The fourth of the four principles of clear and harmonious sound.

收音清和律一之四。乃你女■旦旦旦旦；□□□□多可個舌。七音：內南年■旦旦旦旦；四音：□□□□禾火化八。三聲：老冷呂■旦旦旦旦；一聲：□□□□開宰愛○。鹿犖離■旦旦旦旦；□□□□回每退○。走哉足■旦旦旦旦；□□□□良兩向○。八音：自在匠■旦旦旦旦；四音：□□□□光廣況○。三聲：草采七■旦旦旦旦；二聲：□□□□丁井亙○。曹才全■旦旦旦旦；□□□□兄永瑩○。思三星■旦旦旦旦；□□□□千典旦○。九音：寺□象■旦旦旦旦；四音：□□□□元犬半○。三聲：□□□■旦旦旦旦；三聲：□□□□臣引艮○。□□□■旦旦旦旦；□□□□君允巽○。■山手■旦旦旦旦；□□□□刀早孝嶽。十音：■士石■旦旦旦旦；四音：□□□□毛寶報霍。三聲：■□耳■旦旦旦旦；四聲：□□□□牛斗奏六。■□二■旦旦旦旦；□□□□○○○玉。■莊震■旦旦旦旦；□□□□妻子四日。十一音：■乍□■旦旦旦旦；四音：□□□□衰○帥骨。三聲：■叉赤■旦旦旦旦；五聲：□□□□○○○德。■崇辰■旦旦旦旦；□□□□龜水貴北。■卓中■旦旦旦旦；□□□□宮孔眾○。十二音：■宅直■旦旦旦旦；四音：□□□□龍甬用○。三聲：■拆丑■旦旦旦旦；六聲：□□□□魚鼠去○。

"Shouyin Qinghe Lu Yi Zhi Si" starts anew, using the fourth tone first class "Fu Fa □ Fei" as the "He" character; this position originally has no character to write, so the first line is uniformly written as "□□□□", four empty boxes representing the position with sound but no character. It sequentially corresponds to the first tone fourth class "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone fourth class "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone fourth class "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", the fourth tone fourth class "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", the fifth tone fourth class "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", and finally the sixth tone's first three classes "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○". The left column continues with "Qu Sheng Bi Chang Lv Yi Zhi San": the seventh tone fourth class "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", the eighth tone fourth class "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone fourth class "Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■", the tenth tone fourth class "■ Shan Shou ■, ■ Shi Shi ■, ■□ Er ■, ■□ Er ■", the eleventh tone fourth class "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", and then the first three classes of the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■". Each line still sings "Dandan Dandan". The "□□□□" four boxes represent the "He" character in this chart, though there is no character to write, its position remains, so it is still listed as one chart, counted together with the charts that have characters. If it were deleted due to having no character, the twelve tones would only have ten charts, which would not match the twelve earth numbers, and the entire text's multiplication and division would be impossible to calculate. This is precisely why Shao Yong chose to list the empty position rather than omit it. Since the "He" chart is led by the fourth tone's receiving position among the ten tones, although the position is empty, its order in the line cannot be changed; the receiving positions of the twelve tones in order are Jiú, Xiang, Yi, □, Bing, Di, Nu, Zu, Xing, Shou, Zhen, Zhong, and this chart is exactly the fourth. The left column lists the latter part of the third singing chart; the singing character "Dàn" remains, and it must wait until the fourth class of the twelfth tone is arranged before it can be changed. When reading such a two-column table, one must avoid connecting the left and right columns by taking one row as a unit: the left column is counted from left to right, and the right column is counted from right to left, each based on the order of tones and tones within their respective columns.

■茶呈■旦旦旦旦；□□□□烏虎兔○。去聲闢唱呂一之四。古甲九癸孝孝孝孝；□□□□心審禁○。一音：□□近揆孝孝孝孝；四音：□□□□○○○十。四聲：坤巧丘棄孝孝孝孝；七聲：□□□□男坎欠○。□□乾蚪孝孝孝孝；□□□□○○○妾。黑花香血孝孝孝孝；□□□□●●●●。二音：黃華雄賢孝孝孝孝；四音：□□□□●●●●。四聲：五瓦仰□孝孝孝孝；八聲：□□□□●●●●。吾牙月堯孝孝孝孝；□□□□●●●●。安亞乙一孝孝孝孝；□□□□●●●●。三音：□爻壬寅孝孝孝孝；四音：□□□□●●●●。四聲：母馬美米孝孝孝孝；九聲：□□□□●●●●。目貌眉民孝孝孝孝；□□□□●●●●。夫法□飛孝孝孝孝；□□□□●●●●。四音：父凡□吠孝孝孝孝；四音：□□□□●●●●。四聲：武晚□尾孝孝孝孝；十聲：□□□□●●●●。文萬□未孝孝孝孝；□□□□●●●●。

The first line's "■ tea presenting ■" corresponds to the fourth category of the twelfth tone, and after pairing with "dandan dandan," the entire forty-eight lines are sung with "qu sheng bi chang lv yi zhi san." The right half of the same line uses "□□□□" paired with the sixth tone's fourth category "wu hu tu ○." Then "qu sheng bi chang lv yi zhi si" starts anew, taking the "qu" tone from the fourth tone's first category "dao zao xiao yue," specifically the word "xiao." The following lines all use "xiao xiao xiao xiao." These are paired first with the first tone's fourth category "gu jia jiu gui, □□ near kuí, kun qiao qiu qi, □□ qian tuo," then the second tone's fourth category "he hua xiang xue, huang hua xiong xian, wu wa yang □, wu ya yue yao," then the third tone's fourth category "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min," and finally the fourth tone's fourth category "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei." The right column "shou yin qing he lv yi zhi si" uses "□□□□" paired with the seventh tone's fourth category "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie." The lines below for the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●." This completes the forty-line diagram. The word "xiao" comes from the fourth tone's first category "dao zao xiao yue," where dao is level, zao is rising, xiao is falling, and yue is entering tone, with words in all four positions, making it one of the more complete lines among the ten tones. The third category under the fourth tone uses "mao bao bao huo," "niu dou zhou liu," and "○○○ yu," with the entering tones corresponding to huo, liu, and yu respectively, showing that these entering tones are particularly well-organized. Using the sun, moon, stars, and planets to correspond to the four tones, the sun corresponds to level tone, the moon to rising tone, the star to falling tone, and the planet to entering tone. In this volume, the star-day tone, star-moon tone, and star-star tone all start with the word "star," indicating the falling tone, and the second word indicates the specific category. Similarly, using water, fire, earth, and stone to correspond to the four positions, water corresponds to open, fire to release, earth to close, and stone to seal. The earth-water tone, earth-fire tone, and earth-earth tone all start with the word "earth," indicating the closing position.

收音清和律一之五。卜百丙必孝孝孝孝；內內內內多可個舌。五音：步白備鼻孝孝孝孝；五音：內內內內禾火化八。四聲：普撲品匹孝孝孝孝；一聲：內內內內開宰愛○。旁排平瓶孝孝孝孝；內內內內回每退○。東丹帝■孝孝孝孝；內內內內良兩向○。六音：兌大弟■孝孝孝孝；五音：內內內內光廣況○。四聲：土貪天■孝孝孝孝；二聲：內內內內丁井亙○。同覃田■孝孝孝孝；內內內內兄永瑩○。乃你女■孝孝孝孝；內內內內千典旦○。七音：內南年■孝孝孝孝；五音：內內內內元犬半○。四聲：老冷呂■孝孝孝孝；三聲：內內內內臣引艮○。鹿犖離■孝孝孝孝；內內內內君允巽○。走哉足■孝孝孝孝；內內內內刀早孝嶽。八音：自在匠■孝孝孝孝；五音：內內內內毛寶報霍。四聲：草采七■孝孝孝孝；四聲：內內內內牛斗奏六。曹才全■孝孝孝孝；內內內內○○○玉。

The character "和" in "收音清和律一之五" should originally take the "收" position "丙" from the fifth tone first category "卜百丙必," but the original text uses "内," with all four lines written as "内内内内." "内" is the opening position of the seventh tone second category "内南年■," which does not match the sequence in this table. This is likely due to a transmission error caused by similar characters. I retain the original text without alteration. This diagram first includes the first tone with four categories: "多可个舌、禾火化八、开宰爱○、回每退○," the second tone with four categories: "良两向○、光广况○、丁井亘○、兄永莹○," the third tone with four categories: "千典旦○、元犬半○、臣引艮○、君允巽○," and the fourth tone with four categories: "刀早孝岳、毛宝报霍、牛斗奏六、○○○玉." The left column continues from "去声辟唱吕一之四," using "孝孝孝孝" to chant the fifth tone fourth category "卜百丙必、步白备鼻、普扑品匹、旁排平瓶," the sixth tone fourth category "东丹帝■、兑大弟■、土贪天■、同覃田■," the seventh tone fourth category "乃你女■、内南年■、老冷吕■、鹿荦离■," and the eighth tone fourth category "走哉足■、自在匠■、草采七■、曹才全■." The character "和" in the transmitted text does not match the sequence in the table, which is due to the long transmission and repeated copying of the sound diagrams in the "Huangji Jingshi" (The Ultimate Principle of the World). Various critical editions either directly change it to "丙" or remain uncertain. I follow the original text and record it as "内," while noting the error in the translation to preserve both the original appearance and the correct sequence.

思三星■孝孝孝孝；內內內內妻子四日。九音：寺□象■孝孝孝孝；五音：內內內內衰○帥骨。四聲：□□□■孝孝孝孝；五聲：內內內內○○○德。□□□■孝孝孝孝；內內內內龜水貴北。■山手■孝孝孝孝；內內內內宮孔眾○。十音：■士石■孝孝孝孝；五音：內內內內龍甬用○。四聲：■□耳■孝孝孝孝；六聲：內內內內魚鼠去○。■□二■孝孝孝孝；內內內內烏虎兔○。■莊震■孝孝孝孝；內內內內心審禁○。十一音：■乍□■孝孝孝孝；五音：內內內內○○○十。四聲：■叉赤■孝孝孝孝；七聲：內內內內男坎欠○。■崇辰■孝孝孝孝；內內內內○○○妾。■卓中■孝孝孝孝；內內內內●●●●。十二音：■宅直■孝孝孝孝；五音：內內內內●●●●。四聲：■拆丑■孝孝孝孝；八聲：內內內內●●●●。■茶呈■孝孝孝孝；內內內內●●●●。

The left column completes the sixteen lines sung for "xiao" (filial piety): the fourth tone of the ninth sound "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■", the fourth tone of the tenth sound "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■", the fourth tone of the eleventh sound "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", the fourth tone of the twelfth sound "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". Then "qu sheng bi chang lv yi si" (the falling tone sings "bi", "chang", "lv", "yi", "si") and thus all forty-eight lines are complete. In the third and fourth tones of the ninth sound, there are no characters that can be cited, only "□ □ □ ■", indicating that the sounds of the teeth have reached their end. The right column continues with "nei nei nei nei" (inner inner inner inner) to complete the fourth tone of the fifth sound "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the fourth tone of the sixth sound "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the fourth tone of the seventh sound "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", and the fourth tone of the eighth sound, which is entirely "● ● ● ●". In the line "Shuai ○ Shuai Gu", there are no characters for the rising tone position, and in the line "○ ○ ○ De", only the entering tone has characters. These cases belong to situations where there are tones but not enough characters. The four lines of the ninth sound "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■" still have the characters "Xing" and "Xiang" in the first two lines, but the last two lines have no characters for the initial, medial, and final sounds, only "□" to indicate the positions. Shao Yong's phonetic division has reached the end of the dental sounds. Although the sounds can still be distinguished, there are no corresponding characters, which is exactly what is meant by having the sound but not the character.

去聲闢唱呂一之五。古甲九癸四四四四；內內內內●●●●。一音：□□近揆四四四四；五音：內內內內●●●●。五聲：坤巧丘棄四四四四；九聲：內內內內●●●●。□□乾蚪四四四四；內內內內●●●●。黑花香血四四四四；內內內內●●●●。二音：黃華雄賢四四四四；五音：內內內內●●●●。五聲：五瓦仰□四四四四；十聲：內內內內●●●●。吾牙月堯四四四四；內內內內●●●●。

"Qu Sheng Bi Chang Lü Yi Zhi Wu" is changed to use the fifth tone first class "Zi Qi Si Ri" position "Si" as the singing character, with "Si Si Si Si" added to each line. This section first sings the first tone "Si" with four characters "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu" and the second tone "Si" with four characters "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The lines "□□ Jin Kui" and "□□ Qian Tu" have no characters for the opening and development positions, so they are marked as "□"; "Wu Wa Yang □" is a closed position with no character. The right column uses "Nei Nei Nei Nei" and eight lines of the ninth and tenth tones, all written as "●●●●." "Shou Yin Qing He Lu Yi Zhi Wu" ends here with forty lines. The sound belongs to heaven and the tone belongs to earth; heavenly sounds are sung above, earthly tones are harmonized below. One sound is sung through twelve tones, one tone is harmonized through ten sounds. The two tables intersect and generate, which is what the "Guan Wu Pian" says about the number of sounds. "Si" comes from the fifth tone first class "Zi Qi Si Ri," where "Qi" is level, "Zi" is rising, "Si" is departing, and "Ri" is entering. The four lines of the fifth tone's fourth class are "Zi Qi Si Ri," "Cui ○ Shuai Gu," "○○○ De," and "Gui Shui Gui Bei." Among these, the second class lacks rising tones, and the third class only has entering tones, making them uneven. This diagram specifically selects the first class's departing tone, thus obtaining "Si" as the singing character.

收音清和律一之六。安亞乙一四四四四；帝帝帝帝多可個舌。三音：□爻壬寅四四四四；六音：帝帝帝帝禾火化八。五聲：母馬美米四四四四；一聲：帝帝帝帝開宰愛○。目貌眉民四四四四；帝帝帝帝回每退○。夫法□飛四四四四；帝帝帝帝良兩向○。四音：父凡□吠四四四四；六音：帝帝帝帝光廣況○。五聲：武萬□尾四四四四；二聲：帝帝帝帝丁井亙○。文萬□未四四四四；帝帝帝帝兄永瑩○。卜百丙必四四四四；帝帝帝帝千典亙○。五音：步白備鼻四四四四；六音：帝帝帝帝元犬半○。五聲：普撲品匹四四四四；三聲：帝帝帝帝臣引艮○。旁排平瓶四四四四；帝帝帝帝君允巽○。東丹帝■四四四四；帝帝帝帝刀早孝嶽。六音：兌大弟■四四四四；六音：帝帝帝帝毛寶報霍。五聲：土貪天■四四四四；四聲：帝帝帝帝牛斗奏六。

"The 'Renyin' rhyme group 'Qing He Lu Yi Li' uses the 'Di' character from the first tone of the sixth group 'Dong Dan Di ■' as the 'He' character, forming 'Di Di Di Di'. It first harmonizes with the first tone's four groups 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', then the second tone's four groups 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○', followed by the third tone's four groups, and then the fourth tone's first three groups 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu'. The first line of the third tone's original text reads 'Qian Dian Gen ○', where 'Gen' is a character from the second tone's third group 'Ding Jing Gen ○' that has been mistakenly inserted; according to the rule, it should be 'Qian Dian Dan ○'. The left column continues from 'Qu Sheng Bi Chang Lv Wu Li Wu', using 'Si Si Si Si' to sing the third tone's four groups 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min', the fourth tone's four groups, the fifth tone's four groups 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', and the sixth tone's first three groups 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■'. The original text for the fourth tone's third group reads 'Wu Wan □ Wei', while elsewhere it reads 'Wu Wan □ Wei', indicating that 'Wan' is a mistake for 'Wan'. 'Di' comes from the sixth tone's first group 'Dong Dan Di ■', where 'Dong' is an open sound, 'Dan' is an initial sound, and 'Di' is a closing sound. Since there is no closing sound in the final position, it is represented as '■'. Starting from the sixth tone, the last character of each of the four lines is '■', which is due to the inability to establish a closing sound beyond the tongue sounds. 'Di', being a closing sound, can be used as the 'He' character, and together with the first tone's 'Jiu', the second tone's 'Xiang', the third tone's 'Yi', the fourth tone's '□', and the fifth tone's 'Bing', they all belong to the first group of closing sounds."

同覃田■四四四四；帝帝帝帝○○○玉。乃你女■四四四四；帝帝帝帝妻子四日。七音：內南年■四四四四；六音：帝帝帝帝衰○帥骨。五聲：老冷呂■四四四四；五聲：帝帝帝帝○○○德。鹿犖離■四四四四；帝帝帝帝龜水貴北。走哉足■四四四四；帝帝帝帝宮孔眾○。八音：自在匠■四四四四；六音：帝帝帝帝龍甬用○。五聲：草采七■四四四四；六聲：帝帝帝帝魚鼠去○。曹才全■四四四四；帝帝帝帝烏虎兔○。思三星■四四四四；帝帝帝帝心審禁○。九音：寺□象■四四四四；六音：帝帝帝帝○○○十。五聲：□□□■四四四四；七聲：帝帝帝帝男坎欠○。□□□■四四四四；帝帝帝帝○○○妾。■山手■四四四四；帝帝帝帝●●●●。十音：■士石■四四四四；六音：帝帝帝帝●●●●。五聲：■□耳■四四四四；八聲：帝帝帝帝●●●●。■□二■四四四四；帝帝帝帝●●●●。■莊震■四四四四；帝帝帝帝●●●●。十一音：■乍□■四四四四；六音：帝帝帝帝●●●●。

Left column continues with: sixth tone fourth class "tong tan tian ■", seventh tone fourth class "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■", eighth tone fourth class "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", ninth tone fourth class "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■", tenth tone fourth class "■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■", and eleventh tone first class "■ zhuang zhen ■", second class "■ zha □ ■", each row still follows the pattern "sisi sisi". Right column continues with "di di di di" in response to the fourth tone fourth class "○○○ yu", fifth tone fourth class "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", sixth tone fourth class "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", seventh tone fourth class "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie", followed by eighth tone four lines and the first two lines of ninth tone all "●●●●". "○○○ yu" only has characters in the entering tone, "○○○ shi" and "○○○ jie" similarly only have one character in the entering tone. Such incomplete entries by Shao Yong are all recorded as they are, to show the actual number of tones. In the singing chart, the phonetic characters come first and the tones come after; in the harmonizing chart, the tones come first and the phonetic characters come after. The order of characters in the two columns is exactly reversed. This is not due to printing convenience, but to reflect the meaning of singing tones above and harmonizing tones below: the singer is active, so the phonetic characters are placed below the tone row; the harmonizer responds passively, so the tone characters are placed above the phonetic row. Each line in the harmonizing chart consists of four characters for one tone and one class, which should be read horizontally: for example, "zi qi si ri" line, "zi" is level, "qi" is rising, "si" is falling, "ri" is entering, four characters with the same rhyme but different tones; "○○○ de" line has no characters for level, rising, and falling tones, only the entering tone has "de". Each line in the singing chart consists of four characters for one phonetic character and one class, for example, "gu jia jiu gui", "gu" is open, "jia" is initial, "jiu" is closing, "gui" is final, four characters of the same type but different positions.

五聲：■叉赤■四四四四；九聲：帝帝帝帝●●●●。■崇辰■四四四四；帝帝帝帝●●●●。■卓中■四四四四；帝帝帝帝●●●●。十二音：■宅直■四四四四；六音：帝帝帝帝●●●●。五聲：■拆丑■四四四四；十聲：帝帝帝帝●●●●。■茶呈■四四四四；帝帝帝帝●●●●。去聲闢唱呂一之六；收音清和律一之七。古甲九癸眾眾眾眾；女女女女多可個舌。一音：□□近揆眾眾眾眾；七音：女女女女禾火化八。六聲：坤巧丘棄眾眾眾眾；一聲：女女女女開宰愛○。□□乾蚪眾眾眾眾；女女女女回每退○。黑花香血眾眾眾眾；女女女女良兩向○。二音：黃華雄賢眾眾眾眾；七音：女女女女光廣況○。六聲：五瓦仰□眾眾眾眾；二聲：女女女女丁井亙○。吾牙月堯眾眾眾眾；女女女女兄永瑩○。安亞乙一眾眾眾眾；女女女女千典旦○。三音：□爻壬寅眾眾眾眾；七音：女女女女元犬半○。六聲：母馬美米眾眾眾眾；三聲：女女女女臣引艮○。

First, collect the煞 of the previous pair of diagrams: the left column 「■叉赤■」「■崇辰■」correspond to the third and fourth tones of the eleventh sound, while 「■卓中■、■宅直■、■拆丑■、■茶呈■」correspond to the fourth tone of the twelfth sound, paired with 「四四四四」, and 「去声辟唱吕一之五」is completed. The right column uses 「帝帝帝帝」and passes through the third and fourth tones of the ninth sound and the fourth tone of the tenth sound, with six lines all 「●●●●」, and 「收音清和律一之六」is also completed. The following two diagrams start together: 「去声辟唱吕一之六」takes the fourth tone first tone 「宫孔众○」's fourth tone position 「众」as the唱, and whenever 「众众众众」is written, first sing the first tone fourth grade 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone fourth grade 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, and the third tone first three grades 「安亚乙一、□爻壬寅、母马美米」; 「收音清和律一之七」takes the first tone first grade 「乃你女■」's ending position 「女」as the和, and whenever 「女女女女」is written, first harmonize the first tone fourth grade, second tone fourth grade, and third tone first three grades 「千典旦○、元犬半○、臣引艮○」. On one board, the two diagrams change simultaneously because the唱 diagram has forty-eight lines while the和 diagram has forty lines, and each time a diagram is passed, they differ by eight lines; by the fifth diagram, the difference accumulates to forty lines, which is exactly one full diagram of the和 diagram, so here both columns change diagrams at the same time, with the唱 changing from 「四」to 「众」and the和 changing from 「帝」to 「女」. Shao Yong's calculation of sound numbers is based on the same principle as the previous volumes' calculation of the yuanshi, yun, and shi periods: he multiplied years, months, days, and hours to get 129,600, while here, the numbers are derived from the interaction between sound and tone, resulting in hundreds. Although the numbers are used differently, the principles of positioning, eliminating the void, and multiplication remain the same, so the various chapters of the "Observing Things" must conclude with diagrams of sound.

目貌眉民眾眾眾眾；女女女女君允巽○。夫法□飛眾眾眾眾；女女女女刀早孝嶽。四音：父凡□吠眾眾眾眾；七音：女女女女毛寶報霍。六聲：武晚□尾眾眾眾眾；四聲：女女女女牛斗奏六。文萬□未眾眾眾眾；女女女女○○○玉。卜百丙必眾眾眾眾；女女女女妻子四日。五音：步白備鼻眾眾眾眾；七音：女女女女衰○帥骨。六聲：普撲品匹眾眾眾眾；五聲：女女女女○○○德。旁排平瓶眾眾眾眾；女女女女龜水貴北。東丹帝■眾眾眾眾；女女女女宮孔眾○。六音：兌大弟■眾眾眾眾；七音：女女女女龍甬用○。六聲：土貪天■眾眾眾眾；六聲：女女女女魚鼠去○。同覃田■眾眾眾眾；女女女女烏虎兔○。乃你女■眾眾眾眾；女女女女心審禁○。七音：內南年■眾眾眾眾；七音：女女女女○○○十。六聲：老冷呂■眾眾眾眾；七聲：女女女女男坎欠○。

The left column continues with "zhongzhongzhongzhong" for the third tone and fourth class "muzhongmuzhong", the fourth tone and fourth class "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei", the fifth tone and fourth class "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone and fourth class "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone's first three classes "nai ni nv ■, nei nan nian ■, lao leng lv ■". The right column continues with "nunununu" for the third tone and fourth class "jun yun xun ○", the fourth tone and fourth class "dao zao xiao yue, mao bao bao huo, niu dou zhou liu, ○○○ yu", the fifth tone and fourth class "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone and fourth class "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and the seventh tone's first three classes "xin shen jin ○, ○○○ shi, nan kan qian ○". The number of lines in the left and right columns are unequal—48 lines for the tone chart and 40 lines for the sound chart—so the progress of the two charts on the same plate is always out of sync, and the points where the charts change also do not align. "Zhong" comes from the sixth tone first class "gong kong zhong ○", with gong being level, kong being rising, and zhong being departing, with no character in the entering tone position. "Nu" comes from the seventh tone first class "nai ni nv ■", with nai being open, ni being initial, and nv being final, with no sound in the closing position. One takes the departing tone position and the other takes the final sound position, with each character occupying the third position in its respective category, exactly matching the example where the departing tone corresponds to the final sound.

鹿犖離■眾眾眾眾；女女女女○○○妾。走哉足■眾眾眾眾；女女女女●●●●。八音：自在匠■眾眾眾眾；七音：女女女女●●●●。六聲：草采七■眾眾眾眾；八聲：女女女女●●●●。曹才全■眾眾眾眾；女女女女●●●●。思三星■眾眾眾眾；女女女女●●●●。九音：寺□象■眾眾眾眾；七音：女女女女●●●●。六聲：□□□■眾眾眾眾；九聲：女女女女●●●●。□□□■眾眾眾眾；女女女女●●●●。■山手■眾眾眾眾；女女女女●●●●。十音：■士石■眾眾眾眾；七音：女女女女●●●●。六聲：■□耳■眾眾眾眾；十聲：女女女女●●●●。■□二■眾眾眾眾；女女女女●●●●。

The left column sings the seventh tone at the fourth level with "zhongzhongzhongzhong," then the eighth tone at the fourth level with "zou zai zu, zi zai jiang, cao cai qi, cao cai quan," and the ninth tone at the fourth level with "si san xing, si xiang xiang, empty empty empty, empty empty empty," and the tenth tone at the fourth level with "shan shou, shi shi shi, er er er, er er er." The right column uses "nunununu" and at the seventh tone at the fourth level "circle circle circle妾," then the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "dot dot dot dot," ending with "shou yin qing he lu yi zhi qi" for forty lines. Considering one diagram, only the first seven tones with twenty-eight lines can be matched, while the remaining twelve lines have positions without sounds. In terms of tones, among the twelve tones and forty-eight positions, forty are marked with "square," resulting in a practical total of one hundred and fifty-two. The multiplication of singing and responding gives rise to the use of sound in the various chapters of "Guanwu." For one diagram, the singer goes through all forty-eight lines with one tone, while the responder goes through all forty lines with one sound. The singing tones are seven, and the responding tones are twelve; multiplying each by the other's number gives the thousands and hundreds listed in the chapters of "Guanwu." Each diagram arranged in this text is merely one factor in this multiplication.

收音清和律一之八。■莊震■眾眾眾眾；足足足足多可個舌。十一音：■乍□■眾眾眾眾；八音：足足足足禾火化八。六聲：■叉赤■眾眾眾眾；一聲：足足足足開宰愛○。■崇辰■眾眾眾眾；足足足足回每退○。■卓中■眾眾眾眾；足足足足良兩向○。十二音：■宅直■眾眾眾眾；八音：足足足足光廣況○。六聲：■拆丑■眾眾眾眾；二聲：足足足足丁井亙○。■茶呈■眾眾眾眾；足足足足兄永瑩○。

The left column chants the eleventh tone level four times "zhong zhong zhong zhong" with the phrases "zhuang zhen", "zha ku", "cha chi", and "chong chen", and the twelfth tone level four times "zhuo zhong", "zai zhi", "che chou", and "cha cheng". The chant "qu sheng bi chang lv yi liu" spans forty-eight lines. The right column starts with "shou yin qing he lv yi ba", taking the ending "zu" from the first tone of the eighth sound "zou zai zu" as the "he" character, writing "zu zu zu zu". It first harmonizes with the first tone level four times "du ke ge she, he hu hua ba, kai zai ai o, hui mei tui o" and the second tone level four times "liang liang xiang o, guang guang kuang o, ding jing gen o, xiong yong ying o". The first tone level is led by "du, he, kai, hui", which are the four rhyme positions of level tones. Below these, "ke, hu, zai, mei" are rising tones, "ge, hua, ai, tui" are falling tones, and "she, ba, o, o" are entering tones. Each four-character line covers the four tones level, entering, rising, and falling. The last two characters are left blank and written as "o". The ending "zu" comes from the first tone of the eighth sound "zou zai zu", with "zou" as the opening, "zai" as the middle, and "zu" as the closing, with no sound at the closing position. The eighth sound has four lines "zou zai zu", "zi zai jiang", "cao cai qi", and "cao cai quan", which belong to the category of dental sounds. The first and third lines are clear, while the second and fourth lines are dull. The ending characters of these four lines are "zu", "jiang", "qi", and "quan", and this diagram selects the first tone "zu" from the first line.

去聲闢唱呂一之七。古甲九癸禁禁禁禁；足足足足千典旦○。一音：□□近揆禁禁禁禁；八音：足足足足元犬半○。七聲：坤巧丘棄禁禁禁禁；三聲：足足足足臣引艮○。□□乾蚪禁禁禁禁；足足足足君允巽○。黑花香血禁禁禁禁；足足足足刀早孝嶽。二音：黃華雄賢禁禁禁禁；八音：足足足足毛寶報霍。七聲：五瓦仰□禁禁禁禁；四聲：足足足足牛斗奏六。吾牙月堯禁禁禁禁；足足足足○○○玉。安亞乙一禁禁禁禁；足足足足妻子四日。三音：□爻壬寅禁禁禁禁；八音：足足足足衰○帥骨。七聲：母馬美米禁禁禁禁；五聲：足足足足○○○德。目貌眉民禁禁禁禁；足足足足龜水貴北。夫法□飛禁禁禁禁；足足足足宮孔眾○。四音：父凡□吠禁禁禁禁；八音：足足足足龍甬用○。七聲：武晚□尾禁禁禁禁；六聲：足足足足魚鼠去○。文萬□未禁禁禁禁；足足足足烏虎兔○。

"The seventh tone first class 'Xin Shen Jin ○' uses the seventh tone first class 'Jin' as the singing character, with each line ending with 'Jin Jin Jin Jin'. The first tone has four classes 'Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu', the second tone has four classes 'He Hua Xiang Xue, Huang Hua Xong Xian, Wu Wa Yang □, Wu Ya Yue Yao', the third tone has four classes 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min', and the fourth tone has four classes 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei'. The right column continues with 'Zu Zu Zu Zu' to harmonize with the third tone four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○', the fourth tone four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', and the sixth tone four classes 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○'. 'Jin' is the last character with a syllable in the seventh tone of the tenth diagram. There are no more characters to sing in the eighth tone and below, so the singing positions in the following diagrams can only be written as '●'. 'Jin' comes from the seventh tone first class 'Xin Shen Jin ○', with Xin being level, Shen being rising, and Jin being falling. The four classes of the seventh tone are 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', and '○○○ Qie'. Among the four lines, two lines only have one position for the入声 (entering tone), indicating that these characters are very sparse, while the falling tone still has 'Jin' and 'Qian' to cite."

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

The left column uses "jìn jìn jìn jìn" to sing the fifth tone with four lines "bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng", the sixth tone with four lines "dōng dān dì ■, duì dà dì ■, tǔ tān tiān ■, tóng tán tián ■", the seventh tone with four lines "nǎi nǐ nǚ ■, nèi nán nián ■, lǎo lěng lǚ ■, lù luò lí ■", and the eighth tone with four lines "zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■". The right column uses "zú zú zú zú" and the seventh tone with four lines "xīn shěn jìn ○, ○○○ shí, nán kǎn qiàn ○, ○○○ qiè". Below this, the eighth, ninth, and tenth tones, totaling three tones and twelve lines, are all "●●●●". "Shōu yīn qīng hé lǜ yī zhī bā" comprises forty lines in total. The fifth tone has four lines representing the initial consonants, the sixth tone has four lines representing the tongue sounds, the seventh tone has four lines representing the upper tongue sounds, and the eighth tone has four lines representing the dental sounds. Since the closure position is exhausted, starting from the sixth tone, the last character is entirely marked with "■". The singing diagram uses one tone to sing forty-eight sounds, among which "■" occupies forty, making a total of one hundred and fifty-two sounds that can actually be sung. Since this diagram uses "jìn" as the singing sound, it represents one hundred and fifty-two sounds used for singing in the first category of the seventh tone. Among ten tones, only seven can be used in this way for singing, so seven multiplied by one hundred and fifty-two gives one thousand and sixty-four, which is the total number of the falling tones. The singing characters are attached after the sound lines, with each character appearing four times, corresponding to the four positions. The harmony characters are placed before the tone lines, also appearing four times, corresponding to the four tones. The fourfold repetition without addition or subtraction precisely reflects the meaning of the four elements, aligning with the diagram's structure of four lines per category and four characters per line.

收音清和律一之九。思三星■禁禁禁禁；星星星星多可個舌。九音：寺□象■禁禁禁禁；九音：星星星星禾火化八。七聲：□□□■禁禁禁禁；一聲：星星星星開宰愛○。□□□■禁禁禁禁；星星星星迴每退○。■山手■禁禁禁禁；星星星星良兩向○。十音：■士石■禁禁禁禁；九音：星星星星光廣況○。七聲：■□耳■禁禁禁禁；二聲：星星星星丁井亙○。■□二■禁禁禁禁；星星星星兄永瑩○。■莊震■禁禁禁禁；星星星星千典旦○。十一音：■乍□■禁禁禁禁；九音：星星星星元犬半○。七聲：■叉赤■禁禁禁禁；三聲：星星星星臣引艮○。■崇辰■禁禁禁禁；星星星星君允巽○。■卓中■禁禁禁禁；星星星星刀早孝嶽。十二音：■宅直■禁禁禁禁；九音：星星星星毛寶報霍。七聲：■拆丑■禁禁禁禁；四聲：星星星星牛斗奏六。■茶呈■禁禁禁禁；星星星星○○○玉。

The last sixteen lines of the left column, after completing 「去声辟唱吕一之七」, are: the fourth level of the ninth tone 「思三星■、寺□象■、□□□■、□□□■」, the fourth level of the tenth tone 「■山手■、■士石■、■□耳■、■□二■」, the fourth level of the eleventh tone 「■庄震■、■乍□■、■叉赤■、■崇辰■」, and the fourth level of the twelfth tone 「■卓中■、■宅直■、■拆丑■、■茶呈■」, each sung with 「禁禁禁禁」. On the right column, a new section 「收音清和律一之九」 is established, taking the ending character 「星」 from the first level of the ninth tone 「思三星■」 as the harmony character, writing 「星星星星」. It then proceeds to harmonize with the first tone's fourth level 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's fourth level 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's fourth level 「千典旦○、元犬半○、臣引艮○、君允巽○」, and the fourth tone's fourth level 「刀早孝岳、毛宝报霍、牛斗奏六、○○○玉」. The character 「星」 here is merely a syllable of the dental sound, unrelated to the previous use of 「星」 as the name for the cosmic cycles of the universe. The character 「星」 comes from the first level of the ninth tone 「思三星■」, where 「思」 is the opening sound, 「三」 is the medial sound, and 「星」 is the closing sound, with no sound at the closing position. The ninth tone, along with the eighth tone, belongs to the dental category but is slightly different. The ending characters of the four lines are 「星」, 「象」, 「□」, and 「□」, with the last two lines having no characters to cite, so among the twelve harmonization diagrams, only the diagram from the ninth tone has the harmony character 「星」. If taking the third or fourth levels, only empty frames can be used.

去聲闢唱呂一之八。古甲九癸●●●●；星星星星妻子四日。一音：□□近揆●●●●；九音：星星星星衰○帥骨。八聲：坤巧丘棄●●●●；五聲：星星星星○○○德。□□乾蚪●●●●；星星星星龜水貴北。黑花香血●●●●；星星星星宮孔眾○。二音：黃華雄賢●●●●；九音：星星星星龍甬用○。八聲：五瓦仰□●●●●；六聲：星星星星魚鼠去○。吾牙月堯●●●●；星星星星烏虎兔○。安亞乙一●●●●；星星星星心審禁○。三音：□爻壬寅●●●●；九音：星星星星○○○十。八聲：母馬美米●●●●；七聲：星星星星男坎欠○。目貌眉民●●●●；星星星星○○○妾。夫法□飛●●●●；星星星星●●●●。四音：父凡□吠●●●●；九音：星星星星●●●●。八聲：武晚□尾●●●●；八聲：星星星星●●●●。文萬□未●●●●；星星星星●●●●。卜百丙必●●●●；星星星星●●●●。五音：步白備鼻●●●●；九音：星星星星●●●●。八聲：普撲品匹●●●●；九聲：星星星星●●●●。旁排平瓶●●●●；星星星星●●●●。東丹帝■●●●●；星星星星●●●●。六音：兌大弟■●●●●；九音：星星星星●●●●。八聲：土貪天■●●●●；十聲：星星星星●●●●。同覃田■●●●●；星星星星●●●●。

"The eighth tone, first category" refers to the position for singing the eighth tone, first category. The eighth tone, fourth category is originally all marked with "●", meaning no sound can be produced, so each line's singing position can only be written as "●●●●". This is not a missing character, but rather a deliberate blank left by Shao Yong. Among the ten tones, only seven have sound; the eighth, ninth, and tenth tones, though listed, actually have no sound. If they were omitted, the numbers for singing and responding would have no basis. On the left side, the first category of four tones is listed as "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu"; the second category of four tones is "Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo"; the third category of four tones is "Ān Yà Yǐ Yī, □ Yué Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Méi Mín"; the fourth category of four tones is "Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi, Wén Wàn □ Wèi"; the fifth category of four tones is "Bǔ Bǎi Bǐng Bì, Bù Bái Bèi Bí, Pǔ Pū Pǐn Pǐ, Páng Pái Píng Píng"; the sixth category of four tones is "Dōng Dān Dì ■, Duì Dà Dì ■, Tǔ Tān Tiān ■, Tóng Tán Tián ■". On the right side, it is "Xīng Xīng Xīng Xīng" and the fifth tone, fourth category "Zǐ Qī Sì Rì, Shuāi ○ Shuài Gǔ, ○○○ Dé, Guī Shuǐ Guì Běi"; the sixth tone, fourth category "Gōng Kǒng Zhòng ○, Lóng Yǒng Yòng ○, Yú Shǔ Qù ○, Wū Hǔ Tù ○"; the seventh tone, fourth category "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè". The following twelve lines are all "●●●●", and "Clear and Harmonious Tone, One of Nine" ends here. The eighth, ninth, and tenth tones, which are three categories, are all marked with black dots. Shao Yong used ten as the total number of tones, but in reality only seven have sound, so he created three categories to complete the positions. Since the singing chart is based on ten tones and ten charts, these three categories must each form a chart, although there are no characters to write. The empty chart and the real chart are placed side by side, clearly showing that the numbers of heaven and earth are fixed, while human speech has gaps. When reading these entirely black charts, one must pay special attention to the fact that they are not optional. Shao Yong established ten categories of tones, ten being the total number of tones. Once the total number is established, even if there are no characters, the positions must be listed, so that they can be multiplied by the twelve tones of sound. If these three charts were deleted, the singing chart would only have seven, which would not match the name of ten tones. All subsequent calculations would have no basis. Therefore, these three charts, although entirely black, are still listed alongside the charts with characters and not omitted.

收音清和律一之十。乃你女■●●●●；手手手手多可個舌。七音：內南年■●●●●；十音：手手手手禾火化八。八聲：老冷呂■●●●●；一聲：手手手手開宰愛○。鹿犖離■●●●●；手手手手回每退○。走哉足■●●●●；手手手手良兩向○。八音：自在匠■●●●●；十音：手手手手光廣況○。八聲：草采七■●●●●；二聲：手手手手丁井亙○。曹才全■●●●●；手手手手兄永瑩○。思三星■●●●●；手手手手千典旦○。九音：寺□象■●●●●；十音：手手手手元犬半○。八聲：□□□■●●●●；三聲：手手手手臣引艮○。□□□■●●●●；手手手手君允巽○。■山手■●●●●；手手手手刀早孝嶽。十音：■士石■●●●●；十音：手手手手毛寶報霍。八聲：■□耳■●●●●；四聲：手手手手牛斗奏六。■□二■●●●●；手手手手○○○玉。■莊震■●●●●；手手手手妻子四日。十一音：■乍□■●●●●；十音：手手手手衰○帥骨。八聲：■叉赤■●●●●；五聲：手手手手○○○德。■崇辰■●●●●；手手手手龜水貴北。■卓中■●●●●；手手手手宮孔眾○。十二音：■宅直■●●●●；十音：手手手手龍甬用○。八聲：■拆丑■●●●●；六聲：手手手手魚鼠去○。

"Receiving the sound of clarity and harmony, the tenth tone's first category '■ Mountain hand ■' takes the receiving position 'hand' as the character 'he' (和), writing 'hand hand hand hand'. It then harmonizes with the first tone's four categories 'duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○', the second tone's four categories 'liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○', the third tone's four categories 'qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○', the fourth tone's four categories 'dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu', the fifth tone's four categories 'zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei', and finally the sixth tone's first three categories 'gong kong zhong ○, long yong yong ○, yu shu qu ○'. The left column remains 'going tone's 'bi chang lv yi zhi ba', with the singing position left blank as '●●●●', and the corresponding sound is the seventh tone's four categories 'nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■', the eighth tone's four categories 'zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■', the ninth tone's four categories 'si san xing ■, si □ xiang ■, □□□ ■, □□□ ■', the tenth tone's four categories '■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■', the eleventh tone's four categories '■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■', and then the twelfth tone's first three categories '■ zhuo zhong ■, ■ zhai zhi ■, ■ chai chou ■'. All positions from the tenth tone onwards are marked with '■', but the receiving positions still include characters such as 'shou, shi, er, er', and the character 'he' (和) in this diagram is taken from its first category. 'Shou' (手) comes from the tenth tone's first category '■ shan shou ■', the opening position has no sound and is marked as '■', 'shan' (山) is the initial sound and 'shou' (手) is the receiving sound, and the closing position also has no sound. Starting from the tenth tone, the initial and final positions of the four rows are all marked with '■', and only the initial and receiving positions can be established; such characters are generally those of the clear and semi-clear teeth, so characters like 'shan', 'shou', 'shi', 'shi', 'er', and 'er' are formed by raising the tongue close to the palate. Within one diagram, the forty-eight rows of sounds and the forty rows of tones form separate systems, yet they must be viewed together: the singing diagram shows the heavenly tones below, and the harmonizing diagram shows the earthly sounds above, and only when both diagrams are viewed together does a complete singing and harmonizing emerge. The original text divides the two diagrams into left and right columns and connects them with one row, intending for the reader to compare them at all times, not implying any relationship between the characters in the same row on the left and right.

■茶呈■●●●●；手手手手烏虎兔○。去聲闢唱呂一之九。古甲九癸●●●●；手手手手心審禁○。一音：□□近揆●●●●；十音：手手手手○○○十。九聲：坤巧丘棄●●●●；七聲：手手手手男坎欠○。□□乾蚪●●●●；手手手手○○○妾。黑華香血●●●●；手手手手●●●●。二音：黃華雄賢●●●●；十音：手手手手●●●●。九聲：五瓦仰□●●●●；八聲：手手手手●●●●。吾牙月堯●●●●；手手手手●●●●。安亞乙一●●●●；手手手手●●●●。三音：□爻壬寅●●●●；十音：手手手手●●●●。九聲：母馬美米●●●●；九聲：手手手手●●●●。目貌眉民●●●●；手手手手●●●●。夫法□飛●●●●；手手手手●●●●。四音：父凡□吠●●●●；十音：手手手手●●●●。九聲：武晚□尾●●●●；十聲：手手手手●●●●。文萬□未●●●●；手手手手●●●●。

The first line's left half "■ tea cheng ■" is the fourth category of the twelfth tone, with the singing position still left blank as "●●●●", and "qu sheng bi chang lv yi zhi ba" is sung here for the forty-eight lines; the right half uses "shou shou shou shou" and the fourth category of the sixth tone "wu hu tu ○". Then "qu sheng bi chang lv yi zhi jiu" starts anew, which should be the first category of the ninth tone, but the ninth tone's fourth category is entirely silent, so the singing position remains "●●●●", the same as the previous figure but with a different tone. The corresponding lines are the fourth category of the first tone "gu jia jiu gui, □□ jin kui, kun qiao qiu qi, □□ qian tuo", the fourth category of the second tone "hei hua xiang xue, huang hua xiong xian, wu wa yang □, wu ya yue yao", the fourth category of the third tone "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min", and the fourth category of the fourth tone "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei"; the first category of the second tone is originally "hei hua xiang xue", and elsewhere it is written as "hei hua xiang xue", with "hua" likely being a mistake for "hua". The right column uses "shou shou shou shou" and the fourth category of the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie", with the following twelve lines all black dots, ending with "shou yin qing he lv yi zhi shi". The singing positions of the two figures are both black dots but correspond to different tones: "yi zhi ba" corresponds to the first category of the eighth tone, and "yi zhi jiu" corresponds to the first category of the ninth tone. Since the positions are different, although the forty-eight lines of sound are the same, the two figures cannot be combined—because the number of sung tones is counted per figure, missing one figure would mean missing 152 tones.

收音清和律一之十一。卜百丙必●●●●；震震震震多可個舌。五音：步白備鼻●●●●；十一音：震震震震禾火化八。九聲：普撲品匹●●●●；一聲：震震震震開宰愛○。旁排平瓶●●●●；震震震震回每退○。東丹帝■●●●●；震震震震良兩向○。六音：兌大弟■●●●●；十一音：震震震震光廣況○。九聲：土貪天■●●●●；二聲：震震震震丁井亙○。同覃田■●●●●；震震震震兄永瑩○。乃你女■●●●●；震震震震千典旦○。七音：內南年■●●●●；十一音：震震震震元犬半○。九聲：老冷呂■●●●●；三聲：震震震震臣引艮○。鹿犖離■●●●●；震震震震君允巽○。走哉足■●●●●；震震震震刀早孝嶽。八音：自在匠■●●●●；十一音：震震震震毛寶報霍。九聲：草采七■●●●●；四聲：震震震震牛斗奏六。曹才全■●●●●；震震震震○○○玉。思三星■●●●●；震震震震妻子四日。九音：寺□象■●●●●；十一音：震震震震衰○帥骨。九聲：□□□■●●●●；五聲：震震震震○○○德。□□□■●●●●；震震震震龜水貴北。■山手■●●●●；震震震震宮孔眾○。

"The 'Clear and Harmonious Tone' of the eleventh sound takes the 'Zhen' (Thunder) from the first class of the eleventh sound '■Zhuang Zhen■' as the 'he' character, writing 'Zhen Zhen Zhen Zhen'. It includes the first tone with four classes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone with four classes 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone with four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○', the fourth tone with four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone with four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', and the sixth tone with the first class 'Gong Kong Zhong ○'. The left column follows 'The 'Departing Tone' of the ninth sound 'Pu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', the sixth sound with four classes 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■', the seventh sound with four classes 'Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■', the eighth sound with four class 'Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■', the ninth sound with four classes 'Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■', and the tenth sound with the first class '■ Shan Shou ■'. 'Zhen' comes from the first class of the eleventh sound '■ Zhuang Zhen ■', the opening position has no sound, Zhuang is the initial and Zhen is the closing, the closing position also has no sound. The four lines of the eleventh sound '■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■' belong to the category of correct teeth, the closing sounds are Zhen, □, Chi, Chen, and this diagram takes the first class 'Zhen' to harmonize with the ten tones. The twelve 'he' characters, which are Jiu, Xiang, Yi, □, Bing, Di, Nu, Zu, Xing, Shou, Zhen, Zhong, are all taken from the first class of the twelve sounds' closing sounds, and this diagram corresponds to the eleventh. The closing sound is in the three positions of opening, developing, and closing, its sound is already gathered but not yet closed, making it most suitable to harmonize with the departing tone. Therefore, Shao Yong paired the closing tone with the departing tone as a group, and divided them into four classes based on clarity, turbidity, and the opening and closing of the sound."

十音：■士石■●●●●；十一音：震震震震龍甬用○。九聲：■□耳■●●●●；六聲：震震震震魚鼠去○。■□二■●●●●；震震震震烏虎兔○。■莊震■●●●●；震震震震心審禁○。十一音：■乍□■●●●●；十一音：震震震震○○○十。九聲：■叉赤■●●●●；七聲：震震震震男坎欠○。■崇辰■●●●●；震震震震○○○妾。■卓中■●●●●；震震震震●●●●。十二音：■宅直■●●●●；十一音：震震震震●●●●。九聲：■拆丑■●●●●；八聲：震震震震●●●●。■茶呈■●●●●；震震震震●●●●。

The left column completes the last eleven lines of "Qu Sheng Pi Chang Lü Yi Zhi Jiú": the second category of the tenth tone "■ Shi Shi ■", the third category "■ □ Er ■", and the fourth category "■ □ Er ■", the fourth category of the eleventh tone "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the fourth category of the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", with all singing positions marked as "●●●●". The right column continues with "Zhen Zhen Zhen Zhen" to harmonize with the second, third, and fourth categories of the sixth tone "Long Nong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the fourth category of the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", and the four lines of the eighth tone marked as "●●●●". "Zhen" is originally a character of the eleventh tone belonging to the correct teeth category, and it is used to harmonize with all ten tones, resulting in twenty-eight lines with sound and twelve lines with position but no sound, making the presence or absence of sound clearly visible within one diagram. Characters belonging to the three categories below the ten tones are the least in number, yet they occupy the same number of lines as the first nine tones, which is four lines. Shao Yong established tones according to categories, not according to the number of characters; if a character exists, it is written down, if not, the position is kept with "□", and if the tone is not established, it is marked with "■". Therefore, each diagram must have forty-eight lines regardless of the abundance or scarcity of characters.

去聲闢唱呂一之十。古甲九癸●●●●；震震震震●●●●。一音：□□近揆●●●●；十一音：震震震震●●●●。十聲：坤巧丘棄●●●●；九聲：震震震震●●●●。□□乾蚪●●●●；震震震震●●●●。黑花香血●●●●；震震震震●●●●。二音：黃華雄賢●●●●；十一音：震震震震●●●●。十聲：五瓦仰■●●●●；十聲：震震震震●●●●。吾牙月堯●●●●；震震震震●●●●。

"The 'Going Down' tone 'Bi Chang Lv Yi Zhi Shi' is the last diagram of the 'Going Down' tone 'Bi' position. It governs the tenth tone's first category, and its sound is nonexistent, so the singing position is still written as '●●●●'. This section lists the first four categories of the first tone: 'Gu Jia Jiu Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Zhen Tu' and the second four categories of the second tone: 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao'. In the third category of the second tone elsewhere, it is written as 'Wu Wa Yang □', but here the last position is mistakenly written as '■'. '□' refers to a sound with no character, while '■' refers to a combined sound with no character; these two should not be confused. On the right side, 'Zhen Zhen Zhen Zhen' is paired with the ninth and tenth tones, totaling eight lines, all written as '●●●●'. The 'Ending Sound Clear and Harmonious Law Yi Zhi Shi Yi' spans forty lines and concludes. At this point, the first group of ten singing diagrams is completed. Among the ten diagrams, the first seven govern the first to seventh tones' first categories of the 'Going Down' tone positions, corresponding to the characters Ge, Xiang, Dan, Xiao, Si, Zhong, Jin; the last three govern the eighth, ninth, and tenth tones, which are not established, and all singing positions are marked with black dots. Each of the seven characters corresponds to 152 tones, which is referred to as the 'Going Down' tone 'Bi' tones totaling 164."

收音清和律一之十二。安亞乙一●●●●；中中中中多可個舌。三音：□爻壬寅●●●●；十二音：中中中中禾火化八。十聲：母馬美米●●●●；一聲：中中中中開宰愛○。目貌眉民●●●●；中中中中回每退○。夫法□飛●●●●；中中中中良兩向○。四音：父凡□吠●●●●；十二音：中中中中光廣況○。十聲：武晚□尾●●●●；二聲：中中中中丁井亙○。文萬□未●●●●；中中中中兄永瑩○。卜百丙必●●●●；中中中中千典旦○。五音：步白備鼻●●●●；十二音：中中中中元犬半○。十聲：普撲品匹●●●●；三聲：中中中中臣引艮○。旁排平瓶●●●●；中中中中君允巽○。東丹帝■●●●●；中中中中刀早孝嶽。六音：兌大弟■●●●●；十二音：中中中中毛寶報霍。十聲：土貪天■●●●●；四聲：中中中中牛斗奏六。同覃田■●●●●；中中中中○○○玉。乃你女■●●●●；中中中中妻子四日。七音：內南年■●●●●；十二音：中中中中衰○帥骨。十聲：老冷呂■●●●●；五聲：中中中中○○○德。鹿犖離■●●●●；中中中中龜水貴北。

"The 'Clear and Harmonious Tone of the Twelfth' is the final diagram of this passage and the last diagram of the figure. It takes the 'middle' position from the first category of the twelfth tone '■卓中■' as the 'harmonious' character, writing 'middle middle middle middle' in sequence. It then harmonizes with the first tone's four categories 'Du ke ge she, he huoa hua ba, kai zai ai ○, hui mei tui ○', the second tone's four categories 'Liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○', the third tone's four categories 'Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○', the fourth tone's four categories 'Dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu', and the fifth tone's four categories 'Zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei'. The left column still belongs to the 'Going Tone of the Tenth' and the singing position is left blank as '●●●●', with the corresponding phonetic categories being the third tone's four categories 'An ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min', the fourth tone's four categories 'Fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei', the fifth tone's four categories 'Bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping', the sixth tone's four categories 'Dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■', and the seventh tone's four categories 'Nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■'. The 'middle' comes from the first category of the twelfth tone '■卓中■', the opening position has no sound, 'zhuo' is the initial sound and 'zhong' is the final sound, and the closing position also has no sound. The four lines of the twelfth tone '■卓中■, ■宅直■, ■拆丑■, ■茶呈■' belong to the category of tongue sounds, with the final sounds 'zhong, zhi, chou, cheng', which are the last category of the twelve tones. This diagram takes the 'zhong' from the first category as the harmonious character. The first group of harmonious diagrams ends here at twelve, corresponding to the earth number twelve; the singing diagram ends at ten, corresponding to the heaven number ten. The heaven number uses ten and the earth number uses twelve, which is a common practice in Shao Yong's entire work: the first few volumes divide one yuan into twelve periods, and one period into thirty movements, which is also a method of multiplying ten and twelve, similar to the derivation of sounds in this passage."

走哉足■●●●●；中中中中宮孔眾○。八音：自在匠■●●●●；十二音：中中中中龍甬用○。十聲：草采七■●●●●；六聲：中中中中魚鼠去○。曹才全■●●●●；中中中中烏虎兔○。思三星■●●●●；中中中中心審禁○。九音：寺□象■●●●●；十二音：中中中中○○○十。十聲：□□□■●●●●；七聲：中中中中男坎欠○。□□□■●●●●；中中中中○○○妾。■山手■●●●●；中中中中●●●●。十音：■士石■●●●●；十二音：中中中中●●●●。十聲：■□耳■●●●●；八聲：中中中中●●●●。■□二■●●●●；中中中中●●●●。■莊震■●●●●；中中中中●●●●。十一音：■乍□■●●●●；十二音：中中中中●●●●。十聲：■叉赤■●●●●；九聲：中中中中●●●●。■崇辰■●●●●；中中中中●●●●。■卓中■●●●●；中中中中●●●●。十二音：■宅直■●●●●；十二音：中中中中●●●●。十聲：■拆丑■●●●●；十聲：中中中中●●●●。■茶呈■●●●●；中中中中●●●●。

After completing the last twenty lines on the left side: the eighth tone group with four levels includes "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone group with four levels includes "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone group with four levels includes "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone group with four levels includes "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", the twelfth tone group with four levels includes "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", all the singing positions are "●●●●", and after completing "the departing tone with the sound of 'Bi' and the singing of 'Lv' one to ten", the ten figures of the departing tone with one sound and ten figures are fully arranged. On the right side, using "Zhong Zhong Zhong Zhong" and the sixth tone group with four levels "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone group with four levels "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", the following eighth, ninth, and tenth tones, which total twelve lines, are all "●●●●", and after completing "the ending tone with the sound of 'Qing' and the harmonizing of 'He' one to twelve", the twelve figures of the water and earth tones with one sound and twelve figures are simultaneously completed. At this point, the singing and harmonizing groups of the forty-third section of the "Guanwu篇" have all twenty-two figures arranged. Each of the twelve harmonizing figures harmonizes with ten tones using one sound, allowing for 112 harmonized tones per figure, totaling 1,344 across twelve figures. The ten singing figures sing with twelve tones using one sound, with seven figures able to sing, each containing 152 tones, totaling 164. The numbers of the two groups correspond to one earth and one heaven, complementing each other, and the derivation of the forty-third section of the "Guanwu篇" is now complete. The sound sections of the "Guanwu篇" pair the four tones (level, rising, departing, and entering) with four levels (Bi and Xi), forming sixteen groups in total. This section covers the departing tone, and one of the four levels has already been arranged. The next section will deal with the second level of the departing tone with Xi, followed by the third level of the departing tone with Bi and the fourth level of the departing tone with Xi. Once all four levels are completed, the discussion will then move to the entering tone. Readers following this order will not get lost among the many figures with the same name.

觀物篇四十四。星月聲去翕；土火音收濁。化況半報帥；近雄王□備弟。用○●●●；年匠象石□直。星月聲七，下唱地之；土火音十二，上和天。用音一百五十二，是；之用聲一百一十二，謂去聲翕音。去聲翕；是謂收音濁聲。收音。音一千六十四。濁聲一千三百四十四。星月聲去之二翕；土火音收之二濁。

Chapter Forty-Four of "Observing Things." Below this, another set of paired verses is established, with headings listed in two columns on the left and right. The original text has merged the two columns into a single row, so they must be read separately. The left column discusses the seven tones of stars and moon sounds, pairing stars and moon with tones. "Star" corresponds to the falling tone; among the four tones, "moon" is the second tone, which belongs to "xī" (closed mouth). The seven tones used are "hua, kuang, ban, bao, shuai, yong, and ○." Adding the eighth, ninth, and tenth tones marked as "●●●," they correspond exactly to the second tone position of the ten-tone diagram. The first tone "hehuohua ba" gives "hua," the second tone "guangguang kuang ○" gives "kuang," the third tone "yuanquan ban ○" gives "ban," the fourth tone "mao bao bao huo" gives "bao," the fifth tone "shuai ○ shuai gu" gives "shuai," the sixth tone "long yong yong ○" gives "yong," and the seventh tone "○○○ shi" has no character for the falling tone, so it is marked as "○." The text then says that the seven tones of stars and moon correspond to the use of sounds on the earth, totaling 152, making the falling tone and closed mouth sounds 1,640, which is seven positions each with 152 sounds, 7 multiplied by 152 equals 1,064. The right column discusses the two tones of earth and fire sounds, pairing water, fire, earth, and stone with tones. "Earth" corresponds to the closing tone, and "fire" is the second tone, which belongs to "du" (dull). The twelve tones used are "jin, xiong, wang, □, bei, di, nian, jiang, xiang, shi, □, zhi," corresponding to the second tone position of the twelve tones. "Wang" should originally be "ren," and the fourth and eleventh tones have no characters for this position, so they are marked as "□." The text then says that the twelve tones of earth and fire correspond to the use of sounds in the heavens, totaling 112, making the closing tone and dull sounds 1,344, which is twelve tones each with 112 sounds, 12 multiplied by 112 equals 1,344. Shao Yong divided tones into level, rising, falling, and entering, and within each category, he divided them into four levels, one and three being "bi" (open), two and four being "xi" (closed). He also divided sounds into opening, developing, closing, and closing, and within each category, he divided them into four levels, one and three being "qing" (clear), two and four being "du" (dull). The forty-third chapter discusses the first level of tones and the first level of sounds, while this chapter shifts to the second level of tones and the second level of sounds. The sequence of chapters continues, and the positions progress, with the same principle applied.

去聲翕唱呂二之一；收音濁和律二之一。古甲九癸化化化化；近近近近多可個舌。一音：□□近揆化化化化；一音：近近近近禾火化八。一聲：坤巧丘棄化化化化；一聲：近近近近開宰愛○。□□乾蚪化化化化；近近近近回每退○。黑花香血化化化化；近近近近良兩向○。二音：黃華雄賢化化化化；一音：近近近近光廣況○。一聲：五瓦仰□化化化化；二聲：近近近近丁井亙○。吾牙月堯化化化化；近近近近兄永瑩○。安亞乙一化化化化；近近近近千典旦○。三音：□爻壬寅化化化化；一音：近近近近元犬半○。一聲：母馬美米化化化化；三聲：近近近近臣引艮○。目貌眉民化化化化；近近近近君允巽○。夫法□飛化化化化；近近近近刀早孝嶽。四音：父凡□吠化化化化；一音：近近近近毛寶報霍。一聲：武晚□尾化化化化；四聲：近近近近牛斗奏六。

Two diagrams begin simultaneously. "Going down in tone, harmonizing with the second of two" uses the first tone, second category "Hé Huǒ Huà Bā" with the falling tone position "Huà" as the singing character, and writes "Huà Huà Huà Huà" repeatedly; "Ending in tone, harmonizing with the second of two" uses the first tone, second category "□□Jìn Kuí" with the ending position "Jìn" as the harmonizing character, and writes "Jìn Jìn Jìn Jìn" repeatedly. The tones in the left column are the first tone, four categories "Gǔ Jiǎ Jiǔ Guǐ, □□Jìn Kuí, Kūn Qiǎo Qiū Qì, □□Qián Tóu", the second tone, four categories "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo", the third tone, four categories "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín", and the fourth tone's first three categories "Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi". The harmonizing tones in the right column are the first tone, four categories "Duō Kě Gè Shé, Hé Huǒ Huà Bā, Kāi Zǎi Ài ○, Huí Měi Tuì ○", the second tone, four categories "Liáng Liǎng Xiàng ○, Guāng Guǎng Kuàng ○, Dīng Jǐng Gèng ○, Xiōng Yǒng Yíng ○", the third tone, four categories "Qiān Diǎn Dàn ○, Yuán Quǎn Bàn ○, Chén Yǐn Gèn ○, Jūn Yǔn Xùn ○", and the fourth tone's first three categories "Dāo Zǎo Xiào Yuè, Máo Bǎo Bào Huò, Niú Dòu Zòu Liù". The first group of singing characters takes the first category, i.e., the position of separation, while this group takes the second category, i.e., the position of convergence; the harmonizing characters in the first group take the first category, i.e., the clear position, while this group takes the second category, i.e., the turbid position. The format is entirely the same, but the positions progress. "Huà" is in the first tone, second category "Hé Huǒ Huà Bā", where Hé is level, Huǒ is rising, Huà is falling, and Bā is entering, each of the four positions has a character; "Jìn" is in the first tone, second category "□□Jìn Kuí", where the first two positions have no characters and are marked with "□", Jìn is the ending, and Kuí is the closing. One belongs to the heavenly tones of convergence, the other to the earthly tones of turbidity. Convergence and turbidity correspond, which is the original intention of this diagram.

文萬□未化化化化；近近近近○○○玉。卜百丙必化化化化；近近近近妻子四日。五音：步白備鼻化化化化；一音：近近近近衰○帥骨。一聲：普撲品匹化化化化；五聲：近近近近○○○德。旁排平瓶化化化化；近近近近龜水貴北。東丹帝■化化化化；近近近近宮孔眾○。六音：兌大弟■化化化化；一音：近近近近龍甬用○。一聲：土貪天■化化化化；六聲：近近近近魚鼠去○。同覃田■化化化化；近近近近烏虎兔○。乃你女■化化化化；近近近近心審禁○。七音：內南年■化化化化；一音：近近近近○○○十。一聲：老冷呂■化化化化；七聲：近近近近男坎欠○。鹿犖離■化化化化；近近近近○○○妾。走哉足■化化化化；近近近近●●●●。八音：自在匠■化化化化；一音：近近近近●●●●。一聲：草采七■化化化化；八聲：近近近近●●●●。曹才全■化化化化；近近近近●●●●。思三星■化化化化；近近近近●●●●。

The left column continues with "huahuahuahu" for the fourth tone and fourth level "wen wan □ wei," the fifth tone and fourth level "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping," the sixth tone and fourth level "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■," the seventh tone and fourth level "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," the eighth tone and fourth level "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and the ninth tone and first level "si san xing ■." The right column continues with "jin jin jin jin" for the fourth tone and fourth level "○○○yu," the fifth tone and fourth level "zi qi si ri, shuai ○ shuai gu, ○○○de, gui shui gui bei," the sixth tone and fourth level "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○," the seventh tone and fourth level "xin shen jin ○, ○○○shi, nan kan qian ○, ○○○jie," the eighth tone and four lines "●●●●," and the ninth tone and first level "●●●●." "Jin" is a voiced dental sound, and by using it to harmonize across all ten tones, twenty-eight positions can be harmonized, while twelve cannot. The singing chart proceeds from the first tone in order, turning every four lines, completing the cycle at the twelfth tone; the harmonizing chart proceeds from the first tone in order, turning every four lines, completing the cycle at the tenth tone. Readers only need to remember that the cycle of tones is twelve and the cycle of sounds is ten, so they can determine the position of any line within the chart without counting each line individually.the so-called singing refers to taking one sound as the main and traversing all tones;the so-called harmonizing refers to taking one tone as the main and traversing all sounds. The main is one and the followers are many, so each chart must begin or end with a single character repeated four times, with the remaining forty-eight or forty lines being governed by it. This is analogous to the musical system where one key leads seven tones and one scale leads twelve pipes.

九音：寺□象■化化化化；一音：近近近近●●●●。一聲：□□□■化化化化；九聲：近近近近●●●●。□□□■化化化化；近近近近●●●●。■山手■化化化化；近近近近●●●●。十音：■士石■化化化化；一音：近近近近●●●●。一聲：■□耳■化化化化；十聲：近近近近●●●●。■□二■化化化化；近近近近●●●●。

The left column uses "huahuahuahu" to sing the second rank "si□xiang■", third rank "□□□■", and fourth rank "□□□■" of the ninth tone, as well as the fourth rank "■shan shou■, ■shi shi■, ■□er■, ■□er■" of the tenth tone. The third and fourth ranks of the ninth tone have no characters that can be cited, only three "□" indicating the positions of opening, development, and closing with sound but no characters, and the last "■" has neither sound nor character. The right column uses "jinnnjin" and the second, third, and fourth ranks of the ninth tone and the fourth rank of the tenth tone, with a total of seven lines all marked as "●●●●", and "shouyin zhu he lu yi zhi yi" for forty lines, completing the table. The third and fourth ranks of the ninth tone are marked as "□□□■", three empty boxes and one black block, which are the two most empty lines in the entire table. The empty boxes indicate that the three positions have sound but no characters, while the black block indicates that the closing position originally had no sound. The two symbols together in one line clearly distinguish between having sound but no characters and having neither sound nor character.

收音濁和律二之二。■莊震■化化化化；雄雄雄雄多可個舌。十一音：■乍□■化化化化；二音：雄雄雄雄禾火化八。一聲：■叉赤■化化化化；一聲：雄雄雄雄開宰愛○。■崇辰■化化化化；雄雄雄雄回每退○。■卓中■化化化化；雄雄雄雄良兩向○。十二音：■宅直■化化化化；二音：雄雄雄雄光廣況○。一聲：■拆丑■化化化化；二聲：雄雄雄雄丁井亙○。■茶呈■化化化化；雄雄雄雄兄永瑩○。

The left column sings the eleventh tone with four levels "■Zhuang Zhen■, ■Zha □■, ■Cha Chi■, ■Chong Chen■" and the twelfth tone with four levels "■Zhuo Zhong■, ■Zhai Zhi■, ■Che Chou■, ■Cha Cheng■", singing a total of forty-eight lines in the level tone with a falling tone. The right column starts with "receiving the tone with a heavy and harmonious tone of the second of the second law", taking the second tone and second level "Huang Hua Xiong Xian" and using the ending position "Xiong" as the harmonizing character, writing "Xiong Xiong Xiong Xiong". It first harmonizes with the first tone and four levels "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○" and the second tone and four levels "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○". The eleventh tone belongs to the category of correct teeth, and the twelfth tone belongs to the category of tongue top. The first characters of the four lines of both tones are all "■", and the last characters are also "■", so the characters that can be used are only in the middle two positions. Therefore, the ending positions of these two tones are only "Zhen, □, Chi, Chen" and "Zhong, Zhi, Chou, Cheng". "Xiong" is in the second tone and second level "Huang Hua Xiong Xian", where Huang is an open sound, Hua is a burst sound, Xiong is an ending sound, and Xian is a closing sound, with characters in all four positions, making it a relatively complete line among the twelve tones. The second tone is generally a throat sound, so characters like Hei, Hua, Xiang, Xue, Huang, Hua, Xiong, and Xian are all produced from the throat.

去聲翕唱呂二之二。古甲九癸況況況況；雄雄雄雄千典旦○。一音：□□近揆況況況況；二音：雄雄雄雄元犬半○。二聲：坤巧丘棄況況況況；三聲：雄雄雄雄臣引艮○。□□乾蚪況況況況；雄雄雄雄君允巽○。黑花香血況況況況；雄雄雄雄刀早孝嶽。二音：黃華雄賢況況況況；二音：雄雄雄雄毛寶報霍。二聲：五瓦仰■況況況況；四聲：雄雄雄雄牛斗奏六。吾牙月堯況況況況；雄雄雄雄○○○玉。安亞乙一況況況況；雄雄雄雄妻子四日。三音：□爻壬寅況況況況；二音：雄雄雄雄衰○帥骨。二聲：母馬美米況況況況；五聲：雄雄雄雄○○○德。目貌眉民況況況況；雄雄雄雄龜水貴北。夫法□飛況況況況；雄雄雄雄宮孔眾○。四音：父凡□吠況況況況；二音：雄雄雄雄龍甬用○。二聲：武晚□尾況況況況；六聲：雄雄雄雄魚鼠去○。文萬□未況況況況；雄雄雄雄烏虎兔○。

"The falling tone is sung with the second tone second class 'Guang Guang Kuang ○' using 'Kuang' as the singing character, with each line written as 'Kuang Kuang Kuang Kuang'. The first tone four classes are 'Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu'; the second tone four classes are 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ■, Wu Ya Yue Yao'; the third tone four classes are 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min'; the fourth tone four classes are 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei'. In the second tone third class, the last position here is marked as '■', while in other charts it is 'Wu Wa Yang □', so we should follow '□'. On the right side, 'Xiong Xiong Xiong Xiong' continues with the third tone four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○'; the fourth tone four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu'; the fifth tone four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei'; the sixth tone four classes 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○'. 'Kuang' is in the second tone second class 'Guang Guang Kuang ○', where Guang is level, Guang is rising, Kuang is falling, and the entering tone position is empty. The second tone four classes are 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○', with all entering tone positions in the four lines being empty circles, indicating that this category has level, rising, and falling tones but no entering tones, and such cases are not unique in the tone chart. The reason the entering tone positions have the most empty circles is that during the Song dynasty, the entering tones in the Central Plains had largely disappeared or changed, and Shao Yong created the chart based on the spoken and heard sounds of the time, recording what was present and leaving empty where there was none, without altering it to ancient rhyme. This is precisely why this chart is valuable for studying the pronunciation of the Song dynasty."

卜百丙必況況況況；雄雄雄雄心審禁○。五音：步白備鼻況況況況；二音：雄雄雄雄○○○十。二聲：普撲品匹況況況況；七聲：雄雄雄雄男坎欠○。旁排平瓶況況況況；雄雄雄雄○○○妾。東丹帝■況況況況；雄雄雄雄●●●●。六音：兌大弟■況況況況；二音：雄雄雄雄●●●●。二聲：土貪天■況況況況；八聲：雄雄雄雄●●●●。同覃田■況況況況；雄雄雄雄●●●●。乃你女■況況況況；雄雄雄雄●●●●。七音：內南年■況況況況；二音：雄雄雄雄●●●●。二聲：老冷呂■況況況況；九聲：雄雄雄雄●●●●。鹿犖離■況況況況；雄雄雄雄●●●●。走哉足■況況況況；雄雄雄雄●●●●。八音：自在匠■況況況況；二音：雄雄雄雄●●●●。二聲：草采七■況況況況；十聲：雄雄雄雄●●●●。曹才全■況況況況；雄雄雄雄●●●●。

The left column sings the fifth tone with four groups: "Kuang Kuang Kuang Kuang," which includes "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone includes four groups: "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The seventh tone includes four groups: "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■." The eighth tone includes four groups: "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right column uses "Xiong Xiong Xiong Xiong" and the seventh tone with four groups: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie." Below this, the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●." The diagram "Shou Yin Zhu He Lu Er Zhi Er" is complete. "Kuang" is a falling tone with a rounded mouth, while "Xiong" is a throaty浊 sound. One sings and the other responds, dividing heaven and earth: sound is sung from top to bottom, while tone is harmonized from bottom to top. Therefore, the left diagram is called "Chang Lv" (singing tone), and the right diagram is called "He Lu" (harmonizing tone). Between the singing and harmonizing, the numbers of heaven and earth intersect and generate: sound represents heaven, so its symbol is round—when there is a position but no character, it is marked as "○," and when there is no position, it is marked as "●." Tone represents earth, so its symbol is square—when there is a position but no character, it is marked as "□," and when there is no position, it is marked as "■." The distinction between round and square is not arbitrary but is meant to be immediately recognizable as heavenly sound or earthly tone. Singing is on the left and harmonizing on the right, each with its own order: the left is yang and represents heaven, so it lists sound; the right is yin and represents earth, so it lists tone. Heaven moves first and earth responds later, so when reading, one should first read the left and then the right. The original text is carved in two columns, and when converted into horizontal lines, the left and right are aligned side by side, and the order of precedence must not be confused.

收音濁和律二之三。思三星■況況況況；王王王王多可個舌。九音：寺□象■況況況況；三音：王王王王禾火化八。二聲：□□□■況況況況；一聲：王王王王開宰愛○。□□□■況況況況；王王王王回每退○。■山手■況況況況；王王王王良兩向○。十音：■士石■況況況況；三音：王王王王光廣況○。二聲：■□耳■況況況況；二聲：王王王王丁井亙○。■□二■況況況況；王王王王兄永瑩○。■莊震■況況況況；王王王王千典旦○。十一音：■乍□■況況況況；三音：王王王王元犬半○。二聲：■叉赤■況況況況；三聲：王王王王臣永艮○。■崇辰■況況況況；王王王王君允巽○。■卓中■況況況況；王王王王刀早孝嶽。十二音：■宅直■況況況況；三音：王王王王毛寶報霍。二聲：■拆丑■況況況況；四聲：王王王王牛斗奏六。■茶呈■況況況況；王王王王○○○玉。

The left column completes the last sixteen lines of "Going Tone Harmonization for the Second of the Second Level": the ninth tone level's four categories "Si San Xing, Si Xiang Xiang, ..., ..." and the tenth tone level's four categories "Shan Shou, Shi Shi Shi, ..., ..." and the eleventh tone level's four categories "Zhuang Zhen, Zha Cha, ..., ..." and the twelfth tone level's four categories "Zhuo Zhong, Zhai Zhi, ..., ..." all end with "Kuang Kuang Kuang Kuang". The right column establishes a new section titled "Ending Tone for the Third of the Second Level", taking the ending position of the third tone's second category as the "He" character; elsewhere this position is written as "Ren", but in this table it is written as "Wang", and the four lines all read "Wang Wang Wang Wang", which are similar in form but actually represent the same character. The characters being harmonized are the first tone's four categories "Da Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui", the second tone's four categories "Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying", the third tone's four categories "Qian Dian Dan, Yuan Quan Ban, Chen Yong Gen, Jun Yun Xun", and the fourth tone's four categories "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ... ... Yu". From the third tone's third category onwards, this table frequently writes "Chen Yong Gen", but the correct character should be "Chen Yin Gen". The "He" character in this table differs from that in other texts, due to the transmission and copying of the sound diagram in the "Huang Ji Jing Shi". All such similar character errors, such as "Ren" and "Wang", "Yin" and "Yong", "Hua" and "Hua", "Wan" and "Wan", are recorded as they appear in the original text in this compilation, with the correct character noted in the translation to preserve both the original form and the correct reading.

去聲翕唱呂二之三。古甲九癸半半半半；王王王王妻子四日。一音：□□近揆半半半半；三音：王王王王衰○帥骨。三聲：坤巧丘棄半半半半；五聲：王王王王○○○德。□□乾蚪半半半半；王王王王龜水貴北。黑花香血半半半半；王王王王宮孔眾○。二音：黃華雄賢半半半半；三音：王王王王龍甬用○。三聲：五瓦仰■半半半半；六聲：王王王王魚鼠去○。吾牙月堯半半半半；王王王王烏虎兔○。安亞乙一半半半半；王王王王心審禁○。三音：□爻壬寅半半半半；三音：王王王王○○○十。三聲：母馬美米半半半半；七聲：王王王王男坎欠○。目貌眉民半半半半；王王王王○○○妾。夫法□飛半半半半；王王王王●●●●。四音：父凡□吠半半半半；三音：王王王王●●●●。三聲：武晚□尾半半半半；八聲：王王王王●●●●。文萬□未半半半半；王王王王●●●●。卜百丙必半半半半；王王王王●●●●。

The singing is based on the third tone, second class "Yuanquan Ban○", using the falling tone character "Ban" as the singing character, with "Ban Ban Ban Ban" written in each line. This section sings the first tone with four classes: "Gu Jia Ji Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone with four classes: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ■, Wu Ya Yue Yao", the third tone with four classes: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone with four classes: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", and the fifth tone with one class: "Bu Bai Bing Bi". On the right side, "Wang Wang Wang Wang" continues with the fifth tone, four classes: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", sixth tone, four classes: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", seventh tone, four classes: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", eighth tone, four lines and ninth tone, one class, all marked as "●●●●". "Ban" is in the third tone, second class "Yuanquan Ban○", where Yuan is level, Quan is rising, Ban is falling, and the entering tone position is empty. The third tone, four classes are "Qian Dian Dan ○", "Yuanquan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", with the entering tone positions all empty, following the same pattern as the second tone; the falling tone positions are given the characters Dan, Ban, Gen, Xun, and this text selects the second class "Ban". In the third tone, four classes, the falling tone positions are given the characters Dan, Ban, Gen, Xun, among which Dan and Gen belong to Bi, and Ban and Xun belong to Xi; the first group uses Dan and Gen, the second group uses Ban and Xun. Thus, for each of the four classes in one tone, each group uses two characters, and after two groups, all are exhausted, which explains the reason why the texts are connected without repetition.

五音：步白備鼻半半半半；三音：王王王王●●●●。三聲：普撲品匹半半半半；九聲：王王王王●●●●。旁排平瓶半半半半；王王王王●●●●。東丹帝■半半半半；王王王王●●●●。六音：兌大弟■半半半半；三音：王王王王●●●●。三聲：土貪天■半半半半；十聲：王王王王●●●●。同覃田■半半半半；王王王王●●●●。

The left column continues with "ban ban ban ban" for the fifth tone's second class "bu bai bei bi", third class "pu pu pin pi", fourth class "pang pai ping ping", and sixth tone's fourth class "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■". The right column uses "wang wang wang wang" and the second, third, and fourth classes of the ninth tone, and the fourth class of the tenth tone, with seven lines all marked as "●●●●", and the phrase "shou yin zhu he lu er zhi san" concluding forty lines. Whenever a tune is sung, it must be forty lines, and when a tune is sung, it must be forty-eight lines. The number of lines differs because there are ten tones and twelve sounds, each having four classes. The two tables are arranged on the same page, so their progress naturally varies. Singing a tune requires forty-eight lines, while harmonizing a tune requires forty lines, differing by eight lines. Each time a tune is passed, the starting point of the two columns shifts by eight lines. After five tunes, the shift reaches forty lines, matching the entire length of a harmonized tune, so the two columns then simultaneously start anew. The reason why the change of tunes sometimes occurs separately and sometimes together is entirely due to this difference of eight lines.

收音濁和律二之四。乃你女■半半半半；□□□□多可個舌。七音：內南年■半半半半；四音：□□□□禾火化八。三聲：老冷呂■半半半半；一聲：□□□□開宰愛○。鹿犖離■半半半半；□□□□回每退○。走哉足■半半半半；□□□□良兩向○。八音：自在匠■半半半半；四音：□□□□光廣況○。三聲：草采七■半半半半；二聲：□□□□丁井亙○。曹才全■半半半半；□□□□兄永瑩○。思三星■半半半半；□□□□千典旦○。九音：寺□象■半半半半；四音：□□□□元犬半○。三聲：□□□■半半半半；三聲：□□□□臣永艮○。□□□■半半半半；□□□□君允巽○。■山手■半半半半；□□□□刀早孝嶽。十音：■士石■半半半半；四音：□□□□毛寶報霍。三聲：■□耳■半半半半；四聲：□□□□牛斗奏六。■□二■半半半半；□□□□○○○玉。■莊震■半半半半；□□□□妻子四日。十一音：■乍□■半半半半；四音：□□□□衰○帥骨。三聲：■叉赤■半半半半；五聲：□□□□○○○德。■崇辰■半半半半；□□□□龜水貴北。■卓中■半半半半；□□□□宮孔眾○。十二音：■宅直■半半半半；四音：□□□□龍甬用○。三聲：■拆丑■半半半半；六聲：□□□□魚鼠去○。

"The final sound of the second level of the fourth tone 'Fu Fan □ Fei' is taken as the character 'He'. This position has a sound but no character, so the first line of the chart is written as '□□□□'. The characters being harmonized are the first tone with four levels: 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone with four levels: 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○', the third tone with four levels: 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong 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', and the sixth tone with the first three levels: 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○'. The left column follows 'Going tone with the third level of the second tone 'Xī Chàng Lǚ èr zhī sān', singing 'Bàn Bàn Bàn Bàn' for the seventh tone with four levels: 'Nǎi Nǐ Nǚ ■, Nèi Nán Nián ■, Lǎo Lěng Lǚ ■, Lù Luò Lí ■', the eighth tone with four levels: 'Zǒu Zāi Zú ■, Zìzài Jiàng ■, Cǎo Cǎi Qī ■, Cáo Cái Quán ■', the ninth tone with four levels: 'Sī Sān Xīng ■, Sì □ Xiàng ■, □□□ ■, □□□ ■', the tenth tone with four levels: '■ Shān Shǒu ■, ■ Shì Shí ■, ■□ ěr ■, ■□ èr ■', the eleventh tone with four levels: '■ Zhuāng Zhèn ■, ■ Zhà □ ■, ■ Chā Chì ■, ■ Chóng Chén ■', and the twelfth tone with the first three levels: '■ Zhuó Zhōng ■, ■ Zhái Zhí ■, ■ Chāi Chǒu ■'. Among the twelve tones, the fourth tone and the eleventh tone have no characters for their final positions, so any chart using these two as the harmonized characters will have the first line written as four empty boxes. Although the boxes have no characters, their position still represents a sound, so they are treated the same as those with characters. Therefore, this chart still belongs to the twelve charts, and the number of sounds it harmonizes remains 112, not reduced because of the absence of characters. There are two charts that use empty boxes as the harmonized characters: one is the fourth tone's final position, and the other is the eleventh tone's final position. These two positions have sounds but no characters. Shao Yong refused to use other characters to substitute for them, and he also refused to omit the chart, so he marked them with four boxes. The difference between the empty boxes and the black blocks is crucial in the entire chart: the boxes indicate that the position exists but the character is missing, while the blocks indicate that both the position and the character are missing. The former is still counted in the numbers, while the latter must be subtracted from the 192 positions, resulting in the correct number of 152 sounds."

■茶呈■半半半半；□□□□烏虎兔○。去聲翕唱呂二之四。古甲九癸報報報報；□□□□心審禁○。一音：□□近揆報報報報；四音：□□□□○○○十。四聲：坤巧丘棄報報報報；七聲：□□□□男坎欠○。□□乾蚪報報報報；□□□□○○○妾。黑花香血報報報報；□□□□●●●●。二音：黃華雄賢報報報報；四音：□□□□●●●●。四聲：五瓦仰□報報報報；八聲：□□□□●●●●。吾牙月堯報報報報；□□□□●●●●。安亞乙一報報報報；□□□□●●●●。三音：□爻壬寅報報報報；四音：□□□□●●●●。四聲：母馬美米報報報報；九聲：□□□□●●●●。目貌眉民報報報報；□□□□●●●●。夫法□飛報報報報；□□□□●●●●。四音：父凡□吠報報報報；四音：□□□□●●●●。四聲：武晚□尾報報報報；十聲：□□□□●●●●。文萬□未報報報報；□□□□●●●●。

The first line on the left side, 「■茶呈■」, is the twelfth tone, fourth class, with the suffix 「半半半半」, and 「去声翕唱吕二之三」 is sung. On the right side, it uses 「□□□□」 and the sixth tone, fourth class 「乌虎兔○」. Then 「去声翕唱吕二之四」 starts anew, taking the fourth tone, second class 「毛宝报霍」, and using the falling tone character 「报」 as the sung character, writing 「报报报报」. It sings the first tone, fourth class 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone, fourth class 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, the third tone, fourth class 「安亚乙一、□爻壬寅、母马美米、目貌眉民」, and the fourth tone, fourth class 「夫法□飞、父凡□吠、武晚□尾、文万□未」. On the right side, it uses 「□□□□」 and the seventh tone, fourth class 「心审禁○、○○○十、男坎欠○、○○○妾」. Below this, twelve lines all use 「●●●●」, and 「收音浊和律二之四」 completes one diagram. The character 「报」 is in the fourth tone, second class 「毛宝报霍」, where 毛 is level, 宝 is rising, 报 is falling, and 霍 is entering tone, with all four tones present. The fourth tone, fourth class uses 「刀早孝岳」「毛宝报霍」「牛斗奏六」「○○○玉」, and the entering tone characters are 岳, 霍, 六, 玉, making it the most complete category of entering tones among the ten tones. The four entering tone characters 岳, 霍, 六, 玉 in the fourth tone are all present, making it the most complete category of entering tones among the ten tones; whereas the first tone only has 舌 and 八, and the second and third tones have no entering tones at all. This uneven distribution is not due to careless copying, but rather reflects Shao Yong's determination based on the actual pronunciation of the time, so the distribution of empty circles in each diagram can be cross-referenced with each other, and the前后 can be verified.

收音濁和律二之五。卜百丙必報報報報；備備備備多可個舌。五音：步白備鼻報報報報；五音：備備備備禾火化八。四聲：普撲品匹報報報報；一聲：備備備備開宰愛○。旁排平瓶報報報報；備備備備回每退○。東丹帝■報報報報；備備備備良兩向○。六音：兌大弟■報報報報；五音：備備備備光廣況○。四聲：土貪天■報報報報；二聲：備備備備丁井亙○。同覃田■報報報報；備備備備兄永瑩○。乃你女■報報報報；備備備備千典旦○。七音：內南年■報報報報；五音：備備備備元犬半○。四聲：老冷呂■報報報報；三聲：備備備備臣永艮○。鹿犖離■報報報報；備備備備君允巽○。走哉足■報報報報；備備備備刀早孝嶽。八音：自在匠■報報報報；五音：備備備備毛寶報霍。四聲：草采七■報報報報；四聲：備備備備牛斗奏六。曹才全■報報報報；備備備備○○○玉。

"Receiving the sound of the second class of the fifth tone 'Bu Bai Bei Bi' to take the 'Bei' as the 'He' character, writing 'Bei Bei Bei Bei', harmonizing with the first tone of four classes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O', the second tone of four classes 'Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O', the third tone of four classes 'Qian Dian Dan O, Yuan Quan Ban O, Chen Yong Gen O, Jun Yun Xun O', and the fourth tone of four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, O O O Yu'. The left column follows 'Going tone of the fourth class 'Bu Bai Bei Bi' to sing the fifth tone of four classes 'Bu Bai Bei Bi, Pu Pu Pin Pi, Páng Pái Píng Píng', the sixth tone of four classes 'Dōng Dān Dì ■, Duì Dà Dì ■, Tǔ Tān Tiān ■, Tóng Tán Tián ■', the seventh tone of four classes 'Nǎi Nǐ Nǚ ■, Nèi Nán Nián ■, Lǎo Lěng Lǚ ■, Lù Luò Lí ■', and the eighth tone of four classes 'Zǒu Zāi Zú ■, Zì Zài Jiàng ■, Cǎo Cǎi Qī ■, Cáo Cái Quán ■'. 'Bei' belongs to the heavy lip sound, while 'Bao' belongs to the lip-teeth combined sound of the going tone, one being the earth sound and the other the heaven sound, forming a harmonious contrast. 'Bei' is in the second class of the fifth tone 'Bu Bai Bei Bi', where 'Bu' is the opening, 'Bai' is the initial, 'Bei' is the closing, and 'Bi' is the closing, each position having a character. The four lines of the fifth tone 'Bu Bai Bei Bi', 'Pu Pu Pin Pi', 'Páng Pái Píng Píng' belong to the heavy lip category, with the first and third being clear sounds and the second and fourth being heavy sounds, with the closing sounds being 'Bing', 'Bei', 'Pin', and 'Ping' respectively."

思三星■報報報報；備備備備妻子四日。九音：寺□象■報報報報；五音：備備備備衰○帥骨。四聲：□□□■報報報報；五聲：備備備備○○○德。□□□■報報報報；備備備備龜水貴北。■山手■報報報報；備備備備宮孔眾○。十音：■士石■報報報報；五音：備備備備龍甬用○。四聲：■□耳■報報報報；六聲：備備備備魚鼠去○。■□二■報報報報；備備備備烏虎兔○。■莊震■報報報報；備備備備心審禁○。十一音：■乍□■報報報報；五音：備備備備○○○十。四聲：■叉赤■報報報報；七聲：備備備備男坎欠○。■崇辰■報報報報；備備備備○○○妾。■卓中■報報報報；備備備備●●●●。十二音：■宅直■報報報報；五音：備備備備●●●●。四聲：■拆丑■報報報報；八聲：備備備備●●●●。■茶呈■報報報報；備備備備●●●●。

The left column sings the ninth tone with four levels "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone with four levels "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone with four levels "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone with four levels "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and "Qu Sheng Xi Chang Lv Er Zhi Si" for forty-eight lines sung through. The right column continues with the fifth tone, four levels "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the sixth tone, four levels "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone, four levels "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", and the eighth tone with four lines "● ● ● ●". Once a singing diagram is completed, it represents one tone's position, singing through twelve tones and forty-eight lines. Among these, the "■" appears forty times and is not used, so the actual number of participants singing with each other is one hundred and fifty-two. The second group of singing diagrams consists of ten, but only seven can be sung, so the number of "Qu Sheng Xi" tones is the same as "Qu Sheng Pi" tones, both being one thousand six hundred and forty, differing only in the level of tone, which changes from Pi to Xi. Once a singing diagram is completed, the next diagram uses a different singing character and re-arranges the forty-eight lines of tones, keeping the order of the lines and the characters unchanged, changing only the singing position. Among the ten diagrams, seven singing positions are used with three left blank; in the harmonizing diagrams of twelve, ten harmonizing positions are used with two left blank. Although the characters are limited, the multiplication of positions results in thousands, which is what Shao Yong called "using few to control many."

去聲翕唱呂二之五。古甲九癸帥帥帥帥；備備備備●●●●。一音：□□近揆帥帥帥帥；五音：備備備備●●●●。五聲：坤巧丘棄帥帥帥帥；九聲：備備備備●●●●。□□乾蚪帥帥帥帥；備備備備●●●●。黑花香血帥帥帥帥；備備備備●●●●。二音：黃華雄賢帥帥帥帥；五音：備備備備●●●●。五聲：五瓦仰□帥帥帥帥；十聲：備備備備●●●●。吾牙月堯帥帥帥帥；備備備備●●●●。

"The fifth tone of the second class 'Qūshēng Xīchàng Lǚ èr zhī wǔ' selects the fifth tone second class 'Shuāi Ō Shuài Gǔ' and uses the 'Shuài' character from the falling tone position as the 'Chàng' character, writing 'Shuài Shuài Shuài Shuài'. First, the first tone of four classes is sung as 'Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu' and the second tone of four classes is sung as 'Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo'. In the fifth tone second class 'Shuāi Ō Shuài Gǔ', the rising tone position is empty and marked as '○', but the falling tone position still uses the 'Shuài' character, so this diagram still has characters to be sung. On the right side, 'Bèi Bèi Bèi Bèi' and the ninth and tenth tones make eight rows, all marked as '●●●●'. 'Shōu yīn zhuó hé lǜ èr zhī wǔ' ends with forty rows. 'Shuài' is in the fifth tone second class 'Shuāi Ō Shuài Gǔ', where 'Shuāi' is level tone, the rising tone position is empty, 'Shuài' is falling tone, and 'Gǔ' is entering tone. Within one row, one position is marked with a circle, clearly showing that tones have positions but characters do not need to be complete. This diagram is the fifth diagram of the second group of singing diagrams. Above it, the characters 'Huà', 'Kuang', 'Bàn', and 'Bào' have already been used. Below it, there is 'Yòng' and one empty position, as well as three diagrams entirely filled with black."

收音濁和律二之六。安亞乙一帥帥帥帥；弟弟弟弟多可個舌。三音：□爻王寅帥帥帥帥；六音：弟弟弟弟禾火化八。五聲：母馬美米帥帥帥帥；一聲：弟弟弟弟開宰愛○。目貌眉民帥帥帥帥；弟弟弟弟回每退○。夫法□飛帥帥帥帥；弟弟弟弟良兩向○。四音：父凡□吠帥帥帥帥；六音：弟弟弟弟光廣況○。五聲：武晚□尾帥帥帥帥；二聲：弟弟弟弟丁井亙○。文萬□未帥帥帥帥；弟弟弟弟兄永瑩○。卜百丙必帥帥帥帥；弟弟弟弟千典旦□。五音：步白備鼻帥帥帥帥；六音：弟弟弟弟元犬半○。五聲：普撲品匹帥帥帥帥；三聲：弟弟弟弟臣永艮○。旁排平瓶帥帥帥帥；弟弟弟弟君允巽○。東丹帝■帥帥帥帥；弟弟弟弟刀早孝嶽。六音：兌大弟■帥帥帥帥；六音：弟弟弟弟毛寶報霍。五聲：土貪天■帥帥帥帥；四聲：弟弟弟弟牛斗奏六。

"The final sound of the second level of the second tone 'Dui Da Di ■' is taken as the character 'Di' for the character 'He'. It is written as 'Di Di Di Di'. The first tone of the fourth level includes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone of the fourth level includes 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone of the fourth level includes 'Qian Dian Dan □, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○', and the fourth tone of the first three levels includes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu'. In the third tone of the first level, the last position elsewhere is written as 'Qian Dian Dan ○', but here it is mistakenly written as '□'. On the left side, it follows 'Going tone Xi Chang Lv Er Wu Zi Wu', using 'Shuai Shuai Shuai Shuai' to sing the third tone of the fourth level 'An Ya Yi Yi, □ Yao Wang Yin, Mu Ma Mei Mi, Mu Mao Mei Min', the fourth tone of the fourth level 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei', the fifth tone of the fourth level 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', and the sixth tone of the first three levels 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■'. In the third tone of the second level, it is written as '□ Yao Wang Yin' here, while elsewhere it is written as '□ Yao Ren Yin', with 'Wang' and 'Ren' being interchangeable. 'Di' is in the second level of the sixth tone 'Dui Da Di ■', where 'Dui' is open, 'Da' is initial, and 'Di' is final. Since the closed position has no sound, it is written as '■'. The fourth lines of the sixth tone 'Dong Dan Di ■', 'Dui Da Di ■', 'Tu Tan Tian ■', and 'Tong Tan Tian ■' belong to the tongue category, with the final sounds being 'Di', 'Di', 'Tian', and 'Tian', respectively. The diagram takes the second level's 'Di' from these."

同覃田■帥帥帥帥；弟弟弟弟○○○玉。乃你女■帥帥帥帥；弟弟弟弟妻子四日。七音：內南年■帥帥帥帥；六音：弟弟弟弟衰○帥骨。五聲：老冷呂■帥帥帥帥；五聲：弟弟弟弟○○○德。鹿犖離■帥帥帥帥；弟弟弟弟龜水貴北。走哉足■帥帥帥帥；弟弟弟弟宮孔眾○。八音：自在匠■帥帥帥帥；六音：弟弟弟弟龍甬用○。五聲：草采七■帥帥帥帥；六聲：弟弟弟弟魚鼠去○。曹才全■帥帥帥帥；弟弟弟弟烏虎兔○。思三星■帥帥帥帥；弟弟弟弟心審禁○。九音：寺□象■帥帥帥帥；六音：弟弟弟弟○○○十。五聲：□□□■帥帥帥帥；七聲：弟弟弟弟男坎欠○。□□□■帥帥帥帥；弟弟弟弟○○○妾。■山手■帥帥帥帥；弟弟弟弟●●●●。十音：■士石■帥帥帥帥；六音：弟弟弟弟●●●●。五聲：■□耳■帥帥帥帥；八聲：弟弟弟弟●●●●。■□二■帥帥帥帥；弟弟弟弟●●●●。■莊震■帥帥帥帥；弟弟弟弟●●●●。十一音：■乍□■帥帥帥帥；六音：弟弟弟弟●●●●。

The left column continues with "shuāi shuāi shuāi shuāi" for the sixth tone, fourth category "tong tan tian ■", seventh tone, fourth category "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■", eighth tone, fourth category "zou zai zu ■, zi zai jiang ■, cao cao qi ■, cao cai quan ■", ninth tone, fourth category "si san xing ■, si ■ xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", tenth tone, fourth category "■ shan shou ■, ■ shi shi ■, ■ ■ er ■, ■ ■ er ■", and the first category of the eleventh tone "■ zhuang zhen ■", second category "■ zha ■ ■". The right column continues with "di di di di" for the fourth tone, fourth category "○○○ yu", fifth tone, fourth category "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", sixth tone, fourth category "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", seventh tone, fourth category "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ qie", the eighth tone's four lines and the first two lines of the ninth tone are all "●●●●". The harmonization chart consists of forty lines, the first twenty-eight lines belong to the first to seventh tones, and there are characters that can be harmonized; the last twelve lines belong to the eighth, ninth, and tenth tones, which have positions but no characters, so they are all marked with black dots. Each chart is like this; when readers see a continuous series of black dots, they know that the chart has entered the latter part, and there are only a few lines below before a new chart is needed. Although the last twelve lines of the harmonization chart are all black dots, they cannot be omitted: the black dots indicate the forty-eight positions of the eighth, ninth, and tenth tones. It is precisely because these positions are marked that the total of one hundred sixty positions minus forty-eight positions results in one hundred twelve usable tones. The first twenty-eight lines are real, and the last twelve lines are virtual, with real and virtual lines arranged together to clarify the numbers, which is a consistent method used by Shao Yong in creating his charts. Readers should not overlook this simply because there are no characters.

五聲：■叉赤■帥帥帥帥；九聲：弟弟弟弟●●●●。■崇辰■帥帥帥帥；弟弟弟弟●●●●。■卓中■帥帥帥帥；弟弟弟弟●●●●。十二音：■宅直■帥帥帥帥；六音：弟弟弟弟●●●●。五聲：■拆丑■帥帥帥帥；十聲：弟弟弟弟●●●●。■茶呈■帥帥帥帥；弟弟弟弟●●●●。去聲翕唱呂二之六；收音濁和律二之七。古甲九癸用用用用；年年年年多可個舌。一音：□□近揆用用用用；七音：年年年年禾火化八。六聲：坤巧丘棄用用用用；一聲：年年年年開宰愛○。□□乾蚪用用用用；年年年年回每退○。黑花香血用用用用；年年年年良兩向○。二音：黃華雄賢用用用用；七音：年年年年光廣況○。六聲：五瓦仰□用用用用；二聲：年年年年丁井亙○。吾牙月堯用用用用；年年年年兄永瑩○。安亞乙一用用用用；年年年年千典旦○。三音：□爻壬寅用用用用；七音：年年年年元犬半○。六聲：母馬美米用用用用；三聲：年年年年臣永艮○。

First, the previous pair of diagrams: the left column, 「■叉赤■」「■崇辰■」are the third and fourth tones of the eleventh sound, while 「■卓中■、■宅直■、■拆丑■、■茶呈■」are the fourth tones of the twelfth sound, followed by 「帅帅帅帅」, and 「去声翕唱吕二之五」is completed. The right column uses 「弟弟弟弟」and passes through the third and fourth tones of the ninth sound and the fourth tone of the tenth sound, with six lines all marked 「●●●●」, and 「收音浊和律二之六」is also completed. The following two diagrams start together: 「去声翕唱吕二之六」takes the fourth tone of the second level of the sixth sound 「龙甬用○」, using the falling tone position 「用」as the singing tone, writing 「用用用用」. It first sings the fourth tone of the first sound 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the fourth tone of the second sound 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, and the third tone of the first three levels of the third sound 「安亚乙一、□爻壬寅、母马美米」. 「收音浊和律二之七」takes the fourth tone of the second level of the seventh sound 「内南年■」, using the closing position 「年」as the harmonizing tone, writing 「年年年年」. It first harmonizes the fourth tone of the first sound, the fourth tone of the second sound, and the third tone of the first three levels of the third sound 「千典旦○、元犬半○、臣永艮○」. 「用」is in the second level of the sixth sound 「龙甬用○」, where dragon is level tone, yong is rising tone, and yong is falling tone, with no character in the入声 (entering tone) position; 「年」is in the second level of the seventh sound 「内南年■」, where nei is opening tone, nan is initial tone, and nian is closing tone, with no sound in the closed position. The sound takes the falling tone, the tone takes the closing sound, each column takes one character as the main, and goes through the entire table of the other column, which is the general pattern of the singing and harmonizing diagram. At the point where both diagrams change their headings simultaneously, the original text had two parallel titles, which after being converted into horizontal lines are combined into one line, so the beginning of this section simultaneously shows the two titles 「去声翕唱吕二之六」and 「收声浊和律二之七」.

目貌眉民用用用用；年年年年君允巽○。夫法□飛用用用用；年年年年刀早孝嶽。四音：父凡□吠用用用用；七音：年年年年毛寶報霍。六聲：武晚□尾用用用用；四聲：年年年年牛斗奏六。文萬□未用用用用；年年年年○○○玉。卜百丙必用用用用；年年年年妻子四日。五音：步白備鼻用用用用；七音：年年年年衰○帥骨。六聲：普撲品匹用用用用；五聲：年年年年○○○德。旁排平瓶用用用用；年年年年龜水貴北。東丹帝■用用用用；年年年年宮孔眾○。六音：兌大弟■用用用用；七音：年年年年龍甬用○。六聲：土貪天■用用用用；六聲：年年年年魚鼠去○。同覃田■用用用用；年年年年烏虎兔○。乃你女■用用用用；年年年年心審禁○。七音：內南年■用用用用；七音：年年年年○○○十。六聲：老冷呂■用用用用；七聲：年年年年男坎欠○。

The left column continues with the third tone and fourth class "mu mao mei min", the fourth tone and four classes "bu ba bing bi, fu fan fan fei, wu wan wan wei, wen wan wan wei", the fifth tone and four classes "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone and four classes "dong dan di di, dui da di di, tu tan tian tian, tong tan tian tian", and the seventh tone with the first three classes "nai ni nv nv, nei nan nian nian, lao leng lv lv". The right column continues with the third tone and fourth class "jun yun xun xun", the fourth tone and four classes "dao zao xiao yue, mao bao bao huo, niu dou zou liu, shi shi shi yu", the fifth tone and four classes "zi qi si ri, shuai shuai shuai gu, shuai shuai shuai de, gui shui gui bei", the sixth tone and four classes "gong kong zhong zhong, long yong yong yong, yu shu qu qu, wu hu tu tu", and the seventh tone with the first three classes "xin shen jin jin, shi shi shi shi, nan kan qian qian". The sound chart consists of ten categories. If we compare them with rhyme groups: the first tone includes both the "ge ge" and "xie xie" rhyme groups; the second tone belongs to the "dang geng" group; the third tone belongs to the "shan zhen" group; the fourth tone includes both the "xiao liu" groups; the fifth tone belongs to the "zhi xi" group; the sixth tone belongs to the "tong yu" group; the seventh tone belongs to the "shen xian" group. The eighth and following three tones have no characters to cite, so they naturally have no rhyme groups to refer to. The seventh tone of the sound chart includes both the tongue and half-tongue sounds, hence the four lines "nai ni nv nv", "nei nan nian nian", "lao leng lv lv", and "lu luo li li". "Nai" and "nei" belong to the "ni niang" group, "lao" and "lu" belong to the "lai" group. The vowel positions are "nu", "nian", "lv", and "li", and the character "nian" in this passage comes from the second class of the harmonized characters.

鹿犖離■用用用用；年年年年○○○妾。走哉足■用用用用；年年年年●●●●。八音：自在匠■用用用用；七音：年年年年●●●●。六聲：草采七■用用用用；八聲：年年年年●●●●。曹才全■用用用用；年年年年●●●●。思三星■用用用用；年年年年●●●●。九音：寺□象■用用用用；七音：年年年年●●●●。六聲：□□□■用用用用；九聲：年年年年●●●●。□□□■用用用用；年年年年●●●●。■山手■用用用用；年年年年●●●●。十音：■士石■用用用用；七音：年年年年●●●●。六聲：■□耳■用用用用；十聲：年年年年●●●●。■□二■用用用用；年年年年●●●●。

The left column uses "yong yong yong yong" to sing the seventh tone, fourth grade "lu luo li ■", the eighth tone, fourth grade "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", the ninth tone, fourth grade "si san xing ■, si ■ xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone, fourth grade "■ shan shou ■, ■ shi shi ■, ■ ■ er ■, ■ ■ er ■". The right column uses "nian nian nian nian" and the seventh tone, fourth grade "○○○ qie". After that, the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●". "Shou yin zhu he lu yi zhi qi" fills forty lines completely. "Nian" belongs to the dull sound of the tongue, with twenty-eight positions with sound and twelve positions without sound, and the number of harmonies remains one hundred and twelve. Each harmony diagram has a number of harmonies of one hundred and twelve, twelve diagrams total one thousand three hundred and forty-four, which is the number of dull sounds mentioned in this passage. The first group of clear sounds and the third group of clear sounds follow the same calculation method, differing only in the grade selected: one is the first grade of clear sounds, one is the second grade of dull sounds, and one is the third grade of clear sounds. Each group has twelve diagrams, this is seven of them; there are still five characters, "jiang", "xiang", "shi", "■", and "zhi", whose diagrams remain to be arranged, and only after they are arranged does this group end. Each diagram occupies forty lines, twelve diagrams total four hundred and eighty lines; each singing diagram has forty-eight lines, ten diagrams also total four hundred and eighty lines: the total number of lines for both groups is exactly equal, and this corresponds to the number of heaven and earth.