■每每每每 牙牙牙牙多可個舌；十一音 ■乍□■每每每每 二音 牙牙牙牙禾火化八；一聲 ■叉赤■每每每每 一聲 牙牙牙牙開宰愛○；■崇辰■每每每每 牙牙牙牙回每退○；■卓中■每每每每 牙牙牙牙良兩向○；十二音 ■宅直■每每每每 二音 牙牙牙牙光廣況○；一聲 ■坼丑■每每每每 二聲 牙牙牙牙丁井亙○；■茶呈■每每每每 牙牙牙牙兄永瑩○。

The left half column lists the last four sounds of the posterior part of the diagram of correct tones: the ninth sound includes 「Si San Xing ■」, 「Si □ Xiang ■」, 「□ □ □ ■」, 「□ □ □ ■」; the tenth sound includes 「■ Shan Shou ■」, 「■ Shi Shi ■」, 「■ □ Er ■」, 「■ □ Er ■」; the eleventh sound includes 「■ Zhuang Zhen ■」, 「■ Zha □ ■」, 「■ Cha Chi ■」, 「■ Chong Chen ■」; the twelfth sound includes 「■ Zhuo Zhong ■」, 「■ Zhai Zhi ■」, 「■ Che Chou ■」, 「■ Cha Cheng ■」. The final sound is recorded as 「■ Che Chou ■」 in the bottom version, while elsewhere it is written as 「■ Che Chou ■」, with 「坼」 and 「拆」 being the same character written differently. The tone sung remains the first tone 「Mei」. The first eight lines of the right half column are the empty positions for the first tone, paired with the ninth and tenth tones. Since these two tones have no positions, they are written together as 「●●●●」. Afterwards, it starts with 「发音浊和律四之二」, changing to the second tone 「Ya」: 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, 「Hui Mei Tui ○」 are the first tone of four levels, 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Gen ○」, 「Xiong Yong Ying ○」 are the second tone of four levels. 「Ya」 refers to the position of the fourth level of the second tone 「Wu Ya Yue Yao」. The line 「Wu Ya Yue Yao」 belongs to the fourth level of the second tone, with 「Wu」 in the opening position, 「Ya」 in the initial position, 「Yue」 in the closing position, and 「Yao」 in the final position, all four positions being complete. In the previous text, the clear tone took the third level 「Wu Wa Yang □」 and named it 「Wa」; in this text, the浊 tone takes the fourth level's position and is named 「Ya」. Comparing the two, the difference between clear and浊 tones lies in the row being third or fourth.

上聲翕唱呂四之二；古甲九癸永永永永 牙牙牙牙千典旦○；一音 □□近揆永永永永 二音 牙牙牙牙元犬半○；二聲 坤巧丘棄永永永永 三聲 牙牙牙牙臣引艮○；□□乾蚪永永永永 牙牙牙牙君允巽○；黑花香血永永永永 牙牙牙牙刀早孝嶽；二音 黃華雄賢永永永永 二音 牙牙牙牙毛寶報霍；二聲 五瓦仰□永永永永 四聲 牙牙牙牙牛斗奏六；吾牙月堯永永永永 牙牙牙牙○○○玉；安亞乙一永永永永 牙牙牙牙妻子四日；三音 □爻壬寅永永永永 二音 牙牙牙牙衰○帥骨；二聲 母馬美米永永永永 五聲 牙牙牙牙○○○德；目貌眉民永永永永 牙牙牙牙龜水貴北；夫法□飛永永永永 牙牙牙牙宮孔眾○；四音 父凡□吠永永永永 二音 牙牙牙牙龍甬用○；二聲 武晚□尾永永永永 六聲 牙牙牙牙魚鼠去○；文萬□未永永永永 牙牙牙牙烏虎兔○。

"Upper tone with rising and singing the second tone 'Yong' throughout, using the second tone 'Yong' to chant the correct sound, with 'Yong Yong Yong Yong' at the end of each line; 'Yong' refers to the second tone fourth category 'Xiong Yong Ying ○' of the upper tone. The positions of the sounds sung remain the first sound 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu', the second sound 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', the third sound 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min', the fourth sound 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The right half continues with the second sound 'Ya' and adds the third tone fourth category 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○', the fourth tone fourth category 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu', the fifth tone fourth category 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei', the sixth tone fourth category 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'. The upper tone selects the third line for each tone, and the upper tone with rising selects the fourth line for each tone, so even though they are the same second tone, one table is named 'Jing' (from 'Ding Jing Geng ○'), and another table is named 'Yong' (from 'Xiong Yong Ying ○'): although both are upper tones, they differ in their opening and closing, and the characters used are divided into two parts."

卜百丙必永永永永 牙牙牙牙心審禁○；五音 步白備鼻永永永永 二音 牙牙牙牙○○○十；二聲 普撲品匹永永永永 七聲 牙牙牙牙男坎欠○；旁排平瓶永永永永 牙牙牙牙○○○妾；東丹帝■永永永永 牙牙牙牙●●●●；六音 兌大弟■永永永永 二音 牙牙牙牙●●●●；二聲 土貪天■永永永永 八聲 牙牙牙牙●●●●；同覃田■永永永永 牙牙牙牙●●●●；乃你女■永永永永 牙牙牙牙●●●●；七音 內南年■永永永永 二音 牙牙牙牙●●●●；二聲 老冷呂■永永永永 九聲 牙牙牙牙●●●●；鹿犖離■永永永永 牙牙牙牙●●●●；走哉足■永永永永 牙牙牙牙●●●●；八音 自在匠■永永永永 二音 牙牙牙牙●●●●；二聲 草采七■永永永永 十聲 牙牙牙牙●●●●；曹才全■永永永永 牙牙牙牙●●●●。

The character "yǒng" (永) is sung in harmony with "yá" (牙). The fifth tone includes "bǔ bǎi bǐng bì", "bù bái bèi bí", "pǔ pū pǐn pǐ", "páng pái píng píng". The sixth tone includes "dōng dān dì ■", "duì dà dì ■", "tǔ tān tiān ■", "tóng tán tián ■". The seventh tone includes "nǎi nǐ nǚ ■", "nèi nán nián ■", "lǎo lěng lǚ ■", "lù luò lí ■". The eighth tone includes "zǒu zāi zú ■", "zì zài jiàng ■", "cǎo cǎi qī ■", "cáo cái quán ■". Each line ends with "yǒng yǒng yǒng yǒng". On the right side, the fourth category of the seventh tone is listed as "xīn shěn jìn ○", "○○○ shí", "nán kǎn qiàn ○", "○○○ qiè". Below this, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked with "●●●●". The second tone "yá" (牙) table is now complete. On the left side, the fourth category of the second tone "wú yá yuè yáo" corresponds to the position of the character "yá" (牙). On the right side, the fourth category of the second tone "xiōng yǒng yíng ○" corresponds to the position of the character "yǒng" (永). The singer and the harmonizer each have their own basis, which can be verified step by step. The three lines below the eighth tone are all filled with "●", following the same pattern as the previous text. This shows that regardless of the type of tone, the rising tone only goes up to the seventh tone. On the left side, "cáo cái quán ■" has "cáo kāi", "cái fā", "quán shōu", with no sound at the closed position. The "cái" (才) at the open position is the basis for the eighth tone in the following text.

發音濁和律四之三；思三星■永永永永 貌貌貌貌多可個舌；九音 寺□象■永永永永 三音 貌貌貌貌禾火化八；二聲 □□□■永永永永 一聲 貌貌貌貌開宰愛○；□□□■永永永永 貌貌貌貌回每退○；■山手■永永永永 貌貌貌貌良兩向○；十音 ■士石■永永永永 三音 貌貌貌貌光廣況○；二聲 ■□耳■永永永永 二聲 貌貌貌貌丁井亙○；■□二■永永永永 貌貌貌貌兄永瑩○；■莊震■永永永永 貌貌貌貌千典旦○；十一音 ■乍□■永永永永 三音 貌貌貌貌元犬半○；二聲 ■叉赤■永永永永 三聲 貌貌貌貌臣引艮○；■崇辰■永永永永 貌貌貌貌君允巽○；■卓中■永永永永 貌貌貌貌刀早孝嶽；十二音 ■宅直■永永永永 三音 貌貌貌貌毛寶報霍；二聲 ■拆丑■永永永永 四聲 貌貌貌貌牛斗奏六；■茶呈■永永永永 貌貌貌貌○○○玉。

"A tone with a heavy sound and the fourth level of the fourth tone" starts a new section, and the right table is changed to use the third tone "Mao" as the upper tone, with each line prefixed by "MaoMaoMaoMao"; "Mao" refers to the first category of the fourth level of the third tone "MuMaoMeiMin". The left half still belongs to the table sung by "Yong", listing the last four tones of the correct tone diagram: the ninth tone "SiSanXing■", "Si□Xiang■", "□□□■", "□□□■", the tenth tone "■ShanShou■", "■ShiShi■", "■□Er■", "■□Er■", the eleventh tone "■ZhuangZhen■", "■Zha□■", "■ChaChi■", "■ChongChen■", the twelfth tone "■ZhuoZhong■", "■ZhaiZhi■", "■ChaiChou■", "■ChaCheng■". The right half starts with the first tone: "DuKeGeShe", "HeHuOHuaba", "KaiZaiAi○", "HuiMeiTui○"; the second tone: "LiangLiangXiang○", "GuangGuangKuang○", "DingJingGeng○", "XiongYongYing○"; the third tone: "QianDianDan○", "YuanQuanBan○", "ChenYinGen○", "JunYunXun○"; the fourth tone: "DaoZaoXiaoYue", "MaoBaoBaoHuo", "NiuDouZouLiu", "○○○Yu". The four levels of the third tone are "AnYiaYiYi", "□YaoRenYin", "MuMaMeiMi", "MuMaoMeiMin". For clear tones, the first category of the third level is taken as "Ma"; for heavy tones, the first category of the fourth level is taken as "Mao"; the previous section used "Ma", and this section uses "Mao", which are both from the third tone but belong to clear and heavy tones respectively, most clearly showing the strictness of the diagram example.

上聲翕唱呂四之三；古甲九癸允允允允 貌貌貌貌妻子四日；一音 □□近揆允允允允 三音 貌貌貌貌衰○帥骨；三聲 坤巧丘棄允允允允 五聲 貌貌貌貌○○○德；□□乾蚪允允允允 貌貌貌貌龜水貴北；黑花香血允允允允 貌貌貌貌宮孔眾○；二音 黃華雄賢允允允允 三音 貌貌貌貌龍甬用○；三聲 五瓦仰□允允允允 六聲 貌貌貌貌魚鼠去○；吾牙月堯允允允允 貌貌貌貌烏虎兔○；安亞乙一允允允允 貌貌貌貌心審禁○；三音 □爻壬寅允允允允 三音 貌貌貌貌○○○十；三聲 母馬美米允允允允 七聲 貌貌貌貌男坎欠○；目貌眉民允允允允 貌貌貌貌○○○妾；夫法□飛允允允允 貌貌貌貌●●●●；四音 父凡□吠允允允允 三音 貌貌貌貌●●●●；三聲 武晚□尾允允允允 八聲 貌貌貌貌●●●●；文萬□未允允允允 貌貌貌貌●●●●。

The phrase 「上声翕唱吕四之三」 is changed to the third tone 「允」, which is sung throughout in the correct pronunciation; at the end of each line, it is written as 「允允允允」. 「允」 refers to the first category of the third tone, 「君允巽○」. The listed entries remain 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」, and the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right side continues with the third tone 「貌」 and adds the fourth category of the fifth tone 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」, the fourth category of the sixth tone 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」, the fourth category of the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and the fourth category of the eighth tone 「●●●●」. The left table remains unchanged in its phonetic positions, while the right table shifts its tone positions with each table. The two tables interweave, allowing the calculation of the numbers of all sounds in the world. 「君允巽○」 belongs to the fourth category of the third tone; 「君」 is level tone, 「允」 is rising tone, 「巽」 is falling-rising tone, and the entering tone category has no character, hence it is written as 「○」. The rising tone is taken from 「允」, so the third tone is represented by 「允」. On the left, 「五瓦仰□」 has no character in the closed position, and it is also written as 「□」. These two types of omissions belong to the tone chart and the phonetic chart respectively, and the symbols cannot be used interchangeably.

卜百丙必允允允允 貌貌貌貌●●●●；五音 步白備鼻允允允允 三音 貌貌貌貌●●●●；三聲 普撲品匹允允允允 九聲 貌貌貌貌●●●●；旁排平瓶允允允允 貌貌貌貌●●●●；東丹帝■允允允允 貌貌貌貌●●●●；六音 兌大弟■允允允允 三音 貌貌貌貌●●●●；三聲 土貪天■允允允允 十聲 貌貌貌貌●●●●；同覃田■允允允允 貌貌貌貌●●●●；發音濁和律四之四；乃你女■允允允允 萬萬萬萬多可個舌；七音 內南年■允允允允 四音 萬萬萬萬禾火化八；三聲 老冷呂■允允允允 一聲 萬萬萬萬開宰愛○；鹿犖離■允允允允 萬萬萬萬回每退○；走哉足■允允允允 萬萬萬萬良兩向○；八音 自在匠■允允允允 四音 萬萬萬萬光廣況○；三聲 草采七■允允允允 二聲 萬萬萬萬丁井亙○；曹才全■允允允允 萬萬萬萬兄永瑩○。

This passage is divided into two parts. The phonetic chart on the left first presents the fifth tone with the sounds 「Bo 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 「Yun」 for singing. In between, the section 「Phonetic浊 and Harmonic Law Four of Four」 is inserted. On the right side, the chart changes to use the fourth tone 「Wan」, and after that, the left side continues with the seventh tone 「Nai Ni Nu ■」, 「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 the third tone 「Mao」 paired with the ninth and tenth tones, while the second tone has no position and is marked as 「●●●●」. After changing the section, 「Wan」 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 ○」. 「Wan」 refers to the fourth tone's fourth category 「Wen Wan □ Wei」, which has no character, so it is marked as 「□」. The fourth tone's four categories 「Fu Fa □ Fei」, 「Fu Fan □ Fei」, 「Wu Wan □ Wei」, and 「Wen Wan □ Wei」 all have the same ending position marked as 「□」, indicating that although the ending position exists, there is no character to be cited. Clear sounds take the third category's position 「Wan」, while浊 sounds take the fourth category's position 「Wan」, which correspond in order.

思三星■允允允允 萬萬萬萬千典旦○；九音 寺□象■允允允允 四音 萬萬萬萬元犬半○；三聲 □□□■允允允允 三聲 萬萬萬萬臣引艮○；□□□■允允允允 萬萬萬萬君允巽○；■山手■允允允允 萬萬萬萬刀早孝嶽；十音 ■士石■允允允允 四音 萬萬萬萬毛寶報霍；三聲 ■□耳■允允允允 四聲 萬萬萬萬牛斗奏六；■□二■允允允允 萬萬萬萬○○○玉；■莊震■允允允允 萬萬萬萬妻子四日；十一音 ■乍□■允允允允 四音 萬萬萬萬衰○帥骨；三聲 ■叉赤■允允允允 五聲 萬萬萬萬○○○德；■崇辰■允允允允 萬萬萬萬龜水貴北；■卓中■允允允允 萬萬萬萬宮孔眾○；十二音 ■宅直■允允允允 四音 萬萬萬萬龍甬用○；三聲 ■拆丑■允允允允 六聲 萬萬萬萬魚鼠去○；■茶呈■允允允允 萬萬萬萬烏虎兔○。

The character "允" is sung in harmony with "万" in the continuation. The chart lists the following four sounds after the ninth tone: ninth tone "思三星■", "寺□象■", "□□□■", "□□□■"; tenth tone "■山手■", "■士石■", "■□耳■", "■□二■"; eleventh tone "■庄震■", "■乍□■", "■叉赤■", "■崇辰■"; twelfth tone "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The right half begins with the fourth tone "万" in harmony, followed by 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 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○". In the third tone and fourth tone of the right chart, "君允巽○" contains "允," which is exactly the sound sung in the left chart. The headings in the chart correspond with the characters within, showing that this chart forms a self-contained system of derivation. "文万□未" means "文" opens, "万" starts, "未" closes, and there is no character at the end; "■崇辰■" has neither opening nor closing, leaving only "崇" and "辰." On the right, "乌虎兔○" has "乌" as a level tone, "虎" as a rising tone, and "兔" as a departing tone, with the入声 (entering tone) missing. Among these, "虎" corresponds to the sixth tone of the rising tone, and it is used to sing the correct tones throughout the following text.

上聲翕唱呂四之四；古甲九癸○○○○ 萬萬萬萬心審禁○；一音 □□近揆○○○○ 四音 萬萬萬萬○○○十；四聲 坤巧丘棄○○○○ 七聲 萬萬萬萬男坎欠○；□□乾蚪○○○○ 萬萬萬萬○○○妾；黑花香血○○○○ 萬萬萬萬●●●●；二音 黃華雄賢○○○○ 四音 萬萬萬萬●●●●；四聲 五瓦仰□○○○○ 八聲 萬萬萬萬●●●●；吾牙月堯○○○○ 萬萬萬萬●●●●；安亞乙一○○○○ 萬萬萬萬●●●●；三音 □爻壬寅○○○○ 四音 萬萬萬萬●●●●；四聲 母馬美米○○○○ 九聲 萬萬萬萬●●●●；目貌眉民○○○○ 萬萬萬萬●●●●；夫法□飛○○○○ 萬萬萬萬●●●●；四音 父凡□吠○○○○ 四音 萬萬萬萬●●●●；四聲 武晚□尾○○○○ 十聲 萬萬萬萬●●●●；文萬□未○○○○ 萬萬萬萬●●●●。

The "upper tone" (上声) "Xī" (翕) sings the fourth tone, but the fourth tone of "Xī" has a position but no character, so no character is written at the end, only four grids marked as "○○○○". The sung tones remain the first tone "Gǔ Jiǎ Jiǔ Guǐ", "□□ Jìn Kuí", "Kūn Qiǎo Qiū Qì", "□□ Qián Yóu", 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", and the fourth tone "Fū Fǎ □ Fēi", "Fù Fán □ Fèi", "Wǔ Wǎn □ Wěi", "Wén Wàn □ Wèi". The right half still continues with the fourth tone "Wàn", and the seventh tone is combined with it, first listing the four levels of the seventh tone "Xīn Shěn Jìn ○", "○○○ Shí", "Nán Kǎn Qiàn ○", "○○○ Jiè", followed by the eighth, ninth, and thirteenth tones, totaling twelve lines all marked as "●●●●". Among the ten tones of the "upper tone" (上声) "Xī" (翕), the fourth tone and the seventh tone have positions but no characters, while the eighth tone and below have neither positions nor characters. Therefore, only seven tones are actually used, consistent with the statement "month and day tones seven". The fifth tone of "Pì" (辟) has no character, and the fourth and seventh tones of "Xī" (翕) also have no characters, even though their positions differ, they both fall under the category of having positions but no characters. As for the eighth, ninth, and thirteenth tones, both texts mark them as "●", meaning they have neither positions nor characters. The empty positions are divided into two categories, which is the key to the counting in this diagram.

發音濁和律四之五；卜百丙必○○○○ 排排排排多可個舌；五音 步白備鼻○○○○ 五音 排排排排禾火化八；四聲 普撲品匹○○○○ 一聲 排排排排開宰愛○；旁排平瓶○○○○ 排排排排回每退○；東丹帝■○○○○ 排排排排良兩向○；六音 兌大弟■○○○○ 五音 排排排排光廣況○；四聲 土貪天■○○○○ 二聲 排排排排丁井亙○；同覃田■○○○○ 排排排排兄永瑩○；乃你女■○○○○ 排排排排千典旦○；七音 內南年■○○○○ 五音 排排排排元犬半○；四聲 老冷呂■○○○○ 三聲 排排排排臣引艮○；鹿犖離■○○○○ 排排排排君允巽○；走哉足■○○○○ 排排排排刀早孝嶽；八音 自在匠■○○○○ 五音 排排排排毛寶報霍；四聲 草采七■○○○○ 四聲 排排排排牛斗奏六；曹才全■○○○○ 排排排排○○○玉。

A separate section is established for "sound with浊 and law four of five," with the right table revised to use the fifth tone "排" (pai) as the upper and lower harmony. Each line is prefixed with "排排排排." "排" refers to the first position of the fourth grade of the fifth tone "旁排平瓶." The left half still consists of the fourth tone, which has no characters, so the end of each line remains four "○." The listed entries are for the fifth tone: "卜百丙必," "步白备鼻," "普扑品匹," "旁排平瓶," the sixth tone: "东丹帝■," "兑大弟■," "土贪天■," "同覃田■," the seventh tone: "乃你女■," "内南年■," "老冷吕■," "鹿荦离■," and the eighth tone: "走哉足■," "自在匠■," "草采七■," "曹才全■." The right half starts 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○," and the fourth tone: "刀早孝岳," "毛宝报霍," "牛斗奏六," "○○○玉." The line "旁排平瓶" includes four positions: "旁开," "排发," "平收," and "瓶闭," making it one of the most complete tones among the twelve. In the previous section, the clear sound took the third grade "普扑品匹" as its position and was named "扑," while in this section, the dull sound takes the fourth grade's position and is named "排," which corresponds exactly to the previous one.

思三星■○○○○ 排排排排妻子四日；九音 寺□象■○○○○ 五音 排排排排衰○帥骨；四聲 □□□■○○○○ 五聲 排排排排○○○德；□□□■○○○○ 排排排排龜水貴北；■山手■○○○○ 排排排排宮孔眾○；十音 ■士石■○○○○ 五音 排排排排龍甬用○；四聲 ■□耳■○○○○ 六聲 排排排排魚鼠去○；■□二■○○○○ 排排排排烏虎兔○；■莊震■○○○○ 排排排排心審禁○；十一音 ■乍□■○○○○ 五音 排排排排○○○十；四聲 ■叉赤■○○○○ 七聲 排排排排男坎欠○；■崇辰■○○○○ 排排排排○○○妾；■卓中■○○○○ 排排排排●●●●；十二音 ■宅直■○○○○ 五音 排排排排●●●●；四聲 ■拆丑■○○○○ 八聲 排排排排●●●●；■茶呈■○○○○ 排排排排●●●●。

The fourth tone is sung and the fifth tone's "pai" is harmonized in the continuation line; the fourth tone has a position but no character, so only four "○" are written at the end of the left half. The diagram 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 starts with "pai" harmonizing the fourth level of the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei", then the fourth levels of the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the fourth levels of the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie", and the fourth lines of the eighth tone "● ● ● ●". The "Shui" in the fourth level of the fifth tone "Gui Shui Gui Bei" is exactly the heading of the fifth tone in the next table; the headings in the diagram and the characters within are interrelated, allowing verification at any point while reading. From the ninth tone onwards, the "□" and "■" alternate closely: in "Si □ Xiang ■", there is no character in the initial position and no sound in the closing position; in "■ □ Er ■", there is no sound at both the opening and closing ends and no character in the initial position, leaving only the "Er" in the closing position to produce sound. Both types of omissions appear within the same line, requiring careful distinction through the symbols.

上聲翕唱呂四之五；古甲九癸水水水水 排排排排●●●●；一音 □□近揆水水水水 五音 排排排排●●●●；五聲 坤巧丘棄水水水水 九聲 排排排排●●●●；□□乾蚪水水水水 排排排排●●●●；黑花香血水水水水 排排排排●●●●；二音 黃華雄賢水水水水 五音 排排排排●●●●；五聲 五瓦仰□水水水水 十聲 排排排排●●●●；吾牙月堯水水水水 排排排排●●●●；發音濁和律四之六；安亞乙一水水水水 覃覃覃覃多可個舌；三音 □爻壬寅水水水水 六音 覃覃覃覃禾火化八；五聲 母馬美米水水水水 一聲 覃覃覃覃開宰愛○；目貌眉民水水水水 覃覃覃覃回每退○；夫法□飛水水水水 覃覃覃覃良兩向○；四音 父凡□吠水水水水 六音 覃覃覃覃光廣況○；五聲 武晚□尾水水水水 二聲 覃覃覃覃丁井亙○；文萬□未水水水水 覃覃覃覃兄永瑩○。

The phrase "上声翕唱吕四之五" is changed to use the fifth tone "water" for the entire chant, with the end of each line written as "water water water water"; "water" refers to the first category of the fifth tone, fourth class "turtle water noble north." On the left side, the first sound "ancient Jia ninth Gui" "□□ near揆" "Kun skill mountain discard" "□□ Heaven tadpole" and the second sound "black flower fragrant blood" "yellow flower strong virtuous" "five wa upward □" "I tooth moon Yao" are listed first. In the middle, the section "sound emission turbid harmony law four six" is inserted. On the right side, the table is changed to use the sixth sound "Tan" for the upper tone, and after changing the section, the left table continues with the third sound "safe Ya Yi one" "□ yao Ren Yin" "mother horse beautiful rice" "eye appearance eyebrow people" and the fourth sound "husband law □ fly" "father all □ bark" "Wu late □ tail" "Wen ten □ not." The first eight lines on the right side are the fifth sound "pai" paired with the ninth and tenth tones, while the second tone has no position and is all marked as "●●●●." After changing the section, "Tan" starts from the first tone, listing "more can individual tongue" "husk fire change eight" "open administrator love ○" "return every retreat ○" and the second tone "good two direction ○" "light broad condition ○" "Ding well constant ○" "brother long bright ○." "Tan" refers to the first category of the sixth tone, fourth class "same Tan field ■" which is the sound position category. Since this class has no sound, the last position is marked as "■." Among the ten tones of the upper sound, the first, second, and third tones have characters, the fourth tone has a position but no character, the fifth and sixth tones have characters again, the seventh tone is missing, and from the eighth tone onwards, there are positions but no characters: the presence and absence alternate, yet the positions remain orderly, which is the fundamental principle of this diagram.

卜百丙必水水水水 覃覃覃覃千典旦○；五音 步白備鼻水水水水 六音 覃覃覃覃元犬半○；五聲 普撲品匹水水水水 三聲 覃覃覃覃臣引艮○；旁排平瓶水水水水 覃覃覃覃君允巽○；東丹帝■水水水水 覃覃覃覃刀早孝嶽；六音 兌大弟■水水水水 六音 覃覃覃覃毛寶報霍；五聲 土貪天■水水水水 四聲 覃覃覃覃牛斗奏六；同覃田■水水水水 覃覃覃覃○○○玉；乃你女■水水水水 覃覃覃覃妻子四日；七音 內南年■水水水水 六音 覃覃覃覃衰○帥骨；五聲 老冷呂■水水水水 五聲 覃覃覃覃○○○德；鹿犖離■水水水水 覃覃覃覃龜水貴北；走哉足■水水水水 覃覃覃覃宮孔眾○；八音 自在匠■水水水水 六音 覃覃覃覃龍甬用○；五聲 草采七■水水水水 六聲 覃覃覃覃魚鼠去○；曹才全■水水水水 覃覃覃覃烏虎兔○。

The character "water" sings in harmony with "Tan" and continues below. The correct pronunciation chart lists 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 ■", with each ending marked by "water water water water". On the right side, starting from the sixth tone "Tan", it harmonizes upward, successively listing 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", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", and the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The sixth tone fourth category "Tong Tan Tian ■" on the left includes "Tan", which is the basis of the heading on the right. The fifth tone fourth category "Gui Shui Gui Bei" on the right includes "Shui", which is the sound sung on the left. Within one diagram, the singer and the harmonizer complement each other sufficiently without needing external sources. The fifth tone "Bu Bai Bing Bi" has all four categories complete, while from the sixth tone onwards, the closed positions gradually show "■". Among the four tones on the right, only the line "○○○ Yu" is missing three characters, while the rest are largely complete. The left chart becomes increasingly sparse as it progresses, while the right chart becomes more dense as it moves forward, with both sides interweaving yet maintaining order.

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

The element of water sings in harmony with the sound "Tan" to conclude. The chart of correct pronunciations lists the last four sounds: the ninth sound "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth sound "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■"; the eleventh sound "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■"; the twelfth sound "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". On the right side, the fourth tone of the seventh sound is listed first as "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie". Below this, the eighth, ninth, and thirteenth sounds, totaling twelve rows, are all marked as "● ● ● ●". The chart for the sixth sound is thus completed. From the ninth sound onwards, the positions of open or closed sounds are often entirely blank, contrasting with the continuous black circles on the right side of the later three tones, making this the area with the most blank space in the entire chart. However, the positions are still listed one by one, because the number of sounds must be multiplied according to their positions, and cannot be omitted even if there are no characters. The next chart will use the sixth tone "Hu" for singing and the seventh tone "Luo" for harmonizing: "Hu" comes from the fourth tone of the sixth sound "Wu Hu Tu ○" in the rising tone section, and "Luo" comes from the fourth tone of the seventh sound "Lu Luo Li ■" in the initial position section. Both characters can be found in the previously listed rows.

上聲翕唱呂四之六 發音濁和律四之七；古甲九癸虎虎虎虎 犖犖犖犖多可個舌；一音 □□近揆虎虎虎虎 七音 犖犖犖犖禾火化八；六聲 坤巧丘棄虎虎虎虎 一聲 犖犖犖犖開宰愛○；□□乾蚪虎虎虎虎 犖犖犖犖回每退○；黑花香血虎虎虎虎 犖犖犖犖良兩向○；二音 黃華雄賢虎虎虎虎 七音 犖犖犖犖光廣況○；六聲 五瓦仰□虎虎虎虎 二聲 犖犖犖犖丁井亙○；吾牙月堯虎虎虎虎 犖犖犖犖兄永瑩○；安亞乙一虎虎虎虎 犖犖犖犖千典旦○；三音 □爻壬寅虎虎虎虎 七音 犖犖犖犖元犬半○；六聲 母馬美米虎虎虎虎 三聲 犖犖犖犖臣引艮○；目貌眉民虎虎虎虎 犖犖犖犖君允巽○；夫法□飛虎虎虎虎 犖犖犖犖刀早孝嶽；四音 父凡□吠虎虎虎虎 七音 犖犖犖犖毛寶報霍；六聲 武晚□尾虎虎虎虎 四聲 犖犖犖犖牛斗奏六；文萬□未虎虎虎虎 犖犖犖犖○○○玉。

The entries "Upper tone singing with the sixth tone 'Lv Si Liu'" and "Producing a thick and harmonious sound with the seventh tone 'Lv Si Qi'" start on the same line: the left table switches to the sixth tone "Hu" and repeats the correct pronunciation, while the right table switches to the seventh tone "Luo" and harmonizes with the correct sound. "Hu" refers to the first category of the sixth tone and fourth class "Wu Hu Tu Ou", and "Luo" refers to the first category of the seventh tone and fourth class "Lu Luo Li ■". The left column's first tone includes "Gu Jia Ji Gui", "□□ Jin 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", and the fourth tone includes "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", with "Hu Hu Hu Hu" appended at the end of each line. 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 ○", and the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu". Both sides of the table start on the same line because the phonetic table has forty-eight lines and the tone table has forty lines, and the accumulated difference of eight lines coincides here; similarly, the previous entry "Singing Lv San Liu" and "Harmonizing Lv San Qi" also started on the same line for the same reason.

卜百丙必虎虎虎虎 犖犖犖犖妻子四日；五音 步白備鼻虎虎虎虎 七音 犖犖犖犖衰○帥骨；六聲 普撲品匹虎虎虎虎 五聲 犖犖犖犖○○○德；旁排平瓶虎虎虎虎 犖犖犖犖龜水貴北；東丹帝■虎虎虎虎 犖犖犖犖宮孔眾○；六音 兌大弟■虎虎虎虎 七音 犖犖犖犖龍甬用○；六聲 土貪天■虎虎虎虎 六聲 犖犖犖犖魚鼠去○；同覃田■虎虎虎虎 犖犖犖犖烏虎兔○；乃你女■虎虎虎虎 犖犖犖犖心審禁○；七音 內南年■虎虎虎虎 七音 犖犖犖犖○○○十；六聲 老冷呂■虎虎虎虎 七聲 犖犖犖犖男坎欠○；鹿犖離■虎虎虎虎 犖犖犖犖○○○妾；走哉足■虎虎虎虎 犖犖犖犖●●●●；八音 自在匠■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 草采七■虎虎虎虎 八聲 犖犖犖犖●●●●；曹才全■虎虎虎虎 犖犖犖犖●●●●。

The character "Hu" (虎) sings with "Luo" (荦) and continues. The correct pronunciation 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 ■"; and the eighth tone as "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". On the right side, the fifth tone has "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei"; the sixth tone has "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; the seventh tone has "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie"; and from the eighth tone, all four rows are filled with black circles. The fourth entry of the seventh tone on the left, "Lu Luo Li ■", is exactly where the character "Luo" (荦) comes from, and the fourth entry of the sixth tone on the right, "Wu Hu Tu ○", is exactly where the character "Hu" (虎) comes from. These two appear in the same section and are most convenient to compare. The rising tone has now reached the sixth tone, and only the seventh tone remains with a position but no character. The fifth tone "Bu Bai Bing Bi" has all four entries complete, while from the sixth tone onwards, the closed positions gradually disappear, marking the turning point where the twelve tones shift from complete to incomplete. On the right side, from the eighth tone onwards, the entire row is filled with black circles, marking the turning point where the ten tones shift from existing to non-existing. The density and sparsity of the left and right charts correspond perfectly to form a complete text.

思三星■虎虎虎虎 犖犖犖犖●●●●；九音 寺□象■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 □□□■虎虎虎虎 九聲 犖犖犖犖●●●●；□□□■虎虎虎虎 犖犖犖犖●●●●；■山手■虎虎虎虎 犖犖犖犖●●●●；十音 ■士石■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 ■□耳■虎虎虎虎 十聲 犖犖犖犖●●●●；■□二■虎虎虎虎 犖犖犖犖●●●●；發音濁和律四之八；■莊震■虎虎虎虎 才才才才多可個舌；十一音 ■乍□■虎虎虎虎 八音 才才才才禾火化八；六聲 ■叉赤■虎虎虎虎 一聲 才才才才開宰愛○；■崇辰■虎虎虎虎 才才才才回每退○；■卓中■虎虎虎虎 才才才才良兩向○；十二音 ■宅直■虎虎虎虎 八音 才才才才光廣況○；六聲 ■拆丑■虎虎虎虎 二聲 才才才才丁井亙○；■茶呈■虎虎虎虎 才才才才兄永瑩○。

The left half first lists the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■" together with the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■", still using the sixth tone "Hu" for singing; in the middle, the entry "Fang Yin Zhu He Lu Si Zi Ba" is inserted. The right table then shifts to the eighth tone "Cai" for harmonizing, after which the left table continues with the eleventh tone "■ Zhuang Zhen ■", "■ Zha ■", "■ Cha Chi ■", "■ Chong Chen ■" and the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The first eight lines of the right half are the seventh tone "Luo" paired with the ninth and tenth tones, with two tones having no position, hence marked as "●●●●"; after changing the entry, "Cai" starts from the first tone, listing "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○" together with the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○". "Cai" refers to the fourth category of the eighth tone "Cao Cai Quan ■" for pronunciation, forming a contrast with the previous entry where clear pronunciation took the third category "Cao Cai Qi ■" and was labeled as "Cai". The open and closed positions for the eleventh and twelfth tones are all marked as "■", with the middle two positions either having characters or marked as "□": "■ Zha ■" only has the character "Zha" for pronunciation, while "■ Cha Chi ■" has characters for both the initial and final positions, clearly showing the variation.

上聲翕唱呂四之七；古甲九癸○○○○ 才才才才幹典旦○；一音 □□近揆○○○○ 八音 才才才才元犬半○；七聲 坤巧丘棄○○○○ 三聲 才才才才臣引艮○；□□乾蚪○○○○ 才才才才君允巽○；黑花香血○○○○ 才才才才刀早孝嶽；二音 黃華雄賢○○○○ 八音 才才才才毛寶報霍；七聲 五瓦仰□○○○○ 四聲 才才才才牛斗奏六；吾牙月堯○○○○ 才才才才○○○玉；安亞乙一○○○○ 才才才才妻子四日；三音 □爻壬寅○○○○ 八音 才才才才衰○帥骨；七聲 母馬美米○○○○ 五聲 才才才才○○○德；目貌眉民○○○○ 才才才才龜水貴北；夫法□飛○○○○ 才才才才宮孔眾○；四音 父凡□吠○○○○ 八音 才才才才龍甬用○；七聲 武晚□尾○○○○ 六聲 才才才才魚鼠去○；文萬□未○○○○ 才才才才烏虎兔○。

"The upper tone 'Xī' sings the seventh tone, and the seventh tone of 'Xī' has a position but no character, so the end of the line does not write a character, only '○○○○'. The sung tone positions remain the first tone 'Gǔ Jiā Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Yóu'; 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 harmonized with the eighth tone 'Cái', sequentially the third tone 'Gān Diǎn Dàn ○', 'Yuán Quǎn Bàn ○', 'Chén Yǐn Gèn ○', 'Jūn Yǔn Xùn ○'; the fourth tone 'Dāo Zǎo Xiào Yuè', 'Máo Bǎo Bào Huò', 'Niú Dòu Zòu Liù', '○○○ Yù'; the fifth tone 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'; the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○'; the first of the third tone's top version is 'Gān Diǎn Dàn ○', 'Gān' should be a mistake for 'Qiān', and in other versions it is 'Qiān Diǎn Dàn ○'. In the seventh tone of 'Xī', the fourth tone and the seventh tone both have a position but no character, so the endings of the two tables 'Chàng Lǚ Sì zhī Sì' and 'Chàng Lǚ Sì zhī Qī' both write '○○○○'; these two can only be distinguished by the table purpose 'zhī sì' and 'zhī qī', and cannot be confused due to the same symbols."

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

The seventh tone is followed by the eighth tone "cai" which indicates continuation. The standard 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 nv ■", "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 "○". On the right side, the fourth category of the seventh tone is listed first as "xin shen jin ○", "○○○ shi", "nan kan qian ○", "○○○ qie". Below this, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked as "●●●●". The "○" at the end of the left side lines and the "●" at the end of the right side lines appear in the same line but refer to different things: the "○" indicates that the seventh tone has a position but lacks the character, while the "●" indicates that the eighth tone and below have positions but no characters. This chart clearly distinguishes the two symbols, and readers should pay particular attention. "Cai" is the name for the浊 sound of the eighth tone, taken from the position of "cao cai quan ■"; the clear sound of the same tone position from the previous article, "cai", is taken from the position of "cao cai qi ■". Both characters belong to the eighth tone but are placed in the third and fourth lines respectively, and the distinction between clear and浊 sounds lies here.

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

"A section on the pronunciation of浊 and 律 four, ninth tone" is established separately. In the ninth tone, the浊 sound has a position but no character, so there is no character to serve as a heading. Therefore, the right half of each line can only be prefixed with "□□□□" four characters. The left half still follows the seventh tone, 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■". The right half starts 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○", "君永巽○", the fourth tone: "刀早孝岳", "毛宝报霍", "牛斗奏六", "○○○玉". The last entry of the third tone in the original text is "君永巽○", where "永" is likely a mistake for "允". Since there are no characters for the clear and浊 sounds in the ninth tone, both the previous section "和律三之九" and this section "和律四之九" are marked with "□□□□". Although the tone positions are the same in both tables, the clear and浊 tones differ, and they must be distinguished by the headings "发清" and "发浊" of each section.

上聲翕唱呂四之八；古甲九癸○○○○ □□□□妻子四日；一音 □□近揆○○○○ 九音 □□□□衰○帥骨；八聲 坤巧丘棄○○○○ 五聲 □□□□○○○德；□□乾蚪○○○○ □□□□龜水貴北；黑花香血○○○○ □□□□宮孔眾○；二音 黃華雄賢○○○○ 九音 □□□□龍甬用○；八聲 五瓦仰□○○○○ 六聲 □□□□魚鼠去○；吾牙月堯○○○○ □□□□烏虎兔○；安亞乙一○○○○ □□□□心審禁○；三音 □爻壬寅○○○○ 九音 □□□□○○○十；八聲 母馬美米○○○○ 七聲 □□□□男坎欠○；目貌眉民○○○○ □□□□○○○妾；夫法□飛○○○○ □□□□●●●●；四音 父凡□吠○○○○ 九音 □□□□●●●●；八聲 武晚□尾○○○○ 八聲 □□□□●●●●；文萬□未○○○○ □□□□●●●●。

"The upper tone 'Xī Chàng Lǚ Sì Zhī Bā' refers to the eighth tone. According to the list at the beginning, the upper tone 'Xī' should start from the eighth tone downwards and have no tone positions, and should originally be written as '●●●●'. However, the base text here writes all as '○○○○', differing from the previous entry 'Upper tone 'Pì Chàng Lǚ Sān Zhī Bā'', which suggests a mistake in the printed edition. We still retain the original without alteration. The tones sung are the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huá Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone 'Ān Yà Yǐ Yī', '□ Yáo 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 continues with the ninth tone's empty position '□□□□', and matches it with the fourth level of the fifth tone 'Qīzi Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'; the fourth level of the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○'; the fourth level of the seventh tone 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'; and the eighth tone has all four lines as '●●●●'. The left side of this table writes '○' but actually refers to an empty position, which is an error in the base text. The next table 'Chàng Lǚ Sì Zhī Jiǔ' continues this mistake in the first half, but corrects it to '●' in the second half. When reading and checking, one should refer to the list of ten tones at the beginning of the text, and not doubt that there are different versions due to occasional errors in the table."

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■○○○○ □□□□●●●●；發音濁和律四之十；乃你女■○○○○ □□□□多可個舌；七音 內南年■○○○○ 十音 □□□□禾火化八；八聲 老冷呂■○○○○ 一聲 □□□□開宰愛○；鹿犖離■○○○○ □□□□回每退○；走哉足■○○○○ □□□□良兩向○；八音 自在匠■○○○○ 十音 □□□□光廣況○；八聲 草采七■○○○○ 二聲 □□□□丁井亙○；曹才全■○○○○ □□□□兄永瑩○。

Following the previous table, the left half first lists the fifth tone with the sounds 「Bo 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 ■」, ending each line with 「○○○○」; in the middle, the entry 「Fayin Zhu HeLv Si Zhi Shi」 is inserted. The right table is changed to start with the tenth tone, and since the fourth position of the tenth tone 「■□ Er ■」 has no character, it remains marked as 「□□□□」; afterwards, the left table continues with the seventh tone 「Nai Ni Nü ■」, 「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 first eight lines of the right half are empty positions for the ninth tone, matching the ninth and tenth tones, all marked as 「●●●●」; after changing the section, it starts with the first tone 「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 ○」. Both tables continue with empty positions as headings, which is the most difficult part to distinguish among the twelve tones. Only by the order of 「Si Zhi Ji」 and 「Si Zhi Shi」 can they be differentiated. The sounds in this table have no corresponding positions, and the tones have no corresponding characters; the entire text contains no new characters, relying entirely on the headings and positions to maintain structure. Shao Yong's use of such empty tables demonstrates his intention to ensure that the multiplication of 152 sounds and 112 tones remains complete.

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 chart 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 ■", and the end of the line still has four "○". On the right side, continuing from the harmonization of the tenth tone, the third tone is "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", the fourth tone is "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu", the fifth tone is "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei", the sixth tone is "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The tones sung on the left have no characters, and the tones harmonized on the right also have no characters, yet the forty-eight positions and the forty positions are still neatly arranged, indicating that this chart establishes positions rather than literal characters. In terms of four tones, "Nai Ni Nu ■" is "Nai" (open), "Ni" (initial), "Nu" (closing), "Lü Luo Li ■" is "Lü" (open), "Luo" (initial), "Li" (closing), with both lines having the same closing character "■"; on the right side, "Du Ke Ge She" includes all four tones level, rising, falling, and entering, making it the most complete line in the chart of correct tones, forming a contrast with the left side's absence.

上聲翕唱呂四之九；古甲九癸○○○○ □□□□心審禁○；一音 □□近揆○○○○ 十音 □□□□○○○十；九聲 坤巧丘棄○○○○ 七聲 □□□□男坎欠○；□□乾蚪○○○○ □□□□○○○妾；黑花香血○○○○ □□□□●●●●；二音 黃華雄賢○○○○ 十音 □□□□●●●●；九聲 五瓦仰□○○○○ 八聲 □□□□●●●●；吾牙月堯○○○○ □□□□●●●●；安亞乙一○○○○ □□□□●●●●；三音 □爻壬寅○○○○ 十音 □□□□●●●●；九聲 母馬美米●●●● 九聲 □□□□●●●●；目貌眉民●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 十音 □□□□●●●●；九聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□未●●●● □□□□●●●●。

"The upper tone 'Xī Chàng' (rising tone singing) covers the ninth tone, singing the correct sound throughout. This table is inconsistent in its formatting: the first eleven lines still end with '○○○○', but from the line 'Nine tones, mother horse, beauty rice' onwards, it changes to '●●●●', continuing until the end. According to the ninth tone of 'Xī', there is no corresponding tone position, so using '●' is appropriate. The '○' in the earlier part is likely an error from the previous table; we retain it as is, and readers can judge based on the opening phrase 'Every yǒng yǔn ○ water tiger ○ ●●●●'. The tones sung are the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huá 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 continues from the empty position of the tenth tone, starting with the seventh tone's four categories 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'. Below that, the eighth, ninth, and thirteenth tones each have twelve lines marked as '●●●●'. Since the upper tone 'Xī' has no position from the eighth tone onwards, the three tables 'Chàng Lǚ Sì zhī Bā', 'Sì zhī Jiǔ', and 'Sì zhī Shí' have no characters that can be sung throughout. The three tables are listed separately instead of being combined to complete the ten tones, providing a basis for the number of tones sung and responded to."

發音濁和律四之十一；卜百丙必●●●● 崇崇崇崇多可個舌；五音 步白備鼻●●●● 十一音 崇崇崇崇禾火化八；九聲 普撲品匹●●●● 一聲 崇崇崇崇開宰愛○；旁排平瓶●●●● 崇崇崇崇回每退○；東丹帝■●●●● 崇崇崇崇良兩向○；六音 兌大弟■●●●● 十一音 崇崇崇崇光廣況○；九聲 土貪天■●●●● 二聲 崇崇崇崇丁井旦○；同覃田■●●●● 崇崇崇崇兄永瑩○；乃你女■●●●● 崇崇崇崇千典亙○；七音 內南年■●●●● 十一音 崇崇崇崇元犬半○；九聲 老冷呂■●●●● 三聲 崇崇崇崇臣引艮○；鹿犖離■●●●● 祟崇崇崇君允巽○；走哉足■●●●● 崇崇崇崇刀早孝嶽；八音 自在匠■●●●● 十一音 崇崇崇崇毛寶報霍；九聲 草采七■●●●● 四聲 崇崇崇崇牛斗奏六；曹才全■●●●● 崇崇崇崇○○○玉。

"Phonetic浊and律fourteen of eleven" starts a new section, with the right table changed to use the eleventh tone "Chong" as the upper and lower tone. Each line is prefixed with "Chong Chong Chong Chong"; "Chong" refers to the first position of the fourth level of the eleventh tone "■Chong Chen■". The left half is sung with the ninth tone, 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 ■", the eighth tone "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 Dan ○", "Xiong Yong Ying ○", the third tone "Qian Dian Gen ○", "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". Among these, "Ding Jing Dan ○" should be "Ding Jing Gen ○", and "Qian Dian Gen ○" should be "Qian Dian Dan ○", as the original text mistakenly swapped the characters "Dan" and "Gen". Also, in the section "Chong Chong Chong Chong", the character "Sui" is actually a mistake for "Chong". "Chong" is located at the initial position of the eleventh tone in the correct tone chart, while "Chen" is at the ending position; the beginning and end of this tone have no sound. This tone, along with the twelfth tone, is the most incomplete part of the entire chart, yet their positions are arranged correctly, indicating that the chart's main purpose is to show positions rather than specific characters.

思三星■●●●● 崇崇崇崇妻子四日；九音 寺□象■●●●● 十一音 崇崇崇崇衰○帥骨；九聲 □□□■●●●● 五聲 崇崇崇崇○○○德；□□□■●●●● 崇崇崇崇龜水貴北；■山手■●●●● 崇崇崇崇宮孔眾○；十音 ■士石■●●●● 十一音 崇崇崇崇龍甬用○；九聲 ■□耳■●●●● 六聲 崇崇崇崇魚鼠去○；■□二■●●●● 崇崇崇崇烏虎兔○；■莊震■●●●● 崇崇崇崇心審禁○；十一音 ■乍□■●●●● 十一音 崇崇崇崇○○○十；九聲 ■叉赤■●●●● 七聲 崇崇崇崇男坎欠○；■崇辰■●●●● 崇崇崇崇○○○妾；■卓中■●●●● 崇崇崇崇●●●●；十二音 ■宅直■●●●● 十一音 崇崇崇崇●●●●；九聲 ■拆丑■●●●● 八聲 崇崇崇崇●●●●；■茶呈■●●●● 崇崇崇崇●●●●。

The ninth tone sings, and the eleventh tone 「Chong」 harmonizes with it, continuing the sequence. 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 ■」, and the twelfth tone 「■ Zhuo Zhong ■」「■ Zhai Zhi ■」「■ Che Chou ■」「■ Cha Cheng ■」. On the right side, starting from 「Chong」 above, the fourth level of the fifth tone 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○ ○ ○ De」「Gui Shui Gui Bei」, the fourth level of the sixth tone 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, the fourth level of the seventh tone 「Xin Shen Jin ○」「○ ○ ○ Shi」「Nan Kan Qian ○」「○ ○ ○ Qie」, and up to the eighth tone, all four lines are 「● ● ● ●」. On the left side, the fourth level of the eleventh tone 「■ Chong Chen ■」 corresponds exactly to the heading 「Chong」 on the right side; this tone has neither an opening nor a closing position, only the two characters 「Chong」 and 「Chen」, which are located separately in the starting and ending positions. The ninth tone has no tone position, so the entire left side is filled with black circles; however, the forty-eight positions of the twelve tones are still fully arranged, and the forty positions on the right side are also listed one by one, showing that 「no sound」 does not mean 「no position」, and the positions must be fully occupied to calculate the number.

上聲翕唱呂四之十；古甲九癸●●●● 崇崇祟崇●●●●；一音 □□近揆●●●● 十一音 崇崇崇崇●●●●；十聲 坤巧丘棄●●●● 九聲 崇崇祟崇●●●●；□□乾蚪●●●● 崇崇崇崇●●●●；黑花香血●●●● 崇崇崇崇●●●●；二音 黃華雄賢●●●● 十一音 崇崇崇崇●●●●；十聲 五瓦仰□●●●● 十聲 崇崇崇崇●●●●；吾牙月堯●●●● 崇崇崇崇●●●●；發音濁和律四之十二；安亞乙一●●●● 茶茶茶茶多可個舌；三音 □爻壬寅●●●● 十二音 茶茶茶茶禾火化八；十聲 母馬美米●●●● 一聲 茶茶茶茶開宰愛○；目貌眉民●●●● 茶茶茶茶回每退○；夫法□飛●●●● 茶茶茶茶良兩向○；四音 父凡□吠●●●● 十二音 茶茶茶茶光廣況○；十聲 武晚□尾●●●● 二聲 茶茶茶茶丁井亙○；文萬□未●●●● 茶茶茶茶兄永瑩○。

"The tenth tone is sung throughout with the correct pronunciation, as the tenth tone has no silent position, and the end of the line is marked as '●●●●'. The left half first lists 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'; in between is inserted the section 'Phonation is thick and harmonious with the fourth law of twelve tones'. The right table then changes to the twelfth tone 'Cha' and begins with the first tone, followed by the left table continuing 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 of the right half are the eleventh tone 'Chong' paired with the ninth and tenth tones, all marked as '●●●●', among which 'Chong Chong Sui Chong' appears twice, and 'Sui' is always read as 'Chong'. After changing the section, 'Cha' 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 ○'. 'Cha' refers to the first tone of the fourth category of the twelfth tone '■ Cha Cheng ■'. The section of the eleventh tone 'Chong' for the thick tone and the twelfth tone 'Cha' for the thick tone each take the position of '■ Chong Chen ■' and '■ Cha Cheng ■', respectively; in the previous text, the clear tones took the positions of '■ Cha Chi ■' and '■ Che Chou ■' with the sections 'Yi' and 'Che', respectively, with the four characters paired in pairs, clearly distinguishing between clear and thick tones."

卜百丙必●●●● 茶茶茶茶千典旦○；五音 步白備鼻●●●● 十二音 茶茶茶茶元犬半○；十聲 普撲品匹●●●● 三聲 茶茶茶茶臣引艮○；旁排平瓶●●●● 茶茶茶茶君允巽○；東丹帝■●●●● 茶茶茶茶刀早孝嶽；六音 兌大弟■●●●● 十二音 茶茶茶茶毛寶報霍；十聲 土貪天■●●●● 四聲 茶茶茶茶牛斗奏六；同覃田■●●●● 茶茶茶茶○○○玉；乃你女■●●●● 茶茶茶茶妻子四日；七音 內南年■●●●● 十二音 茶茶茶茶衰○帥骨；十聲 老冷呂■●●●● 五聲 茶茶茶茶○○○德；鹿犖離■●●●● 茶茶茶茶龜水貴北；走哉足■●●●● 茶茶茶茶宮孔眾○；八音 自在匠■●●●● 十二音 茶茶茶茶龍甬用○；十聲 草采七■●●●● 六聲 茶茶茶茶魚鼠去○；曹才全■●●●● 茶茶茶茶烏虎兔○。

The tenth tone is sung, and the twelfth sound 「cha」 is combined to continue below. The correct tone chart lists the fifth sound 「bu bai bing bi」「bu bai bei bi」「pu pu pin pi」, sixth sound 「dong dan di ■」「dui da di ■」「tu tan tian ■」「tong tan tian ■」, seventh sound 「nai ni nv ■」「nei nan nian ■」「lao leng lv ■」「lu luo li ■」, eighth sound 「zou zai zu ■」「zi zai jiang ■」「cao cai qi ■」「cao cai quan ■」, with each ending marked by 「●●●●」. On the right side, the third tone with four levels follows: 「qian dian dan ○」「yuan quan ban ○」「chen yin gen ○」「jun yun xun ○」, fourth tone with four levels: 「dao zao xiao yue」「mao bao bao huo」「niu dou zhou liu」「○○○ yu」, fifth tone with four levels: 「zi qi si ri」「shuai ○ shuai gu」「○○○ de」「gui shui gui bei」, sixth tone with four levels: 「gong kong zhong ○」「long yong yong ○」「yu shu qu ○」「wu hu tu ○」. The two tables in the section on observing things, chapter forty-two, have now reached the final entry: the left table is the tenth tone, the right table is the twelfth sound, and only one section remains before completion. The ten sounds of the rising tone have now been sung: the third tone, the sound of 「mei」, 「yong」, and 「yun」 have characters, the fourth tone has none, the sounds of 「shui」 and 「hu」 have characters, the seventh tone has none again, and from the eighth tone downwards, they are only positions without characters. However, the actual tones with characters are exactly seven, matching the number 「month and day sound seven」.

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

In the last paragraph of the fourth chapter of the "Observing Things" section, the "Correct Pronunciation Diagram" lists the ninth tone as "Si San Xing", "Si Xiao Xiang", "Xiao Xiao Xiao", "Xiao Xiao Xiao", and the tenth tone as "Shan Shou", "Shi Shi Shi", "Er Er Er", "Er Er Er", the eleventh tone as "Zhuang Zhen", "Zha Xie", "Cha Che", "Chong Chen", and the twelfth tone as "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng", with the end of each line marked as "●●●●". On the right side, starting from the twelfth tone "Cha", the seventh tone's four levels are "Xin Shen Jin", "O O O Shí", "Nan Kan Qian", "O O O Jie", and below these, the eighth, ninth, and thirteenth tones, totaling twelve lines, are also marked as "●●●●". At this point, the ten tones of the rising tone have each been sung once in their correct pronunciation, and the twelve tones with heavy pronunciation have each been matched with the correct tone once. The seven tones each have 152 sounds, totaling 1064; the twelve tones each have 112 sounds, totaling 1344, which matches the numbers mentioned in the introductory note at the beginning of the section. The sound matching diagrams for the two sections in volume eight, lower part, are thus completed. The two sections included in volume eight, lower part, are one where the rising tone is pronounced clearly and the other where the rising tone is pronounced heavily. The clear and heavy tones are separated, and the tones are arranged in order. The two are multiplied together, completing the total number of sounds in the rising tone system. The four tones of the correct tone are each divided into clear and heavy, and the four positions of the correct sound are each divided into clear and heavy. Thus, with a four-by-four pairing, sixteen sections are formed, and the total number of sounds in the world is thus determined.

星日聲去闢 土水音收清；個向旦孝四 九香乙□丙帝；眾禁●●● 女足星手震中；星日聲七，下唱地之 土水音十二，上和天；用音一百五十二，是 之用聲一百一十二， 謂去聲闢音。去聲闢 是謂收音清聲。收音；音一千六十四。 清聲一千三百四十四。 星日聲去之一闢 土水音收之一清。

This section is still divided into two columns. The left column, "Star Day Tone Departure," refers to the ten categories of correct tones, specifically the departing tone category, which belongs to the first row (day row), and is characterized by the open sound "bi." The right column, "Earth Water Sound Consonance," refers to the twelve categories of correct sounds, specifically the consonant category, which belongs to the first row (water row), and is characterized by the sound "qing." Below these, each column lists its representative characters: the ten sounds of the departing tone "bi" are ge, xiang, dan, xiao, si, zhong, jin, ●, ●, ●; the twelve sounds of the consonant "qing" are jiu, xiang, yi, □, bing, di, nu, zu, xing, shou, zhen, zhong, with the fourth consonant having no corresponding character, hence marked as "□." Below these are notes read across both columns: the left column reads as "Star Day Tone Seven, below singing the use of sound one hundred fifty-two, this is called the departing tone bi sound, departing tone bi sound one thousand six hundred forty-eight"; the right column reads as "Earth Water Sound Twelve, above harmonizing the use of sound one hundred twelve, this is called the consonant qing sound, consonant qing sound one thousand three hundred forty-four." The final line, "Star Day Tone Departure One," and "Earth Water Sound Consonance One," indicates that all the following tables belong to the first category, so their headings are recalculated from "Singing Lu One One" and "Harmonizing Law One One," differing from the use of "three" and "four" in volume eight.

去聲闢唱呂一之一 收音清和律一之一；古甲九癸個個個個 九九九九多可個舌；一音 □□近揆個個個個 一音 九九九九禾火化八；一聲 坤巧丘棄個個個個 一聲 九九九九開宰愛○；□□乾蚪個個個個 九九九九回每退○；黑花香血個個個個 九九九九良兩向○；二音 黃華雄賢個個個個 一音 九九九九光廣況○；一聲 五瓦仰□個個個個 二聲 九九九九丁井亙○；吾牙月堯個個個個 九九九九兄永瑩○；安亞乙一個個個個 九九九九千典旦○；三音 □爻壬寅個個個個 一音 九九九九元犬半○。

"Go sound 'Ge' is used to chant the correct tone of the first tone 'Ge' from the 'Go sound' category, and 'Ge' is repeated at the end of each line as 'Ge Ge Ge Ge'; 'Ge' refers to the first tone first category 'Du Ke Ge She' of the 'Go sound' category. 'Clear ending sound 'Jiu' is used to chant the first tone 'Jiu' of the 'Clear ending' category, and 'Jiu' is prefixed at the beginning of each line as 'Jiu Jiu Jiu Jiu'; 'Jiu' refers to the first tone first category 'Gu Jia Jiu Gui' of the 'Clear ending' category. The left half lists the first tone four categories 'Gu Jia Jiu Gui', '□□Jin Kui', 'Kun Qiao Qiu Qi', '□□Qian Yu', the second tone four categories 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', and the first two categories of the third tone 'An Ya Yi Yi', '□ Yao Ren Yin'. The right half lists the first tone four categories 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○', the second tone four categories 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○', and the first two categories of the third tone 'Qian Dian Dan ○', 'Yuan Quan Ban ○'. This passage selects the first line of each tone and each sound, so it is entirely different from the selection in volume eight, lower part, which takes the third and fourth lines, but the diagram positions remain unchanged."

一聲 母馬美米個個個個 三聲 九九九九臣引艮○；目貌眉民個個個個 九九九九君允巽○；夫法□飛個個個個 九九九九刀早孝嶽；四音 父凡□吠個個個個 一音 九九九九毛寶報霍；一聲 武晚□尾個個個個 四聲 九九九九牛斗奏六；文萬□未個個個個 九九九九○○○玉；卜百丙必個個個個 九九九九妻子四日；五音 步白備鼻個個個個 一音 九九九九衰○帥骨。

Continuing from the previous table, the next section follows the third tone with the last two levels "mu ma mei mi" and "mu mao mei min," the fourth tone with four levels "fu fa □ fei," "fu fan □ fei," "wu wan □ wei," and "wen wan □ wei," as well as the fifth tone with the first two levels "bu bai bing bi" and "bu bai bei bi." The ending positions for the fourth tone's four levels are all marked as "□," indicating the presence of this phonetic position without a corresponding character, consistent with the fourth position in the initial list of twelve clear tones marked as "□." On the right side, the third tone continues with the last two levels "chen yin gen ○" and "jun yun xun ○," the fourth tone with four levels "dao zao xiao yue," "mao bao bao huo," "niu dou zhou liu," and "○○○ yu," as well as the fifth tone with the first two levels "zi qi si ri" and "shuai ○ shuai gu." The sung tone remains the first tone "ge," and the harmonized tone remains the first tone "jiu." The following tables continue following the same pattern, progressing through each tone and each phonetic level in order, until all ten tones are sung and all twelve tones are harmonized.

一聲：普撲品匹個個個個；五聲：九九九九○○○德。旁排平瓶個個個個；九九九九龜水貴北。東丹帝■個個個個；九九九九宮孔眾○。六音：兌大弟■個個個個；一音：九九九九龍甬用○。一聲：土貪天■個個個個；六聲：九九九九魚鼠去○。同覃田■個個個個；九九九九烏虎兔○。乃你女■個個個個；九九九九心審禁○。七音：內南年■個個個個；一音：九九九九○○○十。一聲：老冷呂■個個個個；七聲：九九九九男坎欠○。鹿犖離■個個個個；九九九九○○○妾。走哉足■個個個個；九九九九●●●●。八音：自在匠■個個個個；一音：九九九九●●●●。一聲：草采七■個個個個；八聲：九九九九●●●●。曹才全■個個個個；九九九九●●●●。思三星■個個個個；九九九九●●●●。九音：寺□象■個個個個；一音：九九九九●●●●。一聲：□□□■個個個個；九聲：九九九九●●●●。□□□■個個個個；九九九九●●●●。■山手■個個個個；九九九九●●●●。

This passage is the middle section where the two diagrams, "Going Down in Tone with the First of the First Category" and "Clear and Harmonious Tone with the First of the First Category," are presented side by side. The original text has the left and right columns aligned on the same line, but they should be read separately. Each line in the left column first copies a line of four characters from the "Correct Tone Diagram," then repeats the character for the falling tone four times. Here, the falling tone being sung is the first of the first category "Du Ke Ge She" in the first tone, which is "Ge," so it is written as "Ge Ge Ge Ge." The lines of tones listed in order are the third category of the fifth tone "Pu Pu Pin Pi," the fourth category "Pang Pai Ping Ping," the fourth category of the sixth tone "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the fourth category of the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," the fourth category of the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■," the fourth category of the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and the first category of the tenth tone "■ Shan Shou ■." Each line in the right column first repeats the character for the harmonized tone four times, then copies a line of four characters from the "Correct Tone Diagram." The harmonized tone here is the first of the first category "Gu Jia Jiu Gui" in the first tone, which is "Jiu," so it is written as "Jiu Jiu Jiu Jiu." The matching tones are the third category of the fifth tone "○○○ De," the fourth category "Gui Shui Gui Bei," the fourth category of the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," the fourth category of the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie," and the fourth categories of the eighth and ninth tones as well as the first category of the tenth tone, all written as "●●●●." Each symbol has a specific meaning: "○" indicates that this tone position should have a sound but no character is available to match it, "●" indicates that this position cannot produce a sound at all, "□" indicates that this tone position has a sound but no character can be written for it, and "■" indicates that this position cannot produce a sound at all, none of which are omissions and should not be treated as missing characters. Shao Yong regarded the sun, moon, stars as the four elements of sound, and water, fire, earth, and stone as the four elements of tone. The four elements of sound are divided into level, rising, falling, and entering tones, while the four elements of tone are divided into open, release, close, and stop. The left diagram is called "Singing the Lu" and the right diagram is called "Harmonizing the Law" because the Law governs heavenly sound and Lu governs earthly tone, with heavenly sound leading and earthly tone following. These two diagrams mark the beginning of the first set of singing and harmonizing. The singer is "Ge" and the harmonizer is "Jiu," and the subsequent diagrams proceed in order according to the sequence of sound and tone.

十音：■士石■個個個個；一音：九九九九●●●●。一聲：■□耳■個個個個；十聲：九九九九●●●●。■□二■個個個個；九九九九●●●●。收音清和律一之二。■莊震■個個個個；香香香香多可個舌。十一音：■乍□■個個個個；二音：香香香香禾火化八。一聲：■叉赤■個個個個；一聲：香香香香開宰愛○。■崇辰■個個個個；香香香香回每退○。■卓中■個個個個；香香香香良兩向○。十二音：■宅直■個個個個；二音：香香香香光廣況○。一聲：■拆丑■個個個個；二聲：香香香香丁井亙○。■茶呈■個個個個；香香香香兄永瑩○。

The left column continues to complete the last eleven lines of "去声辟唱吕一之一": the second rank of the tenth tone "■士石■", the third rank "■□耳■", and the fourth rank "■□二■"; the fourth rank of the eleventh tone "■庄震■, ■乍□■, ■叉赤■, ■崇辰■"; and the fourth rank of the twelfth tone "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". Below each line, the phrase "个个个个" is still sung. With twelve tones each having four ranks, there are a total of forty-eight lines, and thus one diagram is completed. On the right column, "九九九九" is used to harmonize the second, third, and fourth ranks of the tenth tone. These three lines have sound but no words, and are all marked as "●●●●". The forty lines of "收音清和律一之一" are also completed. Then another section begins with "收音清和律一之二", using the "香" from the first rank of the second tone "黑花香血" as the harmonizing character, which is repeated four times at the beginning of each line. It first harmonizes the four ranks of the first tone "多可个舌、禾火化八、开宰爱○、回每退○", then the four ranks of the second tone "良两向○、光广况○、丁井亘○、兄永莹○". In the sound diagram, each tone has four lines, with the first and third lines belonging to "辟" (open mouth), and the second and fourth lines belonging to "翕" (closed mouth). In the sound diagram, each tone has four lines, with the first and third lines belonging to "清" (clear), and the second and fourth lines belonging to "浊" (dull). The "○" in the lines indicates that there is a tone but no character to be cited, while "■" indicates that this tone position does not originally exist. The number of lines on the left and right sides differs because the sound has ten categories, each with four lines, making forty lines in total for the harmonizing diagram, while the tone has twelve categories, each with four lines, making forty-eight lines in total for the singing diagram. The two columns are arranged side by side but progress at different rates, so the transition points do not align on the same line. Readers must follow the headings of each column to locate the beginning and end. "多可个舌" is the overall heading of the sound diagram, with "多" being level tone, "可" being rising tone, "个" being falling tone, and "舌" being entering tone. The other lines are arranged according to these four categories.

去聲闢唱呂一之二。古甲九癸向向向向；香香香香千典旦○。一音：□□近揆向向向向；二音：香香香香元犬半○。二聲：坤巧丘棄向向向向；三聲：香香香香臣引艮○。□□乾蚪向向向向；香香香香君允巽○。黑花香血向向向向；香香香香刀早孝嶽。二音：黃華雄賢向向向向；二音：香香香香毛寶報霍。二聲：五瓦仰□向向向向；四聲：香香香香牛斗奏六。吾牙月堯向向向向；香香香香○○○玉。安亞乙一向向向向；香香香香妻子四日。三音：□爻壬寅向向向向；二音：香香香香衰○帥骨。二聲：母馬美米向向向向；五聲：香香香香○○○德。目貌眉民向向向向；香香香香龜水貴北。夫法□飛向向向向；香香香香宮孔眾○。四音：父凡□吠向向向向；二音：香香香香龍甬用○。二聲：武晚□尾向向向向；六聲：香香香香魚鼠去○。文萬□未向向向向；香香香香烏虎兔○。

"Go through the fourth tone and sing the second tone first" starts a new diagram, with the character being sung being the fourth tone "xiang" from the second tone first category "liang liang xiang ○". All forty-eight lines are marked with "xiang xiang xiang xiang". This section lists the first four tones: the first tone has four categories as "gu jia jiu gui, □□ near kuí, kun qiao qiu qi, □□ qian tuo", the second tone has four categories as "he hua xiang xue, huang hua xong xian, wu wa yang □, wu ya yue yao", the third tone has four categories as "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min", the fourth tone has four categories as "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei". Each four-character phrase is arranged according to "open, release, close, stop" and corresponds to the tone categories "level, rising, falling, entering". The small labels "one tone", "second tone" etc. between the lines are markers for the row numbers of the original table's two columns, marking each tone once and each tone once, not part of the main text. The right column still belongs to "closing sound clear and harmonious law one two", with "xiang xiang xiang xiang" as the harmony, continuing the third tone four categories "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○", the fourth tone four categories "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu", the fifth tone four categories "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone four categories "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○". Among these, "○○○ yu" indicates that there are no characters to match for the level, rising, and falling tones, and the entering tone gets "yu", "○○○ de" follows the same pattern. Within the four categories, the characters are uneven, which is exactly what Shao Yong intended to show, that tones have their missing parts. The phonetic diagram uses the line "gu jia jiu gui" as the main heading: "gu" is open, "jia" is release, "jiu" is close, "gui" is stop, and the remaining forty-seven lines take characters according to these four positions. The first tone is mostly related to the dental sounds, the second tone to the throat sounds, the third tone to the shadow and yu sounds, and the fourth tone to the light lip sounds. As it goes down, the place of the sound becomes closer to the lips and teeth, and by the twelfth tone it ends.

卜百丙必向向向向；香香香香心審禁○。五音：步白備鼻向向向向；二音：香香香香○○○十。二聲：普撲品匹向向向向；七聲：香香香香男坎欠○。旁排平瓶向向向向；香香香香○○○妾。東丹帝■向向向向；香香香香●●●●。六音：兌大弟■向向向向；二音：香香香香●●●●。二聲：土貪天■向向向向；八聲：香香香香●●●●。同覃田■向向向向；香香香香●●●●。乃你女■向向向向；香香香香●●●●。七音：內南年■向向向向；二音：香香香香●●●●。二聲：老冷呂■向向向向；九聲：香香香香●●●●。鹿犖離■向向向向；香香香香●●●●。走哉足■向向向向；香香香香●●●●。八音：自在匠■向向向向；二音：香香香香●●●●。二聲：草采七■向向向向；十聲：香香香香●●●●。曹才全■向向向向；香香香香●●●●。

Continuing from above, the left column pushes the tone of "xiang" to the eighth tone: fifth tone with four categories "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", sixth tone with four categories "Dong Dan Di ?, Dui Da Di ?, Tu Tan Tian ?, Tong Tan Tian ?", seventh tone with four categories "Nai Ni Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?", eighth tone with four categories "Zou Zai Zu ?, Zi Zai Jiang ?, Cao Cai Qi ?, Cao Cai Quan ?". From the sixth tone onwards, the fourth character in each line is consistently marked as "?", because at this position, the "bi" tone has no sound left for the tongue and dental sounds, and this is not due to omission. On the right column, "Shou Yin Qing He Lu Yi Zi Er" uses "Xiang Xiang Xiang Xiang" and the seventh tone with four categories "Xin Shen Jin ?, ? ? ? Shi, Nan Kan Qian ?, ? ? ? Qie". Below this, the eighth, ninth, and tenth tones, each with four categories, totaling twelve lines, are all marked as "● ● ● ●". Shao Yong established ten diagrams of correct tones, but only seven tones have actual characters, while the remaining three tones below the eighth tone have positions but no sounds, hence the "Sheng Qi" (seven tones) mentioned in the "Guan Wu Pian". The twelve diagrams of correct tones, after removing the positions marked with "?", have a practical total of 152 tones. Each of the seven tones sings 152 tones, and each of the twelve tones harmonizes with 112 tones. The total number of tones derived throughout the text is based on these numbers. In terms of numbers: the four categories of correct tones consist of ten types, each type with four categories, each category with four positions, totaling 160 positions. Removing the 48 empty positions from the eighth, ninth, and tenth tones, the practical total is 112. The four categories of correct tones consist of twelve types, each type with four categories, each category with four positions, totaling 192 positions. Removing the 40 positions marked with "?", the practical total is 152. These two numbers are the fundamental basis for all multiplications in the text.

收音清和律一之三。思三星■向向向向；乙乙乙乙多可個舌。九音：寺□象■向向向向；三音：乙乙乙乙禾火化八。二聲：□□□■向向向向；一聲：乙乙乙乙開宰愛○。□□□■向向向向；乙乙乙乙回每退○。■山手■向向向向；乙乙乙乙良兩向○。十音：■士石■向向向向；三音：乙乙乙乙光廣況○。二聲：■□耳■向向向向；二聲：乙乙乙乙丁井亙○。■□二■向向向向；乙乙乙乙兄永瑩○。■莊震■向向向向；乙乙乙乙千典旦○。十一音：■乍□■向向向向；三音：乙乙乙乙元犬半○。二聲：■叉赤■向向向向；三聲：乙乙乙乙臣引良○。■崇辰■向向向向；乙乙乙乙君允巽○。■卓中■向向向向；乙乙乙乙刀早孝嶽。十二音：■宅直■向向向向；三音：乙乙乙乙毛寶報霍。二聲：■拆丑■向向向向；四聲：乙乙乙乙牛斗奏六。■茶呈■向向向向；乙乙乙乙○○○玉。

The left column has completed the last sixteen lines of 「去声辟唱吕一之二」: the ninth tone's four categories 「思三星■、寺□象■、□□□■、□□□■」, the tenth tone's four categories 「■山手■、■士石■、■□耳■、■□二■」, the eleventh tone's four categories 「■庄震■、■乍□■、■叉赤■、■崇辰■」, the twelfth tone's four categories 「■卓中■、■宅直■、■拆丑■、■茶呈■」, each still sung with 「向向向向」, thus completing the second diagram's forty-eight lines. From the tenth tone onwards, the first character of each line is 「■」, and the last character is also 「■」, with the middle two characters either a character or 「□」, indicating that as one approaches the end of the dental and tongue sounds, the number of sounds that can be established becomes fewer. On the right column, a new section 「收音清和律一之三」 has begun, taking the ending character 「乙」 from the first category of the third tone 「安亚乙一」 as the harmony character 「乙」, and using 「乙乙乙乙」 to harmonize with the first tone's four categories 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's four categories 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's four categories 「千典旦○、元犬半○、臣引良○、君允巽○」, and the fourth tone's four categories 「刀早孝岳、毛宝报霍、牛斗奏六、○○○玉」. The third tone's third category originally reads 「臣引良」, but elsewhere it reads 「臣引艮」, so the 「良」 here is likely a form error for 「艮」. The character 「乙」 is the ending of the third tone, belonging to the category of shadow and analogy sounds, and is pronounced very lightly. Using it to harmonize with the ten tones, starting from the first tone 「多可个舌」, proceeding one tone at a time, until the tenth tone's fourth category, totaling forty lines. Since the harmony diagram is led by sound, the ending character is placed at the beginning of each line; the singing diagram is led by tone, so the sung characters are placed at the end of each line: one in front and one in back, clearly showing the meaning of heaven initiating and earth following.

去聲闢唱呂一之三。古甲九癸旦旦旦旦；乙乙乙乙妻子四日。一音：□□近揆旦旦旦旦；三音：乙乙乙乙衰○帥骨。三聲：坤巧丘棄旦旦旦旦；五聲：乙乙乙乙○○○德。□□乾蚪旦旦旦旦；乙乙乙乙龜水貴北。黑花香血旦旦旦旦；乙乙乙乙宮孔眾○。二音：黃華雄賢旦旦旦旦；三音：乙乙乙乙龍甬用○。三聲：五瓦仰□旦旦旦旦；六聲：乙乙乙乙魚鼠去○。吾牙月堯旦旦旦旦；乙乙乙乙烏虎兔○。安亞乙一旦旦旦旦；乙乙乙乙心審禁○。三音：□爻壬寅旦旦旦旦；三音：乙乙乙乙○○○十。三聲：母馬美米旦旦旦旦；七聲：乙乙乙乙男坎欠○。目貌眉民旦旦旦旦；乙乙乙乙○○○妾。夫法□飛旦旦旦旦；乙乙乙乙●●●●。四音：父凡□吠旦旦旦旦；三音：乙乙乙乙●●●●。三聲：武晚□尾旦旦旦旦；八聲：乙乙乙乙●●●●。文萬□未旦旦旦旦；乙乙乙乙●●●●。卜百丙必旦旦旦旦；乙乙乙乙●●●●。

The phrase "去声辟唱吕一之三" is changed to use the third tone first class "千典旦○" in the position of the departing tone "旦" as the singing character, with "旦旦旦旦" appended to each line of the entire diagram. This section starts from the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" forms the first tone with four classes, "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧" forms the second tone with four classes, "安亚乙一、□爻壬寅、母马美米、目貌眉民" forms the third tone with four classes, "夫法□飞、父凡□吠、武晚□尾、文万□未" forms the fourth tone with four classes, and the last line "卜百丙必" is the first class of the fifth tone. Wherever there is a "□", such as the first two characters of the second class of the first tone and the third position of the fourth tone, these are all sounds without corresponding characters, and there is no clear distinction from the "■" in terms of combined tones. On the right side, "收音清和律一之三" continues with "乙乙乙乙" to harmonize with the fifth tone fourth class "妻子四日、衰○帅骨、○○○德、龟水贵北", the sixth tone fourth class "宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○", the seventh tone fourth class "心审禁○、○○○十、男坎欠○、○○○妾", and the eighth tone fourth class as well as the ninth tone first class, all marked as "●●●●". "旦" is the first class of the third tone departing tone. The four characters "千典旦○" of the third tone first class, where "千" is level, "典" is rising, "旦" is departing, and the入声 position has no character so it is marked as "○"; since this diagram specifically selects departing tones, it naturally takes "旦" as the main character. This diagram is the third diagram of the first group of singing diagrams, and it is one third of the ten diagrams, with subsequent diagrams including the characters 孝, 四, 众, 禁, and three empty diagrams following.

五音：步白備鼻旦旦旦旦；三音：乙乙乙乙●●●●。三聲：普撲品匹旦旦旦旦；九聲：乙乙乙乙●●●●。旁排平瓶旦旦旦旦；乙乙乙乙●●●●。東丹帝■旦旦旦旦；乙乙乙乙●●●●。六音：兌大弟■旦旦旦旦；三音：乙乙乙乙●●●●。三聲：土貪天■旦旦旦旦；十聲：乙乙乙乙●●●●。同覃田■旦旦旦旦；乙乙乙乙●●●●。

The left column continues with the second category of the fifth tone, "Bu Bai Bei Bi," the third category "Pu Pu Pin Pi," the fourth category "Pang Pai Ping Ping," and the fourth category of the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," still singing "Dan Dan Dan Dan." The four lines of the fifth tone are all words with heavy lips, and the four lines of the sixth tone are all words with tongue sounds. The last character changes from a word to "■," which is exactly where Shao Yong divided the tones. On the right column, "Yi Yi Yi Yi" and the second, third, and fourth categories of the ninth tone, and the fourth category of the tenth tone, totaling seven lines, are all marked as "●●●●." The forty lines of "Shou Yin Qing He Lu Yi Zhi San" end here. In the sound diagram, the eighth, ninth, and tenth tones have neither characters nor sounds, so the latter part of the diagram is always filled with black dots. Readers need not suspect it is incomplete—Shao Yong is using these empty spaces to indicate that the sounds of the world are indeed limited in number, not boundless. Shao Yong established ten tones but actually had seven, and twelve sounds with forty empty positions. This was not done arbitrarily. His meaning was that the numbers of heaven and earth each have a fixed limit, the categories of sounds should be ten, and the categories of tones should be twelve. When positions are established but characters may be insufficient, it clearly shows that human speech has its limits while the numbers of heaven and earth are complete. This is the intention of the essay "Guan Wu" to verify heaven and earth through sound.