The sound is浊 (dull) and corresponds to the second of the eight trigrams.

收音濁和律二之八。■莊震■用用用用；匠匠匠匠多可個舌。十一音：■乍□■用用用用；八音：匠匠匠匠禾火化八。六聲：■叉赤■用用用用；一聲：匠匠匠匠開宰愛○。■崇辰■用用用用；匠匠匠匠回每退○。■卓中■用用用用；匠匠匠匠良兩向○。十二音：■宅直■用用用用；八音：匠匠匠匠光廣況○。六聲：■拆丑■用用用用；二聲：匠匠匠匠丁井亙○。■茶呈■用用用用；匠匠匠匠兄永瑩○。

The left column uses the sound "yong yong yong yong" to sing the eleventh tone level four "Zhuang Zhen," "Zha Du," "Cha Chi," "Chong Chen," and the twelfth tone level four "Zhuo Zhong," "Zhai Zhi," "Che Chou," "Cha Cheng," and completes forty-eight lines with the "Qü Sheng Xi Chang Lü Er Zhi Liu" chant. The right column starts with "Shou Yin Zhu He Lü Er Ba," taking the eighth tone second level "Zi Zai Jiang" and using the ending sound "Jiang" as the harmonized character, writing "Jiang Jiang Jiang Jiang." It first harmonizes with the first tone level four "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O" and the second tone level four "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O." The dental initial sounds consist of four lines: "Zou Zai Zu Zhi, Zi Zai Jiang Zhi, Cao Cai Qi Zhi, Cao Cai Quan Zhi," with the first and third lines being clear and the second and fourth lines being浊. "Jiang" is the second level ending sound in the eighth tone second level "Zi Zai Jiang." The sound "Zi" is open, "Zai" is initial, and "Jiang" is the ending, with no sound at the closed position. Dental initial sounds start from the eighth tone, with characters such as "Zou," "Zai," "Zu," "Zi," "Zai," "Jiang," "Cao," "Cai," "Qi," "Cao," "Cai," "Quan," all formed by the tongue touching the teeth; the ending sounds of the four lines are "Zu," "Jiang," "Qi," and "Quan."

去聲翕唱呂二之七。古甲九癸○○○○；匠匠匠匠千典旦○。一音：□□近揆○○○○；八音：匠匠匠匠元犬半○。七聲：坤巧丘棄○○○○；三聲：匠匠匠匠臣永艮○。□□乾蚪○○○○；匠匠匠匠君允巽○。黑花香血○○○○；匠匠匠匠刀早孝嶽。二音：黃華雄賢○○○○；八音：匠匠匠匠毛寶報霍。七聲：五瓦仰□○○○○；四聲：匠匠匠匠牛斗奏六。吾牙月堯○○○○；匠匠匠匠○○○玉。安亞乙一○○○○；匠匠匠匠妻子四日。三音：□爻壬寅○○○○；八音：匠匠匠匠衰○帥骨。七聲：母馬美米○○○○；五聲：匠匠匠匠○○○德。目貌眉民○○○○；匠匠匠匠龜水貴北。夫法□飛○○○○；匠匠匠匠宮孔眾○。四音：父凡□吠○○○○；八音：匠匠匠匠龍甬用○。七聲：武晚□尾○○○○；六聲：匠匠匠匠魚鼠去○。文萬□未○○○○；匠匠匠匠烏虎兔○。卜百丙必○○○○；匠匠匠匠心審禁○。五音：步白備鼻○○○○；八音：匠匠匠匠○○○十。七聲：普撲品匹○○○○；七聲：匠匠匠匠男坎欠○。旁排平瓶○○○○；匠匠匠匠○○○妾。東丹帝■○○○○；匠匠匠匠●●●●。

"The 'qù shēng xī cháng lǚ èr zhī qī' refers to the seventh tone, second class of the falling tone. The seventh tone, second class is marked as '○○○十', where the level, rising, and falling tones have no characters, and only the entering tone has '十'. Since the falling tone position is empty, the singing position in this diagram can only be written as '○○○○'—this is a case where there is a tone position but no corresponding character, differing from the '●' in the eighth tone and below, which have no tone at all. The left column lists the first tone, four classes: 'gǔ jiǎ jiǔ guǐ, □□ jìn kuí, kūn qiǎo qiū qì, □□ qián tóu'; the second tone, four classes: 'hēi huā xiāng xuè, huáng huā xióng xián, wǔ wǎ yǎng □, wú yá yuè yáo'; the third tone, four classes: 'ān yà yǐ yī, □ yáo rén yín, mǔ mǎ měi mǐ, mù mào méi mín'; the fourth tone, four classes: 'fū fǎ □ fēi, fù fán □ fèi, wǔ wǎn □ wěi, wén wàn □ wèi'; the fifth tone, four classes: 'bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng'; and the sixth tone, first class: 'dōng dān dì ■'. The right column uses 'jiàng jiàng jiàng jiàng' and the third tone, four classes: 'qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǒng gèn ○, jūn yǔn xùn ○'; the fourth tone, four classes: 'dāo zǎo xiào yuè, máo bǎo bào huò, niú dòu zòu liù, ○○○ yù'; the fifth tone, four classes: 'qī zǐ sì rì, shuāi ○ shuài gǔ, ○○○ dé, guī shuǐ guì běi'; the sixth tone, four classes: 'gōng kǒng zhòng ○, lóng yǒng yòng ○, yú shǔ qù ○, wū hǔ tù ○'; the seventh tone, four classes: 'xīn shěn jìn ○, ○○○ shí, nán kǎn qiàn ○, ○○○ qiè'; and the eighth tone, first class: '●●●●'. Using empty circles as singing characters is a relatively unique example in the entire text. The seventh tone, second class has a tone position but no falling tone character, and Shao Yong refuses to use other characters to fill it or to omit this diagram, still listing it as a separate diagram and marking its position with four circles. This conforms to his general rule of listing a position if it exists and leaving it empty if there is no character, differing clearly from the completely black diagrams below the eighth tone. The distinction between circles and black dots is most clearly seen in this diagram: four circles indicate that the seventh tone, second class has a tone but no character; further down the same column, the singing position becomes four dots, indicating that there is neither tone nor character. One circle versus one dot marks the boundary between having and not having."

六音：兌大弟■○○○○；八音：匠匠匠匠●●●●。七聲：土貪天■○○○○；八聲：匠匠匠匠●●●●。同覃田■○○○○；匠匠匠匠●●●●。乃你女■○○○○；匠匠匠匠●●●●。七音：內南年■○○○○；八音：匠匠匠匠●●●●。七聲：老冷呂■○○○○；九聲：匠匠匠匠●●●●。鹿犖離■○○○○；匠匠匠匠●●●●。走哉足■○○○○；匠匠匠匠●●●●。八音：自在匠■○○○○；八音：匠匠匠匠●●●●。七聲：草采七■○○○○；十聲：匠匠匠匠●●●●。曹才全■○○○○；匠匠匠匠●●●●。

The left column continues with the fourth position marked as 「○○○○」, followed by the second rank of the sixth tone 「Dui Da Di ■」, the third rank 「Tu Tan Tian ■」, and the fourth rank 「Tong Tan Tian ■」. For the seventh tone, the fourth rank includes 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」. The eighth tone's fourth rank includes 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The fourth position of these three tones is consistently marked as 「■」 because the tongue, tongue root, and dental sounds have no sound to mark at the closed position. The right column uses 「Jiang Jiang Jiang Jiang」 and the second, third, and fourth ranks of the eighth tone, as well as the fourth ranks of the ninth and tenth tones, all marked as 「●●●●」, totaling eleven rows. The phrase 「Shou Yin Zhu He Lu Er Zhi Ba」 ends here after forty rows. The last three tones on the sound chart are completely blank, resulting in continuous black dots at the end of the tone chart. Shao Yong listed these without deleting them to preserve the position and clarify the number. The four positions of sound—opening, initial, closing, and closure—become progressively more closed as they progress. Opening is fully open, initial is slightly open, closing is partially closed but not fully, and closure is completely closed. For sounds involving the tongue, tongue root, and dental sounds, there is no way to pronounce them at the closure position, so the last position of tones from the sixth tone onwards is marked as black blocks, which is not due to missing writing.

收音濁和律二之九。思三星■○○○○；象象象象多可個舌。九音：寺□象■○○○○；九音：象象象象禾火化八。七聲：□□□■○○○○；一聲：象象象象開宰愛○。□□□■○○○○；象象象象回每退○。■山手■○○○○；象象象象良兩向○。十音：■士石■○○○○；九音：象象象象光廣況○。七聲：■□耳■○○○○；二聲：象象象象丁井亙○。■□二■○○○○；象象象象兄永瑩○。■莊震■○○○○；象象象象千典旦○。十一音：■乍□■○○○○；九音：象象象象元犬半○。七聲：■叉赤■○○○○；三聲：象象象象臣永艮○。■崇辰■○○○○；象象象象君允巽○。■卓中■○○○○；象象象象刀早孝嶽。十二音：■宅直■○○○○；九音：象象象象毛寶報霍。七聲：■拆丑■○○○○；四聲：象象象象牛斗奏六。■茶呈■○○○○；象象象象○○○玉。

After completing the left column with the last sixteen lines of "Going Tone Harmonization for the Second Group of the Seventh," the ninth tone's fourth category includes "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," the tenth tone's fourth category includes "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," the eleventh tone's fourth category includes "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■," and the twelfth tone's fourth category includes "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," with all singing positions marked as "○○○○." On the right column, a new entry "Ending Tone for the Second Group of the Ninth" is established, taking the ending position "Xiang" from the second category of the ninth tone "Si ■ Xiang ■" as the harmonizing character, writing "Xiang Xiang Xiang Xiang." It then sequentially harmonizes with the first tone's fourth category "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone's fourth category "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," the third tone's fourth category "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○," and the fourth tone's fourth category "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The character "Xiang" is found in the second category of the ninth tone "Si ■ Xiang ■," where "Si" is the initial, with no character at the initial position so it is marked as "■," "Xiang" is the ending, with no sound at the closing position so it is marked as "■." Within one row, there are four positions with three types of symbols, precisely showing the presence of characters, presence of sound without characters, and absence of both, making this row the most convenient for identifying differences in symbols in the entire table. In the ninth tone, the ending position is "Xing" in the first category and "Xiang" in the second category, while there are no characters in the third and fourth categories; thus, among the twelve harmonizing charts, only the first two categories of the ninth tone can form characters. Since this chart belongs to the second group, it uses the second category's "Xiang."

去聲翕唱呂二之八。古甲九癸●●●●；象象象象妻子四日。一音：□□近揆●●●●；九音：象象象象衰○帥骨。八聲：坤巧丘棄●●●●；五聲：象象象象○○○德。□□乾蚪●●●●；象象象象龜水貴北。黑花香血●●●●；象象象象宮孔眾○。二音：黃華雄賢●●●●；九音：象象象象龍甬用○。八聲：五瓦仰□●●●●；六聲：象象象象魚鼠去○。吾牙月堯●●●●；象象象象烏虎兔○。安亞乙一●●●●；象象象象心審禁○。三音：□爻壬寅●●●●；九音：象象象象○○○十。八聲：母馬美米●●●●；七聲：象象象象男坎欠○。目貌眉民●●●●；象象象象○○○妾。夫法□飛●●●●；象象象象●●●●。四音：父凡□吠●●●●；九音：象象象象●●●●。八聲：武晚□尾●●●●；八聲：象象象象●●●●。文萬□未●●●●；象象象象●●●●。卜百丙必●●●●；象象象象●●●●。五音：步白備鼻●●●●；九音：象象象象●●●●。八聲：普撲品匹●●●●；九聲：象象象象●●●●。旁排平瓶●●●●；象象象象●●●●。東丹帝■●●●●；象象象象●●●●。六音：兌大弟■●●●●；九音：象象象象●●●●。八聲：土貪天■●●●●；十聲：象象象象●●●●。同覃田■●●●●；象象象象●●●●。

"The eighth tone, second class" refers to the position of the eighth tone's second class; the eighth tone's fourth class has a position but no sound, so the position is uniformly marked as "●●●●". The left column's phonetic lines are the first tone's fourth class "Gu Jia Ji Gui, □□ near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone's fourth class "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone's fourth class "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone's fourth class "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", the fifth tone's fourth class "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", the sixth tone's fourth class "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■". The right column uses "Xiang Xiang Xiang Xiang" and the fifth tone's fourth class "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's fourth class "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone's fourth class "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", and the following twelve lines are all "●●●●", completing the "Receiving Tone and Heavy and Light Harmony Two Nine" diagram. The second group's singing diagram is the same as the first group in order: the first seven diagrams correspond to the first tone to the seventh tone's second class of the eighth tone, resulting in Hua, Kuang, Ban, Bao, Shuai, Yong, and one empty circle; the last three diagrams correspond to the eighth, ninth, and tenth tones, which do not have established tones, and all their positions are black. This diagram is the first of the last three. In terms of the four elements, the four elements of sound are sun, moon, star, and planet; the four elements of tone are water, fire, earth, and stone: the sun's tone is level, the moon's tone is rising, the star's tone is falling, and the planet's tone is entering. The current volume focuses on falling tones and receiving tones, so the beginning is marked as the two harmonies of the falling tone of the star and moon and the two heavy tones of the earth and fire. The first character "Xing" refers to the falling tone, and the second character "Yue" refers to the second class. The first character "Tu" refers to the receiving tone position, and the second character "Huǒ" also refers to the second class. Following this pattern, the star and sun refer to the first class of the falling tone, the star and star refer to the third class of the falling tone, and the star and planet refer to the fourth class of the falling tone; the earth and water refer to the first class of the receiving tone, the earth and earth refer to the third class of the receiving tone, and the earth and stone refer to the fourth class of the receiving tone. Although the names are numerous, the pattern is simple. Once this is understood, the titles of all the chapters can be read clearly.

收音濁和律二之十。乃你女■●●●●；石石石石多可個舌。七音：內南年■●●●●；十音：石石石石禾火化八。八聲：老冷呂■●●●●；一聲：石石石石開宰愛○。鹿犖離■●●●●；石石石石回每退○。走哉足■●●●●；石石石石良兩向○。八音：自在匠■●●●●；十音：石石石石光廣況○。八聲：草采七■●●●●；二聲：石石石石丁井亙○。曹才全■●●●●；石石石石兄永瑩○。思三星■●●●●；石石石石千典旦○。九音：寺□象■●●●●；十音：石石石石元犬半○。八聲：□□□■●●●●；三聲：石石石石臣永艮○。□□□■●●●●；石石石石君允巽○。■山手■●●●●；石石石石刀早孝嶽。十音：■士石■●●●●；十音：石石石石毛寶報霍。八聲：■□耳■●●●●；四聲：石石石石牛斗奏六。■□二■●●●●；石石石石○○○玉。■莊震■●●●●；石石石石妻子四日。十一音：■乍□■●●●●；十音：石石石石衰○帥骨。八聲：■叉赤■●●●●；五聲：石石石石○○○德。■崇辰■●●●●；石石石石龜水貴北。■卓中■●●●●；石石石石宮孔眾○。十二音：■宅直■●●●●；十音：石石石石龍甬用○。八聲：■拆丑■●●●●；六聲：石石石石魚鼠去○。

"The 'reduction of sound' takes the tenth sound's second category '■shi shi ■' and uses the 'shi' as the 'he' character, writing 'shi shi shi shi'. It then proceeds to harmonize 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 yong 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 the sixth tone's first three categories 'gong kong zhong ○, long yong yong ○, yu shu qu ○'. The left column remains 'going tone's eighth category 'qu sheng xi chang lv er zhi ba', with the 'chang' position left blank as '●●●●', listing the seventh sound's four categories 'nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■', the eighth sound's four categories 'zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■', the ninth sound's four categories 'si san xing ■, si □ xiang ■, □□□ ■, □□□ ■', the tenth sound's four categories '■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■', the eleventh sound's four categories '■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■', and the twelfth sound's first three categories '■ zhuo zhong ■, ■ zhai zhi ■, ■ chai chou ■'. The character 'shi' is in the tenth sound's second category '■ shi shi ■', with the opening position having no sound, 'shi' as the initial and 'shi' as the final, and the closing position also having no sound. All characters in the sounds below the tenth have only two positions, yet they are considered as one sound category, just like the first nine sounds, thus each forming four lines and each having its own diagram, making the total number of sounds twelve without any deficiency. The characters in the tenth, eleventh, and twelfth sounds are the fewest, with only two positions, the initial and the final, available for each line, and both the initial and final positions are black blocks. However, in the diagram, they still each occupy four lines, just like the first sound's 'gu jia jiu gui', with no difference in rank. This is because Shao Yong classified sounds by category rather than by character: category is position, and once the position is established, the number of lines cannot be increased or decreased; character is usage, and even if a character is missing, the position remains. Once this is clear, the numerous black blocks and empty frames in the entire table are no longer seen as missing parts, but rather intentional marks, just like the lines with characters, fulfilling the function of numbers."

■茶呈■●●●●；石石石石烏虎兔○。去聲翕唱呂二之九。古甲九癸●●●●；石石石石心審禁○。一音：□□近揆●●●●；十音：石石石石○○○十。九聲：坤巧丘棄●●●●；七聲：石石石石男坎欠○。□□乾蚪●●●●；石石石石○○○妾。黑花香血●●●●；石石石石●●●●。二音：黃華雄賢●●●●；十音：石石石石●●●●。九聲：五瓦仰□●●●●；八聲：石石石石●●●●。吾牙月堯●●●●；石石石石●●●●。安亞乙一●●●●；石石石石●●●●。三音：□爻壬寅●●●●；十音：石石石石●●●●。九聲：母馬美米●●●●；九聲：石石石石●●●●。目貌眉民●●●●；石石石石●●●●。夫法□飛●●●●；石石石石●●●●。四音：父凡□吠●●●●；十音：石石石石●●●●。九聲：武晚□尾●●●●；十聲：石石石石●●●●。文萬□未●●●●；石石石石●●●●。

The first line's left half, 「■茶呈■」, is the twelfth tone, fourth grade, with the singing position still empty. 「Going tone, harmonized singing, second of the Lü scale, eighth」 ends the singing here. The right half uses 「stone stone stone stone」 to harmonize with the sixth tone, fourth grade 「Wu Hu Tu ○」. Then 「going tone, harmonized singing, second of the Lü scale, ninth」 follows, which corresponds to the ninth tone, second grade going tone position, but the sound is still absent, and the singing position remains 「●●●●」. The accompanying lines are the first tone, fourth grade 「Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu」, second tone, fourth grade 「Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao」, third tone, fourth grade 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, fourth tone, fourth grade 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」. The right column uses 「stone stone stone stone」 to harmonize with the seventh tone, fourth grade 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie」. Below this, twelve lines are all 「●●●●」, and 「ending tone, turbid harmony, second of the Lü scale, tenth」 ends after forty lines. Although the last three diagrams of the singing chart have no characters to sing, forty-eight tones must still be arranged line by line, with no line omitted. This is because the chart is based on positions rather than characters; once the positions are fully listed, the number of tones and tones intersecting can be determined according to the chart. If characters are omitted due to absence, a group would only have seven diagrams, which does not match the number of tones. The empty diagram for the ninth tone, first grade appears in the first group, titled 「going tone, separate singing, first of the Lü scale, ninth」; the empty diagram for the ninth tone, second grade belongs to the second group, titled 「going tone, harmonized singing, second of the Lü scale, ninth」. Since the sound is not produced, the distinction between 「bi」 and 「xi」 cannot be made, yet the positions cannot be mixed, so each diagram is still listed separately. By comparing the two groups, the order becomes clear.

收音濁和律二之十一。卜百丙必●●●●；□□□□多可個舌。五音：步白備鼻●●●●；十一音：□□□□禾火化八。九聲：普撲品匹●●●●；一聲：□□□□開宰愛○。旁排平瓶●●●●；□□□□回每退○。東丹帝■●●●●；□□□□良兩向○。六音：兌大弟■●●●●；十一音：□□□□光廣況○。九聲：土貪天■●●●●；二聲：□□□□丁井亙○。同覃田■●●●●；□□□□兄永瑩○。乃你女■●●●●；□□□□千典旦○。七音：內南年■●●●●；十一音：□□□□元犬半○。九聲：老冷呂■●●●●；三聲：□□□□臣永艮○。鹿犖離■●●●●；□□□□君允巽○。走哉足■●●●●；□□□□刀早孝嶽。八音：自在匠■●●●●；十一音：□□□□毛寶報霍。九聲：草采七■●●●●；四聲：□□□□牛斗奏六。曹才全■●●●●；□□□□○○○玉。思三星■●●●●；□□□□妻子四日。九音：寺□象■●●●●；十一音：□□□□衰○帥骨。九聲：□□□■●●●●；五聲：□□□□○○○德。□□□■●●●●；□□□□龜水貴北。■山手■●●●●；□□□□宮孔眾○。十音：■士石■●●●●；十一音：□□□□龍甬用○。九聲：□□耳■●●●●；六聲：□□□□魚鼠去○。□□二■●●●●；□□□□烏虎兔○。■莊震■●●●●；□□□□心審禁○。十一音：■乍□■●●●●；十一音：□□□□○○○十。九聲：■叉赤■●●●●；七聲：□□□□男坎欠○。■崇辰■●●●●；□□□□○○○妾。■卓中■●●●●；□□□□●●●●。十二音：■宅直■●●●●；十一音：□□□□●●●●。九聲：■拆丑■●●●●；八聲：□□□□●●●●。■茶呈■●●●●；□□□□●●●●。

"The 'Eleventh Tone, Second Level' takes the '■乍□■' position as the 'He' character; this position has sound but no character, so the beginning of each line is written as '□□□□'. The characters being harmonized are the first tone's four levels 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone's four levels 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone's four levels 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○', the fourth tone's four levels 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone's four levels 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', the sixth tone's four levels 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○', the seventh tone's four levels 'Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie', and the eighth tone's four lines '●●●●'. The left column follows 'Going Tone, Ninth Level', with the 'Chang' position still left blank as '●●●●', and the remaining thirty-two lines from the fifth tone onwards are arranged in one continuous sequence: fifth tone's four levels 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', sixth tone's four levels 'Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■', seventh tone's four levels 'Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■', eighth tone's four levels 'Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■', ninth tone's four levels 'Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■', tenth tone's four levels '■ Shan Shou ■, ■ Shi Shi ■, □□ Er ■, □□ Er ■', eleventh tone's four levels '■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■', twelfth tone's four levels '■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■'; in the third and fourth levels of the tenth tone, the first two characters are mistakenly written as '□□', while in other diagrams they are written as '■□ Er ■' and '■□ Er ■', and should be '■'. The 'He' character in the right column of this diagram is also left blank, following the same example as the fourth tone diagram. The eleventh tone's second level '■ Zha □ ■' has no sound in the open and closed positions, 'Zha' is the initial sound, and the closing position has no character, so among the four positions, two are black blocks, one is a character, and one is blank. Using such a blank position as the 'He' character, it still harmonizes all 112 positions across ten tones, showing that Shao Yong emphasized the position rather than the character itself. This section's left column has thirty-two lines arranged continuously, which is the longest section in this group, because the right column is at the beginning of a diagram while the left column has reached the end of a diagram, and the difference in lines between the two columns reaches its maximum. For the characters in the eight categories from the fifth tone onwards, starting from the reed lip sounds gradually transitioning to the tongue, tongue root, dental, and middle dental sounds, the first characters of the last four categories all become black blocks, and the number of characters that can be used decreases, yet the number of lines remains the same, with each category having four lines. Looking at the entire table, we can see that the first five tones cover twenty lines and eighty positions, mostly with characters; the sixth to ninth tones have sixteen lines, with the last positions being blank; the tenth to twelfth tones have twelve lines, with both the first and last positions blank. The forty black blocks are distributed in this way, and after subtracting them, the practical number of sounds is 152, which matches the number mentioned at the beginning of the text."

去聲翕唱呂二之十。古甲九癸●●●●；□□□□●●●●。一音：□□近揆●●●●；十一音：□□□□●●●●。十聲：坤巧丘棄●●●●；九聲：□□□□●●●●。□□乾蚪●●●●；□□□□●●●●。黑花香血●●●●；□□□□●●●●。二音：黃華雄賢●●●●；十一音：□□□□●●●●。十聲：五瓦仰□●●●●；十聲：□□□□●●●●。吾牙月堯●●●●；□□□□●●●●。收音濁和律二之十二。安亞乙一●●●●；直直直直多可個舌。三音：□爻壬寅●●●●；十二音：直直直直禾火化八。十聲：母馬美米●●●●；一聲：直直直直開宰愛○。目貌眉民●●●●；直直直直回每退○。夫法□飛●●●●；直直直直良兩向○。四音：父凡□吠●●●●；十二音：直直直直光廣況○。十聲：武晚□尾●●●●；二聲：直直直直丁井亙○。文萬□未●●●●；直直直直兄永瑩○。卜百丙必●●●●；直直直直千典旦○。五音：步白備鼻●●●●；十二音：直直直直元犬半○。十聲：普撲品匹●●●●；三聲：直直直直臣永艮○。旁排平瓶●●●●；直直直直君允巽○。東丹帝■●●●●；直直直直刀早孝嶽。六音：兌大弟■●●●●；十二音：直直直直毛寶報霍。十聲：土貪天■●●●●；四聲：直直直直牛斗奏六。

"The final diagram of this chant is 'Go Sheng Xi Chang Lü Er Zhi Shi,' which governs the tenth tone and the second category, where the tone does not stand independently, and the chant position is uniformly marked as '●●●●.' First, the first tone with four categories is chanted: 'Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Yu,' followed by the second tone with four categories: 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao.' To the right, the '□□□□' and the completed ninth and tenth tones, totaling eight lines, are arranged, and 'Shou Yin Zhu He Lu Er Zhi Shiyi' ends here. Below, 'Shou Yin Zhu He Lu Er Zhi Shier' begins anew, taking the ending position 'Zhi' of the twelfth tone's second category '■ Zhai Zhi ■' as the 'He' character, writing 'Zhi Zhi Zhi Zhi.' It is then combined with the first tone's four categories: 'Du 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 first three categories: 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu.' Meanwhile, the left column continues with 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,' and the sixth tone's first three categories: 'Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■.' Within one page, two diagrams succeed each other, and the difference in rows between the chant diagram and the harmony diagram accumulates to exactly match. The left column's tenth diagram begins here but does not end, while the right column's eleventh diagram ends here and the twelfth diagram begins. Therefore, within the same section, both the end of one diagram and the beginning of another are seen. When reading, one must separately find the beginning and end of each column, without combining them. This section spans four diagrams: the left column is the beginning of the tenth chant diagram of the second group, while the right column first concludes the eleventh harmony diagram and then begins the twelfth. The chant diagram and the harmony diagram shift eight rows after each diagram, and the accumulated difference from multiple diagrams now exactly aligns the beginning of the two columns within the same section. If the reader copies out the left and right columns separately, the left column proceeds from 'Gu Jia Jiu Gui' to 'Tong Tan Tian ■' without ending, while the right column ends the eight lines of '□□□□' and begins the fifteen lines of 'Zhi Zhi Zhi Zhi,' with no connection between them."

同覃田■●●●●；直直直直○○○玉。乃你女■●●●●；直直直直妻子四日。七音：內南年■●●●●；十二音：直直直直衰○帥骨。十聲：老冷呂■●●●●；五聲：直直直直○○○德。鹿犖離■●●●●；直直直直龜水貴北。走哉足■●●●●；直直直直宮孔眾○。八音：自在匠■●●●●；十二音：直直直直龍甬用○。十聲：草采七■●●●●；六聲：直直直直魚鼠去○。曹才全■●●●●；直直直直烏虎兔○。思三星■●●●●；直直直直心審禁○。九音：寺□象■●●●●；十二音：直直直宜○○○十。十聲：□□□■●●●●；七聲：直直直直男坎欠○。□□□■●●●●；直直直直○○○妾。■山手■●●●●；直直直直●●●●。十音：■士石■●●●●；十一音：直直直直●●●●。十聲：■□耳■●●●●；八聲：直直直直●●●●。■□二■●●●●；直直直直●●●●。■莊震■●●●●；直直直直●●●●。十一音：■乍□■●●●●；十二音：直直直直●●●●。十聲：■叉赤■●●●●；九聲：直直直直●●●●。■崇辰■●●●●；直直直直●●●●。■卓中■●●●●；直直直直●●●●。十二音：■宅直■●●●●；十二音：直直直直●●●●。十聲：■拆丑■●●●●；十聲：直直直直●●●●。■茶呈■●●●●；直直直直●●●●。

The left column continues with 「●●●●」, followed by the sixth tone fourth class 「同覃田■」, seventh tone fourth class 「乃你女■、内南年■、老冷吕■、鹿荦离■」, eighth tone fourth class 「走哉足■、自在匠■、草采七■、曹才全■」, ninth tone fourth class 「思三星■、寺□象■、□□□■、□□□■」, tenth tone fourth class 「■山手■、■士石■、■□耳■、■□二■」, eleventh tone fourth class 「■庄震■、■乍□■、■叉赤■、■崇辰■」, twelfth tone fourth class 「■卓中■、■宅直■、■拆丑■、■茶呈■」, 「去声翕唱吕二之十」 forty-eight lines are sung through, and the two groups of ten diagrams of the departing sounds are thus complete. The right column starts with 「直直直直」 and fourth tone fourth class 「○○○玉」, fifth tone fourth class 「妻子四日、衰○帅骨、○○○德、龟水贵北」, sixth tone fourth class 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, seventh tone fourth class 「心审禁○、○○○十、男坎欠○、○○○妾」, and the following twelve lines are all 「●●●●」. 「收音浊和律二之十二」 is also completed, and the two groups of twelve diagrams of the converging sounds are simultaneously finished. Among them, the character 「和」 in the second class of the ninth tone was mistakenly written as 「直直直宜」, and the last character should be 「直」; the title of the third class of the tenth tone was mistakenly written as the eleventh tone, and it should be the twelfth tone. The second group of singing and harmonizing is thus completed: the singing diagrams consist of ten diagrams, which are based on the two departing sounds of the celestial tones, with seven singers each singing 152 sounds, totaling 1,640; the harmonizing diagrams consist of twelve diagrams, which are based on the two converging sounds of the terrestrial tones, with each harmonizing 112 sounds, totaling 1,344. These two groups represent heaven and earth, singing and harmonizing with each other, and the numbers mentioned in the fourth十四 chapter of the "Observing Things" section are thus complete. After the second group is completed, the total numbers can be summarized: the singing diagrams use the departing positions of the first to seventh tones in the second class, resulting in the characters 化、况、半、报、帅、用 six characters and one blank circle, with seven positions each singing 152 sounds, totaling 1,640; the harmonizing diagrams use the converging positions of the second class of the twelve tones, resulting in the characters 近、雄、王、备、弟、年、匠、象、石、直 ten characters and two blank frames, with twelve positions each harmonizing 112 sounds, totaling 1,344. There are seven singers and twelve harmonizers, representing heaven and earth, working together, and the two total numbers mentioned at the beginning of the text are thus derived.

皇極經世書卷九下。觀物篇四十五。星星聲去闢；土土音收清。愛亙艮奏○；丘仰美□品天。去欠●●●；呂七□耳赤丑。星星聲七。下唱地之；土土音十二，上和天。用音一百五十二，是；之用聲一百一十二，謂去聲闢音。去聲闢；是謂收音清聲。收音。音一千六十四。清聲一千二百四十四。星星聲去之三辟；土土音收之三清。

In Volume 9, Part 2 of The Supreme Principles Governing the World, the fourth十五th chapter, "Observing Things," shifts to the third set of harmonious diagrams. The structure remains divided into two columns, left and right. The left column deals with the "Stars' Sounds Going Out" (星星声去辟): "Star" is pronounced with a falling tone, and among the four levels, the stars are paired with the sun, moon, and stars. "Star" corresponds to the third level, which belongs to the category of "Opening" (辟), meaning an open tone. The sounds used for singing are "Ai, Gen, Gen, Zou, ○, Qu, Qian." Below these, the eighth, ninth, and tenth tones are marked as "●●●," corresponding to the third level of the ten diagrams' falling tone position. The first tone "Kai Zai Ai ○" gives "Ai," the second tone "Ding Jing Gen ○" gives "Gen," the third tone "Chen Yin Gen ○" gives "Gen," the fourth tone "Niu Dou Zou Liu" gives "Zou," the fifth tone "○○○ De" has no character at the falling tone position, so it is marked as "○," the sixth tone "Yu Shu Qu ○" gives "Qu," and the seventh tone "Nan Kan Qian ○" gives "Qian." The text then states that there are seven "Stars' Sounds," and the singing of the earth's sounds uses 152 tones, totaling 1,064 tones, which is seven times 152. The right column deals with the "Earth's Sounds Being Received" (土土音收之三清): "Earth" is associated with the receiving position, and among the four levels, "Earth" corresponds to the third level, which belongs to the category of "Clear" (清). The sounds used for harmonizing are "Qiu, Yang, Mei, □, Pin, Tian, Lv, Qi, □, Er, Chi, Chou," corresponding to the third level of the twelve tones' receiving position. The fourth and ninth tones have no characters at this position, so they are marked as "□." The text then states that there are twelve "Earth's Sounds," and the harmonizing of the heavens uses 112 tones, totaling 1,244 tones, which is called the "Clear Receiving Sounds." According to the calculation, twelve times 112 should be 1,344, but the original text reads 1,244, likely a mistake where "three" was written instead of "two." The distinction among the three sets of harmonious diagrams lies in the level selected: the forty-third chapter uses the first level of sound and the first level of tone, matching "Opening" with "Clear"; the forty-fourth chapter uses the second level, matching "Closing" with "Dull"; this chapter uses the third level, returning to "Opening" and "Clear." The four levels progress sequentially, and at the fourth level, the cycle completes, thus exhausting the opening and closing, clear and dull tones of heaven and earth sounds.

去聲闢唱呂三之一；收音清和律三之一。古甲九癸愛愛愛愛；丘丘丘丘多可個舌。一音：□□近揆愛愛愛愛；一音：丘丘丘丘禾火化八。一聲：坤巧丘棄愛愛愛愛；一聲：丘丘丘丘開宰愛○。□□乾蚪愛愛愛愛；丘丘丘丘回每退○。黑花香血愛愛愛愛；丘丘丘丘良兩向○。二音：黃華雄賢愛愛愛愛；一音：丘丘丘丘光廣況○。一聲：五瓦仰□愛愛愛愛；二聲：丘丘丘丘丁井亙○。吾牙月堯愛愛愛愛；丘丘丘丘兄永瑩○。安亞乙一愛愛愛愛；丘丘丘丘千典旦○。三音：□爻壬寅愛愛愛愛；一音：丘丘丘丘元犬半○。一聲：母馬美米愛愛愛愛；三聲：丘丘丘丘臣引艮○。目貌眉民愛愛愛愛；丘丘丘丘君允巽○。夫法□飛愛愛愛愛；丘丘丘丘刀早孝嶽。四音：父凡□吠愛愛愛愛；一音：丘丘丘丘毛寶報霍。一聲：武晚□尾愛愛愛愛；四聲：丘丘丘丘牛斗奏六。

Two diagrams are initiated together. "Going down in tone to sing the third of three" uses the third level of the first tone "Kai Zai Ai" with "Ai" as the singing character, writing "Ai Ai Ai Ai"; "Ending in a clear and harmonious tone for the third of three" uses the third level of the first tone "Kun Qiao Qiu Qi" with "Qiu" as the harmonizing character, writing "Qiu Qiu Qiu Qiu". The left column lists the first tone's fourth level "Gu Jia Jiu Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone's fourth level "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone's fourth level "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", and the fourth tone's first three levels "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei". The right column lists the harmonizing tones for the first tone's fourth level "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone's fourth level "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone's fourth level "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", and the fourth tone's first three levels "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu". The three groups of singing and harmonizing diagrams alternately use the first, second, and third levels of tone and sound, with the rules of opening and closing, clear and浊 tones cycling in a consistent manner. "Ai" is in the third level of the first tone "Kai Zai Ai", with Kai being level one, Zai level two, Ai level three, and no character in the入声 position; "Qiu" is in the third level of the first sound "Kun Qiao Qiu Qi", with Kun being open, Qiao being initial, Qiu being final, and Qi being closed, all four positions complete. The singing takes the third level's falling tone, and the sound takes the third level's final tone, both columns starting together and proceeding in their respective patterns.

文萬□未愛愛愛愛；丘丘丘丘○○○玉。卜百丙必愛愛愛愛；丘丘丘丘妻子四日。五音：步白備鼻愛愛愛愛；一音：丘丘丘丘衰○帥骨。一聲：普撲品匹愛愛愛愛；五聲：丘丘丘丘○○○德。旁排平瓶愛愛愛愛；丘丘丘丘龜水貴北。

The left column continues singing the fourth tone fourth class "wen wan □ wei" with "aiaiai", and the fifth tone fourth class "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping". The right column continues harmonizing the fourth tone fourth class "○○○yu" with "qi qi qi qi", and the fifth tone fourth class "zi qi si ri, shuai ○ shuai gu, ○○○de, gui shui gui bei". The fifth tone first class "zi qi si ri" has all four tones level, rising, falling, and entering. The second class "shuai ○ shuai gu" is missing the rising tone. The third class "○○○de" only has the entering tone left. The fourth class "gui shui gui bei" has all tones again, showing the unevenness which reflects the actual tones. This group of singing and harmonizing continues, and this group ends here. This volume ends here, and the third group of singing and harmonizing diagrams has not yet been completed. The following will continue with the diagrams "qu sheng bi chang lv san zhi er" and "shou yin qing he lv san zhi er", still using the characters gen, gen, zhou as the singing and yang, mei, □ as the harmonizing, proceeding in order until the tenth and twelfth diagrams.

東丹帝■愛愛愛愛 丘丘丘丘宮孔眾○；六音 兌大弟■愛愛愛愛 一音 丘丘丘丘龍甬用○；一聲 土貪天■愛愛愛愛 六聲 丘丘丘丘魚鼠去○；同覃田■愛愛愛愛 丘丘丘丘烏虎兔○；乃你女■愛愛愛愛 丘丘丘丘心審禁○；七音 內南年■愛愛愛愛 一音 丘丘丘丘○○○十；一聲 老冷呂■愛愛愛愛 七聲 丘丘丘丘男坎欠○；鹿犖離■愛愛愛愛 丘丘丘丘○○○妾；走哉足■愛愛愛愛 丘丘丘丘●●●●；八音 自在匠■愛愛愛愛 一音 丘丘丘丘●●●●。

Below are ten lines still printed as two tables side by side, copied into horizontal lines. The left half belongs to 「去声辟唱吕三之一」: the fixed character sung is 「爱」, taken from the third column of the third line of the first tone 「开宰爱○」, which refers to the star position, falling tone, and open syllable (辟), hence called 「去声辟」; written four times in succession, it is meant to correspond with the four levels of the opposite group of initial consonants column by column. The ones sung in response are in sequence the sixth tone 「东丹帝■、兑大弟■、土贪天■、同覃田■」, the seventh tone 「乃你女■、内南年■、老冷吕■、鹿荦离■」, and the first two lines of the eighth tone 「走哉足■、自在匠■」; the 「六音」「一声」「七音」「八音」 between the lines are the coordinate headings for these groups, not the actual characters used in the text. The last column of both groups of initial consonants is written as 「■」, indicating that there is no character for this sound at this position, not that there is a sound but no character. The right half belongs to 「收音清和律三之一」: the fixed character harmonized is 「丘」, taken from the third column of the first tone 「坤巧丘弃」, which refers to the earth position, ending tone, and clear sound, hence called 「收音清」; harmonized with it are the sixth tone 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, the seventh tone 「心审禁○、○○○十、男坎欠○、○○○妾」, and the first two lines of the eighth tone. In the rhyme table, 「○」 indicates that this sound position exists, but no character is available to fill it; when the entire eighth tone line is written as 「●」, it indicates that there is no sound at this position either.

一聲 草采七■愛愛愛愛 八聲 丘丘丘丘●●●●；曹才全■愛愛愛愛 丘丘丘丘●●●●；思三星■愛愛愛愛 丘丘丘丘●●●●；九音 寺□象■愛愛愛愛 一音 丘丘丘丘●●●●；一聲 □□□■愛愛愛愛 九聲 丘丘丘丘●●●●；□□□■愛愛愛愛 丘丘丘丘●●●●；■山手■愛愛愛愛 丘丘丘丘●●●●；十音 ■士石■愛愛愛愛 一音 丘丘丘丘●●●●；一聲 ■□耳■愛愛愛愛 十聲 丘丘丘丘●●●●；■□二■愛愛愛愛 丘丘丘丘●●●●。

Continuing from there, the left table still uses the character "爱" (ai), with the falling tone, as the starting point, completing the last two lines of the eighth tone "草采七■、曹才全■", then pairing the ninth tone "思三星■、寺□象■、□□□■、□□□■" and the tenth tone "■山手■、■士石■、■□耳■、■□二■". After the ninth tone, the last two lines of the entire row end with a single "■", and the first three sections are all written as "□", indicating that the three positions of opening, development, and closing, although having phonetic positions, could not find characters to represent them. In contrast, the tenth tone starts with "■", showing that the opening position has no sound at all, and only the characters "山手" (shan shou), "士石" (shi shi), "□耳" (□ er), and "□二" (□ er) could be cited. The right table uses the character "丘" (qiu), with a clear ending tone, as the matching sound. The corresponding eighth, ninth, and tenth tones, totaling twelve lines, are all marked as "●●●●". Shao Yong established the positions of ten tones, but in reality, only the first seven tones had distinct sounds, while the last three tones had sections but no sounds, so the entire section was left as black marks. The "one tone" and "eight tones, nine tones, ten tones" written between the lines respectively indicate the sequence of tones sung by the left table and matched by the right table.

■莊震■愛愛愛愛 仰仰仰仰多可個舌；十一音 ■乍□■愛愛愛愛 二音 仰仰仰仰禾火化八；一聲 ■叉赤■愛愛愛愛 一聲 仰仰仰仰開宰愛○；■崇辰■愛愛愛愛 仰仰仰仰回每退○；■卓中■愛愛愛愛 仰仰仰仰良兩向○；十二音 ■宅直■愛愛愛愛 二音 仰仰仰仰光廣況○；一聲 ■拆丑■愛愛愛愛 二聲 仰仰仰仰丁井亙○；■茶呈■愛愛愛愛 仰仰仰仰兄永瑩○。

The left table ends with the phrase "去声辟唱吕三之一": the first tone "ai" finally harmonizes with the eleventh tone "■庄震■, ■乍□■, ■叉赤■, ■崇辰■" and the twelfth tone "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". Both groups start with "■", indicating that there is no sound to be cited in the opening position. In the second line of the eleventh tone, "■乍□■" has a "□" in the middle, meaning that there is a sound but no character in the closing position. After completing the twelve tones, the harmony between the first tone and the twelve tones is complete. The right table then switches to a new sheet titled "收音清和律三之二", with the fixed character changed to "仰" — "仰" is taken from the third line of the second tone "五瓦仰□" in the third section, which is also in the earth position, closing tone, and clear sound. It first harmonizes with the four lines of the first tone "多可个舌, 禾火化八, 开宰爱○, 回每退○", then with the four lines of the second tone "良两向○, 光广况○, 丁井亘○, 兄永莹○". Among the four lines of the first tone, the four sections of level, rising, falling, and entering tones only have the four characters "多可个舌" and "禾火化八" fully present, while the last sections of the last two lines are marked as "○", indicating that there is a sound but no character in the entering tone position.

古甲九癸亙亙亙亙 仰仰仰仰千典旦○；一音 □□近揆亙亙亙亙 二音 仰仰仰仰元犬半○；二聲 坤巧丘棄亙亙亙亙 三聲 仰仰仰仰臣引艮○；□□乾蚪亙亙亙亙 仰仰仰仰君允巽○；黑花香血亙亙亙亙 仰仰仰仰刀早孝嶽；二音 黃華雄賢亙亙亙亙 二音 仰仰仰仰毛寶報霍；二聲 五瓦仰□亙亙亙亙 四聲 仰仰仰仰牛斗奏六；吾牙月堯亙亙亙亙 仰仰仰仰○○○玉；安亞乙一亙亙亙亙 仰仰仰仰妻子四日；三音 □爻壬寅亙亙亙亙 二音 仰仰仰仰衰○帥骨；二聲 母馬美米亙亙亙亙 五聲 仰仰仰仰○○○德；目貌眉民亙亙亙亙 仰仰仰仰龜水貴北；夫法□飛亙亙亙亙 仰仰仰仰宮孔眾○；四音 父凡□吠亙亙亙亙 二音 仰仰仰仰龍甬用○；二聲 武晚□尾亙亙亙亙 六聲 仰仰仰仰魚鼠去○；文萬□未亙亙亙亙 仰仰仰仰烏虎兔○。

A separate table on the left begins with 「Going Tone Pinyin Singing of the Third Row's Second」, where the singing tone is changed to the second tone 「Gen」—taken from the third column of the second row 「Ding Jing Gen ○」, still maintaining the star position, going tone, and open syllable. It starts from the beginning, first singing with the first tone's four lines 「Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu」, then with the second tone 「Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao」, third tone 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, and fourth tone 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」. The 「□」 in these groups of initial consonants, such as 「□□ Jin Kui」「□ Yao Ren Yin」「Fu Fa □ Fei」, represent positions where there are phonetic elements but no corresponding characters. The right table continues with 「Ending Tone Clear Harmony Law of the Third Row's Second」, where the second tone's 「Yang」 successively harmonizes with the third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」, fifth tone 「Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei」, and sixth tone 「Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○」. The 「○○○ Yu」「Shuai ○ Shuai Gu」「○○○ De」 that appear in the fourth and fifth tones represent the writing method where some phonetic positions in the same line have sound but no corresponding characters.

卜百丙必亙亙亙亙 仰仰仰仰心審禁○；五音 步白備鼻亙亙亙亙 二音 仰仰仰仰○○○十；二聲 普撲品匹亙亙亙亙 七聲 仰仰仰仰男坎欠○；旁排平瓶亙亙亙亙 仰仰仰仰○○○妾；東丹帝■亙亙亙亙 仰仰仰仰●●●●；六音 兌大弟■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 土貪天■亙亙亙亙 八聲 仰仰仰仰●●●●；同覃田■亙亙亙亙 仰仰仰仰●●●●；乃你女■亙亙亙亙 仰仰仰仰●●●●；七音 內南年■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 老冷呂■亙亙亙亙 九聲 仰仰仰仰●●●●；鹿犖離■亙亙亙亙 仰仰仰仰●●●●；走哉足■亙亙亙亙 仰仰仰仰●●●●；八音 自在匠■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 草采七■亙亙亙亙 十聲 仰仰仰仰●●●●；曹才全■亙亙亙亙 仰仰仰仰●●●●。

The left table continues the singing of the character 「Gen」 from the second tone, matching the fifth tone with the lines 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone with 「Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone with 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the first two lines of the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■」 and the last two lines 「Cao Cai Qi ■, Cao Cai Quan ■」. The four lines of the fifth tone are fully complete, making it one of the few full entries among the twelve tones; from the sixth tone onwards, the last character in each line is marked as 「■」, indicating that these groups of initial consonants have no sound in the closed mouth position. The right table uses two tones of 「Yang」 and the seventh tone with 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie」, followed by four lines each for the eighth, ninth, and thirteenth tones, all written as 「●●●●」. Here we can clearly see the difference between 「○」 and 「●」: in the seventh tone, 「○○○ Shi」 only has the character 「Shi」 available in the entering tone position, while the other three positions have sound but no characters; from the eighth tone onwards, the tone positions are not valid at all, so the entire line is filled with 「●」. This section also illustrates the general principle of the singing table: once a singing tone is selected, the entire forty-eight lines do not change, only the twelve tones that correspond to it are successively changed. In contrast, the harmony table is the opposite: the tones and characters remain unchanged while the harmonizing tones gradually shift in groups. This vertical and horizontal arrangement corresponds to Shao Yong's concept of sound being initiated by heaven and tone being harmonized by earth. Hence, the sound table is titled 「Lv」 and the tone table is titled 「Lv」, taking the meaning of corresponding tones and laws.

思三星■亙亙亙亙 美美美美多可個舌；九音 寺□象■亙亙亙亙 三音 美美美美禾火化八；二聲 □□□■亙亙亙亙 一聲 美美美美開宰愛○；□□□■亙亙亙亙 美美美美回每退○；■山手■亙亙亙亙 美美美美良兩向○；十音 ■士石■亙亙亙亙 三音 美美美美光廣況○；二聲 ■□耳■亙亙亙亙 二聲 美美美美丁井亙○；■□二■亙亙亙亙 美美美美兄永瑩○；■莊震■亙亙亙亙 美美美美千典旦○；十一音 ■乍□■亙亙亙亙 三音 美美美美元犬半○；二聲 ■叉赤■亙亙亙亙 三聲 美美美美臣引艮○；■崇辰■亙亙亙亙 美美美美君允巽○；■卓中■亙亙亙旦 美美美美刀早孝嶽；十二音 ■宅直■亙亙亙亙 三音 美美美美毛寶報霍；二聲 ■拆丑■亙亙亙亙 四聲 美美美美牛斗奏六；■茶呈■亙亙亙亙 美美美美○○○玉。

The left table concludes with the ninth to twelfth tones, ending with 'going sound' (qù shēng) as 'pì chàng lǚ sān zhī èr': the second tone 'gèng' first pairs with the ninth tone 'sī sān xīng, sì xiàng xiàng, ...', then with the tenth tone 'shān shǒu, shì shí shí, ...', the eleventh tone 'zhuāng zhèn, zhà xià, ...', and the twelfth tone 'zhuó zhōng, zhái zhí, ...'. Among these, the line 'zhuó zhōng gèng gèng gèng dàn' ends with the character 'dàn', but the original text uses 'dàn' at the end, which does not match the style of the four-character sequence 'gèng' in the surrounding text. Therefore, it is likely a mistake for 'gèng', and the original text is retained. The right table starts with 'shōu yīn qīng hé lǜ sān zhī sān', changing the harmony sound to the third tone 'měi'—taken from the third line of the three tones 'mǔ mǎ měi mǐ' in the third column, with the earth position for receiving the sound and clear tone. It begins harmonizing from the first tone: first tone 'duō kě gè shé, hé huǒ huà bā, kāi zǎi ài ○, huí měi tuì ○', second tone 'liáng liǎng xiàng ○, guāng guǎng kuàng ○, dīng jǐng gèng ○, xiōng yǒng yíng ○', third tone 'qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǐn gèn ○, jūn yǔn xùn ○', fourth tone 'dāo zǎo xiào yuè, máo bǎo bào huò, niú dǒu zòu liù, ○○○ yù'.

古甲九癸艮艮艮艮 美美美美妻子四日；一音 □□近揆艮艮艮艮 三音 美美美美衰○帥骨；三聲 坤巧丘棄艮艮艮艮 五聲 美美美美○○○德；□□乾蚪艮艮艮艮 美美美美龜水貴北；黑花香血艮艮艮艮 美美美美宮孔眾○；二音 黃華雄賢艮艮艮艮 三音 美美美美龍甬用○；三聲 五瓦仰□艮艮艮艮 六聲 美美美美魚鼠去○；吾牙月堯艮艮艮艮 美美美美烏虎兔○；安亞乙一艮艮艮艮 美美美美心審禁○；三音 □爻壬寅艮艮艮艮 三音 美美美美○○○十；三聲 母馬美米艮艮艮艮 七聲 美美美美男坎欠○；目貌眉民艮艮艮艮 美美美美○○○妾。

The left table establishes another entry "Going Tone Pitches with the Third Tone 'Gen' from the Third Line 'Minister Leads Gen'". The third tone "Gen" is taken from the third position of the third line "Minister Leads Gen". It also corresponds to the star position, going tone, and open syllable. The four-character sequence "Gen Gen Gen Gen" still corresponds to a group of four tones. It first harmonizes with the first tone "Ancient Jia Ninth Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", then with the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtuous, Five Wa Y仰□, Wu Ya Yue Yao", and third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Horse Mei Mi, Eye Mo Mei Min". The "Qian" in "□□ Qian Tu" is also written as "Gan" elsewhere, representing the same character in simplified and traditional forms. The right table continues the harmonic tone of "Mei" from the third tone, pairing it with the fifth tone "Spouse Wife Four Days, Decline ○ Commander Bone, ○○○ Virtue, Turtle Water Noble North", sixth tone "Palace Kong Zhong ○, Dragon Yong Use ○, Fish Mouse Go ○, Bird Tiger Rabbit ○", and seventh tone "Heart Shen Jin ○, ○○○ Ten, Male Kan Qian ○, ○○○ Concubine". In the second line of the fifth tone "Decline ○ Commander Bone", the rising tone position and the first three positions of the third line are marked with "○" to indicate sound without a character.

夫法□飛艮艮艮艮 美美美美●●●●；四音 父凡□吠艮艮艮艮 三音 美美美美●●●●；三聲 武晚■尾艮艮艮艮 八聲 美美美美●●●●；文萬□未艮艮艮艮 美美美美●●●●；卜百丙必艮艮艮艮 美美美美●●●●；五音 步白備鼻艮艮艮艮 三音 美美美美●●●●；三聲 普撲品匹艮艮艮艮 九聲 美美美美●●●●；旁排平瓶艮艮艮艮 美美美美●●●●；東丹帝■艮艮艮艮 美美美美●●●●；六音 兌大弟■艮艮艮艮 三音 美美美美●●●●；三聲 土貪天■艮艮艮艮 十聲 美美美美●●●●；同覃田■艮艮艮艮 美美美美●●●●。

The left table continues with the trigram "Gen" (Mountain) sung in three tones, paired with the fourth tone "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth tone "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the sixth tone "Dong dan di □, Dui da di □, Tu tan tian □, Tong tan tian □." The third line of the fourth tone originally reads "Wu wan □ wei," but in other instances of the same line it reads "Wu wan □ wei." The character "■" here is likely a mis-carved "□," indicating that this position has a sound but no character, not a soundless one. The right table's twelve lines, the third tone "Mei" is paired with the eighth, ninth, and tenth tones, with three tones each having four lines all written as "●●●●." This black mark clearly shows that Shao Yong's establishment of ten tones was merely sufficient for ten positions, but in reality, the discernible tone categories only go up to the seventh tone. The subsequent three tones have positions but no sounds, hence no characters can be paired with them, and therefore cannot be paired with any sounds.

乃你女■艮艮艮艮 □□□□多可個舌；七音 內南年■艮艮艮艮 四音 □□□□禾火化八；三聲 老冷呂■艮艮艮艮 一聲 □□□□開宰愛○；鹿犖離■艮艮艮艮 □□□□回每退○；走哉足■艮艮艮艮 □□□□良兩向○；八音 自在匠■艮艮艮艮 四音 □□□□光廣況○；三聲 草采七■艮艮艮艮 二聲 □□□□丁井亙○；曹才全■艮艮艮艮 □□□□兄永瑩○；思三星■艮艮艮艮 □□□□千典旦○；九音 寺□象■艮艮艮艮 四音 □□□□元犬半○；三聲 □□□■艮艮艮艮 三聲 □□□□臣引艮○；□□□■艮艮艮艮 □□□□君允巽○。

The left table continues with the third tone "Gen" for the next round, paired with the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", and the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■". The last two rows of the ninth tone have the first three characters as "■", and the last character is "■", indicating that this group of initial consonants has phonetic positions for open, medial, and closing sounds but cannot provide representative characters, while the closed sound position originally had no phoneme. The right table starts with "Closing sound clear and harmonious law three of four", and the harmonic sound should be the third character of the fourth tone's third row "Wu Wan ■ Wei", which is also "■"—indicating the presence of a phonetic position without a character to represent it, so the entire table's harmonic sound can only be written as "■ ■ ■ ■", still four characters in parallel, matching the four categories of tone rows. It first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", then with the second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", and third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○".

■山手■艮艮艮艮 □□□□刀早孝嶽；十音 ■士石■艮艮艮艮 四音 □□□□毛寶報霍；三聲 ■□耳■艮艮艮艮 四聲 □□□□牛斗奏六；■□二■艮艮艮艮 □□□□○○○玉；■莊震■艮艮艮艮 □□□□妻子四日；十一音 ■乍□■艮艮艮艮 四音 □□□□衰○帥骨；三聲 ■叉赤■艮艮艮艮 五聲 □□□□○○○德；■崇辰■艮艮艮艮 □□□□龜水貴北；■卓中■艮艮艮艮 □□□□宮孔眾○；十二音 ■宅直■艮艮艮艮 四音 □□□□龍甬用○；三聲 ■拆丑■艮艮艮艮 六聲 □□□□魚鼠去○；■茶呈■艮艮艮艮 □□□□烏虎兔○。

The left table matches "qu sheng bi chang lv san zhi san" with the third tone: the third tone "gen" is paired with the tenth sound "shan shou, shi shi, er er, er er", the eleventh sound "zhuang zhen, zha ku, cha chi, chong chen", and the twelfth sound "zhuo zhong, zhai zhi, che chou, cha cheng". The first character of each of these three groups is "■", and the last character is mostly "■", indicating that they have no sound in both open and closed syllables. The "□" in the middle of "er er", "er er", and "zha ku" indicates that there is a phoneme but no character. By this point, the third tone and the twelve sounds are all completed. The right table then continues with the fourth sound "□□□□", which is a sound without a character, and the fourth tone "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", and the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○".

古甲九癸奏奏奏奏 □□□□心審禁○；一音 □□近揆奏奏奏奏 四音 □□□□○○○十；四聲 坤巧丘棄奏奏奏奏 七聲 □□□□男坎欠○；□□乾蚪奏奏奏奏 □□□□○○○妾；黑花香血奏奏奏奏 □□□□●●●●；二音 黃華雄賢奏奏奏奏 四音 □□□□●●●●；四聲 五瓦仰□奏奏奏奏 八聲 □□□□●●●●；吾牙月堯奏奏奏奏 □□□□●●●●；安亞乙一奏奏奏奏 □□□□●●●●；三音 □爻壬寅奏奏奏奏 四音 □□□□●●●●；四聲 母馬美米奏奏奏奏 九聲 □□□□●●●●；目貌眉民奏奏奏奏 □□□□●●●●；夫法□飛奏奏奏奏 □□□□●●●●；四音 父凡□吠奏奏奏奏 四音 □□□□●●●●；四聲 武晚□尾奏奏奏奏 十聲 □□□□●●●●；文萬□未奏奏奏奏 □□□□●●●●。

The left table starts anew with "Qu Sheng Bi Chang Lv San Zhi Si" (Going tone, avoiding the sound of "Lv San" in the fourth tone), replacing the "Chang" sound with the fourth tone "Zou" — taken from the third line of the four tones "Niu Dou Zou Liu" (Ox and Dipper, Zou, Six), specifically the third section, star position, going tone, and open syllable. The four characters "Zou Zou Zou Zou" are written continuously, still matching the group of initial consonants in the four categories. It begins with the first tone "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," then proceeds through the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table merges the fourth tone's blank table at the end: first combining with the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie," followed by the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "●●●●." One table uses "□" as the harmonizing sound and "●" as the sound being harmonized, resulting in both ends being empty, exactly matching Shao Yong's method of preserving positions but not the characters. According to his calculation, ten tones with forty lines total one hundred sixty positions, subtracting forty-eight silent positions, gives one hundred twelve used sounds for Heaven; twelve tones with forty-eight lines total one hundred ninety-two positions, subtracting forty silent positions, gives one hundred fifty-two used sounds for Earth. The empty spaces in the diagram correspond exactly to these removed positions, with the numbers clearly verifiable.

卜百丙必奏奏奏奏 品品品品多可個舌；五音 步白備鼻奏奏奏奏 五音 品品品品禾火化八；四聲 普撲品匹奏奏奏奏 一聲 品品品品開宰愛○；旁排平瓶奏奏奏奏 品品品品回每退○；東丹帝■奏奏奏奏 品品品品良兩向○；六音 兌大弟■奏奏奏奏 五音 品品品品光廣況○；四聲 土貪天■奏奏奏奏 二聲 品品品品丁井亙○；同覃田■奏奏奏奏 品品品品兄永瑩○；乃你女■奏奏奏奏 品品品品千典旦○；七音 內南年■奏奏奏奏 五音 品品品品元犬半○；四聲 老冷呂■奏奏奏奏 三聲 品品品品臣引艮○；鹿犖離■奏奏奏奏 品品品品君允巽○；走哉足■奏奏奏奏 品品品品刀早孝嶽；八音 自在匠■奏奏奏奏 五音 品品品品毛寶報霍；四聲 草采七■奏奏奏奏 四聲 品品品品牛斗奏六；曹才全■奏奏奏奏 品品品品○○○玉。

The left table continues with the fourth tone's "zou," which is paired sequentially with the fifth tone "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping." The sixth tone is "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■," and the seventh tone is "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■." From the sixth tone onward, the last column is marked with "■," forming a contrast with the fourth column of the fifth tone which is fully complete. The right table starts with "shou yin qing he lu san zhi wu," and the harmonic tone is changed to the fifth tone's "pin," taken from the third column of the third row "pu pu pin pi." The word "pin" is repeated four times starting from the first tone: the first tone includes "du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○," the second tone includes "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○," the third tone includes "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○," and the fourth tone includes "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu." The first tone's first two rows have all four characters complete, while the last two rows end with "○." The入声 (entering tone) is the most difficult to complete, which is a common occurrence among the ten tones.

思三星■奏奏奏奏 品品品品妻子四日；九音 寺□象■奏奏奏奏 五音 品品品品衰○帥骨；四聲 □□□■奏奏奏奏 五聲 品品品品○○○德；□□□■奏奏奏奏 品品品品龜水貴北；■山手■奏奏奏奏 品品品品宮孔眾○；十音 ■士石■奏奏奏奏 五音 品品品品龍甬用○；四聲 ■□耳■奏奏奏奏 六聲 品品品品魚鼠去○；■□二■奏奏奏奏 品品品品烏虎兔○；■莊震■奏奏奏奏 品品品品心審禁○；十一音 ■乍□■奏奏奏奏 五音 品品品品○○○十；四聲 ■叉赤■奏奏奏奏 七聲 品品品品男坎欠○；■崇辰■奏奏奏奏 品品品品○○○妾；■卓中■奏奏奏奏 品品品品●●●●；十二音 ■宅直■奏奏奏奏 五音 品品品品●●●●；四聲 ■拆丑■奏奏奏奏 八聲 品品品品●●●●；■茶呈■奏奏奏奏 品品品品●●●●。

The left table uses the ninth to twelfth tones to sing the fourth sound: "Zhou" (to present) is paired with the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". After the ninth tone, the next two lines have three consecutive "■" characters written together. The first column of the tenth, eleventh, and twelfth tones all start with "■", one representing a tone without a character and the other a position without a tone, both types of empty positions appearing in the same section. The right table uses the fifth tone "Pin" and the fifth sound "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the sixth sound "Gong Kong Zhong ○, Long Yong Yong ○, Yu Mu Qu ○, Wu Hu Tu ○", the seventh sound "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Qie", and then switches to "● ● ● ●" for four lines when reaching the eighth sound, indicating that the sound positions have been exhausted. The combined table uses one tone to cover ten sounds across forty lines, while the singing table uses one sound to cover twelve tones across forty-eight lines. Although the number of lines differs, the format is the same: each paired section changes every four lines, and the small characters in between serve as markers, progressing sequentially. These small characters are merely coordinates and are not part of the singing or recitation. When reading, they should be separated from the main text and viewed independently.

古甲九癸○○○○ 品品品品●●●●；一音 □□近揆○○○○ 五音 品品品品●●●●；五聲 坤巧丘棄○○○○ 九聲 品品品品●●●●；□□乾蚪○○○○ 品品品品●●●●；黑花香血○○○○ 品品品品●●●●；二音 黃華雄賢○○○○ 五音 品品品品●●●●；五聲 五瓦仰□○○○○ 十聲 品品品品●●●●；吾牙月堯○○○○ 品品品品●●●●。

The left table establishes another entry 「going up tone with the third line of the third sound of the fifth sound」. According to the example, the singing tone for this section should take the third section of the fifth sound third line 「○○○德」, but that section is exactly 「○」—the sound position exists but there is no character to be used. Therefore, the entire table's singing tone can only be written as 「○○○○」, with four characters in parallel, still corresponding to the four categories of initial consonants. It first sings with the first tone 「Ancient Jia ninth sound, □□ near揆,坤巧丘弃, □□乾蚪」, then sings with the second tone 「Black flower fragrance blood, yellow flower strong virtue, fifth sound Wa仰□, Wu Ya moon Yao」. The right table ends with the fifth tone 「品」, and the corresponding ninth and tenth tones in eight lines are all written as 「●●●●」. On the left, 「○」 is used for singing, and on the right, 「●」 is used for harmony. These two forms of empty records are arranged side by side in one line, most clearly showing Shao Yong's intention to distinguish between 「having sound without characters」 and 「original position without sound」.

安亞乙一○○○○ 天天天天多可個舌；三音 □爻壬寅○○○○ 六音 天天天天禾火化八；五聲 母馬美米○○○○ 一聲 天天天天開宰愛○；目貌眉民○○○○ 天天天天回每退○；夫法□飛○○○○ 天天天天良兩向○；四音 父凡□吠○○○○ 六音 天天天天光廣況○；五聲 武晚□尾○○○○ 二聲 天天天天丁井亙○；文萬□未○○○○ 天天天天兄永瑩○；卜百丙必○○○○ 天天天天千典旦○；五音 步白備鼻○○○○ 六音 天天天天元犬半○；五聲 普撲品匹○○○○ 三聲 天天天天臣引艮○；旁排平瓶○○○○ 天天天天君允巽○；東丹帝■○○○○ 天天天天刀早孝嶽；六音 兌大弟■○○○○ 六音 天天天天毛寶報霍。

The left table still reads "Going tone sings 'Lv San Wu Wu'". The singing tone is written as "○○○○" because the fifth tone "Going tone" section has no characters to cite, only the tone position. It follows in sequence with the third tone "An Ya Yi Yi, □ Yao Renyin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping" and the first two lines of the sixth tone "Dong Dan Di ■, Du Dai Di ■". The right table starts another table "Ending tone clear and harmonious law San Liu". The harmonizing tone is the sixth tone "Tian" — taken from the third line of the six tones "Tu Tan Tian ■" third section, with the earth position, ending tone, and clear sound; the last section's "■" indicates that the sixth tone has no sound in the closed mouth position. "Tian tian tian tian" harmonizes starting from the first tone: first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", followed by the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo".

五聲 土貪天■○○○○ 四聲 天天天天牛斗奏六；同覃田■○○○○ 天天天天○○○玉；乃你女■○○○○ 天天天天妻子四日；七音 內南年■○○○○ 六音 天天天天衰○帥骨；五聲 老冷呂■○○○○ 五聲 天天天天○○○德；鹿犖離■○○○○ 天天天天龜水貴北；走哉足■○○○○ 天天天天宮孔眾○；八音 自在匠■○○○○ 六音 天天天天龍甬用○；五聲 草采七■○○○○ 六聲 天天天天魚鼠去○；曹才全■○○○○ 天天天天烏虎兔○；思三星■○○○○ 天天天天心審禁○；九音 寺□象■○○○○ 六音 天天天天○○○十；五聲 □□□■○○○○ 七聲 天天天天男坎欠○。

The left table continues using the same group of unmarked 「○○○○」 to harmonize, pairing the sixth tone with 「土贪天■、同覃田■」, then the seventh tone with 「乃你女■、内南年■、老冷吕■、鹿荦离■」, the eighth tone with 「走哉足■、自在匠■、草采七■、曹才全■」, and the ninth tone with 「思三星■、寺□象■、□□□■」. The third line of the ninth tone has three 「□」, which represent the three phonetic positions of 开, 发, 收, but no characters could be found for them. The last character 「■」 indicates a position without a phonetic, and the two marks within the same line have different meanings. The right table uses the sixth tone's 「天」 to follow the last two lines of the fourth tone 「牛斗奏六、○○○玉」, then the fifth tone's 「妻子四日、衰○帅骨、○○○德、龟水贵北」, the sixth tone's 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, and the first three lines of the seventh tone 「心审禁○、○○○十、男坎欠○」. The four columns of the tone rows are in the order of 平, 上, 去, 入, and the four columns of the phonetic rows are in the order of 开, 发, 收, 闭. A single tone or a harmonizing sound is written four times in succession to correspond one by one with the four columns of the opposite group, rather than repeating characters for sound.

□□□■○○○○ 天天天天○○○妾；■山手■○○○○ 天天天天●●●●；十音 ■士石■○○○○ 六音 天天天天●●●●；五聲 ■□耳■○○○○ 八聲 天天天天●●●●；■□二■○○○○ 天天天天●●●●；■莊震■○○○○ 天天天天●●●●；十一音 ■乍□■○○○○ 六音 天天天天●●●●；五聲 ■叉赤■○○○○ 九聲 天天天天●●●●；■崇辰■○○○○ 天天天天●●●●；■卓中■○○○○ 天天天天●●●●；十二音 ■宅直■○○○○ 六音 天天天天●●●●；五聲 ■拆丑■○○○○ 十聲 天天天天●●●●；■茶呈■○○○○ 天天天天●●●●。

The left table uses the ninth tone's last line 「□□□■」, and the tenth tone 「■山手■、■士石■、■□耳■、■□二■」, the eleventh tone 「■庄震■、■乍□■、■叉赤■、■崇辰■」, and the twelfth tone 「■卓中■、■宅直■、■拆丑■、■茶呈■」, singing one sheet after the fifth tone. Among these twelve tones, any line starting with 「■」 indicates that the first character has no sound; the 「□」 in the middle of 「■□耳■」「■□二■」「■乍□■」 indicates that there is a sound but no character. The right table uses the sixth tone's 「天」 and the last line of the seventh tone 「○○○妾」, with the eighth, ninth, and tenth tones' twelve lines all marked as 「●●●●」. The left side uses 「○」 for singing and the right side uses 「●」 for harmony, both appearing on the same page, making it easy to distinguish them: the former indicates that the sound position still exists but the character is missing, while the latter indicates that the sound position itself does not exist. The 「□」 and 「■」 in the sound table also function in this way: 「□」 indicates that there is a sound position but no character in the dictionary, while 「■」 indicates that there is no sound at that position. The four symbols are used in pairs, with the sound table using only round symbols and the tone table using only square symbols, and this is consistent throughout the entire book, without mixing.

古甲九癸去去去去 呂呂呂呂多可個舌；一音 □□近揆去去去去 七音 呂呂呂呂禾火化八；六聲 坤巧丘棄去去去去 一聲 呂呂呂呂開宰愛○；□□乾蚪去去去去 呂呂呂呂回每退○；黑花香血去去去去 呂呂呂呂良兩向○；二音 黃華雄賢去去去去 七音 呂呂呂呂光廣況○；六聲 五瓦仰□去去去去 二聲 呂呂呂呂丁井亙○；吾牙月堯去去去去 呂呂呂呂兄永瑩○；安亞乙一去去去去 呂呂呂呂千典旦○；三音 □爻壬寅去去去去 七音 呂呂呂呂元犬半○；六聲 母馬美米去去去去 三聲 呂呂呂呂臣引艮○；目貌眉民去去去去 呂呂呂呂君允巽○；夫法□飛去去去去 呂呂呂呂刀早孝嶽；四音 父凡□吠去去去去 七音 呂呂呂呂毛寶報霍。

Two new charts were opened simultaneously. On the left half it reads 「Going down in tone, the sound is divided into three parts of six」, with the singing tone replaced by the sixth tone 「Going down」—taken from the third column of the sixth tone's third row 「Fish rat going down ○」, with the earth position, going down tone, and open sound; it sings with the first tone 「Ancient Jia ninth Gui, □□ near揆,坤 skill mountain discard, □□ Qian tadpole」, the second tone 「Black flower fragrant blood, yellow flower strong virtue, five wa仰□, Wu ya moon Yao」, the third tone 「An Ya Yi one, □ yao Renyin, mother horse beautiful rice, eye face eyebrow people」, and the fourth tone 「Fu fa □ fly, Fu fan □ bark」. On the right half it reads 「Ending sound clear and harmonious, the law is divided into three parts of seven」, with the harmonious tone replaced by the seventh tone 「Lv」—taken from the third column of the seventh tone's third row 「Old cold Lv ■」, with the earth position, ending sound, and clear sound. 「Lv Lv Lv Lv」 begins with the first tone 「Du ke ge she, he fire change eight, open宰 love ○, hui mei tui ○」, the second tone 「Liang liang xiang ○, Guang Guang kuang ○, Ding jing gen ○, xiong yong ying ○」, the third tone 「Qian dian dan ○, Yuan quan ban ○, Chen yin gen ○, Jun yun xun ○」, and the fourth tone 「Dao zao xiao yue, mao bao bao huo」.

六聲 武晚□尾去去去去 四聲 呂呂呂呂牛斗奏六；文萬□未去去去去 呂呂呂呂○○○玉；卜百丙必去去去去 呂呂呂呂妻子四日；五音 步白備鼻去去去去 七音 呂呂呂呂衰○帥骨；六聲 普撲品匹去去去去 五聲 呂呂呂呂○○○德；旁排平瓶去去去去 呂呂呂呂龜水貴北；東丹帝■去去去去 呂呂呂呂宮孔眾○；六音 兌大弟■去去去去 七音 呂呂呂呂龍甬用○；六聲 土貪天■去去去去 六聲 呂呂呂呂魚鼠去○；同覃田■去去去去 呂呂呂呂烏虎兔○；乃你女■去去去去 呂呂呂呂心審禁○；七音 內南年■去去去去 七音 呂呂呂呂○○○十；六聲 老冷呂■去去去去 七聲 呂呂呂呂男坎欠○。

The left table continues with the sixth tone "qu" by first completing the fourth tone "wu wan □ wei, wen wan □ wei", then pairing the fifth tone "bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone "nai ni nv ■, nei nan nian ■, lao leng lv ■". Here we can see two patterns of the twelve tones: the first five tones have four characters that can be completed, while the sixth tone and below all end with "■", indicating a closed mouth with no sound. The right table uses the seventh tone "lv" and the fourth tone "niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and then continues with the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○". It is worth noting that the "qu" used in the left table comes directly from the sixth tone third line of the right table, showing that the words used in the singing and harmonizing tables originate from the same source.

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

The left table continues the sixth tone's chanting with the seventh tone's final line "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■". The last two lines of the ninth tone only have one "■" at the end, with the first three positions filled with three "□", indicating that although these sound classes have their positions, there were no suitable characters in the existing dictionaries. The first position of the tenth tone's first column "■" shows that the opening sound position had no such sound. The right table uses the seventh tone's "Lv" and the seventh tone's final line "○○○ Qie", and the following eight, nine, and tenth tones, totaling twelve lines, are all marked "●●●●", indicating that the last three tones among the ten have positions but no sounds. Shao Yong established ten tones and twelve sounds, taking the numbers of the ten heavenly stems and twelve earthly branches to symbolize heaven and earth, so the tones must be complete with ten and the sounds must be complete with twelve. However, in reality, only seven types of tones can be distinguished and the sounds are not fully twelve, so the remaining ones are filled with empty marks to complete the positions and ensure the diagram is not missing any grid.

■莊震■去去去去 七七七七多可個舌；十一音 ■乍□■去去去去 八音 七七七七禾火化八；六聲 ■叉赤■去去去去 一聲 七七七七開宰愛○；■崇辰■去去去去 七七七七回每退○；■卓中■去去去去 七七七七良兩向○；十二音 ■宅直■去去去去 八音 七七七七光廣況○；六聲 ■拆丑■去去去去 二聲 七七七七丁井亙○；■茶呈■去去去去 七七七七兄永瑩○。

The left table concludes the sixth tone with the sound "qu": "qu" is paired with the eleventh tone "zhuang zhen", "zha zhang", "cha chi", "chong chen", and the twelfth tone "zhuo zhong", "zha zhi", "che chou", "cha cheng". Thus, all twelve tones are completed. The initial and final characters of these two groups of initial consonants are mostly "■", with actual characters in between. This is a common pattern where dental and tongue-tip initial consonants have no sound in the open and closed positions. The right table starts with "shou yin qing he lu san zhi ba" (clear and harmonious ending of the third row of the eighth tone), and the tone is changed to the eighth tone "qi" — taken from the third column of the third row of the eight tones "cao cai qi ■", with the earth position, ending sound, and clear tone. "Qi qi qi qi" first matches the first tone "duo ke ge she, he huoa hua ba, kai zai ai ○, hui mei tui ○", then matches the second tone "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○". The last column of the last two rows of the first tone and the last four rows of the second tone are all "○", meaning that the entering tone has a sound but no character to fill in.

古甲九癸欠欠欠欠 七七七七千典旦○；一音 □□近揆欠欠欠欠 八音 七七七七元犬半○；七聲 坤巧丘棄欠欠欠欠 三聲 七七七七臣引艮○；□□乾蚪欠欠欠欠 七七七七君允巽○；黑花香血欠欠欠欠 七七七七刀早孝嶽；二音 黃華雄賢欠欠欠欠 八音 七七七七毛寶報霍；七聲 五瓦仰□欠欠欠欠 四聲 七七七七牛斗奏六；吾牙月堯欠欠欠欠 七七七七○○○玉；安亞乙一欠欠欠欠 七七七七妻子四日；三音 □爻壬寅欠欠欠欠 八音 七七七七衰○帥骨；七聲 母馬美米欠欠欠欠 五聲 七七七七○○○德；目貌眉民欠欠欠欠 七七七七龜水貴北；夫法□飛欠欠欠欠 七七七七宮孔眾○；四音 父凡□吠欠欠欠欠 八音 七七七七龍甬用○；七聲 武晚□尾欠欠欠欠 六聲 七七七七魚鼠去○；文萬□未欠欠欠欠 七七七七烏虎兔○。

The left table starts with "Going tone, singing the seventh sound 'Qian' of the third line." The singing tone is the seventh sound "Qian," taken from the third line of the seventh sound "Male Kan Qian ○" in the third column, which still belongs to the star position, going tone, and open sound. "Qian qian qian qian" begins with the first tone, going through the first tone "Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." These four groups are related to the throat, teeth, and lip sounds, with many characters in the grid, except in places such as "□□ near揆," "Wu Wa Yang □," "□ Yao Ren Yin," and "Fu Fa □ Fei," where "□" appears. The right table uses the eighth tone "Qi" and the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○," the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," the fifth tone "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." Among these, "Shuai ○ Shuai Gu" in the first tone of the rising tone and "○○○ Yu" in the first three positions are sounds that exist but have no corresponding characters in the dictionary.

卜百丙必欠欠欠欠 七七七七心審禁○；五音 步白備鼻欠欠欠欠 八音 七七七七○○○十；七聲 普撲品匹欠欠欠欠 七聲 七七七七男坎欠○；旁排平瓶欠欠欠欠 七七七七○○○妾；東丹帝■欠欠欠欠 七七七七●●●●；六音 兌大弟■欠欠欠欠 八音 七七七七●●●●；七聲 土貪天■欠欠欠欠 八聲 七七七七●●●●；同覃田■欠欠欠欠 七七七七●●●●；乃你女■欠欠欠欠 七七七七●●●●；七音 內南年■欠欠欠欠 八音 七七七七●●●●；七聲 老冷呂■欠欠欠欠 九聲 七七七七●●●●；鹿犖離■欠欠欠欠 七七七七●●●●；走哉足■欠欠欠欠 七七七七●●●●；八音 自在匠■欠欠欠欠 八音 七七七七●●●●；七聲 草采七■欠欠欠欠 十聲 七七七七●●●●；曹才全■欠欠欠欠 七七七七●●●●。

The left table continues with the seventh tone "qian," paired with the fifth tone "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping," the sixth tone "dong dan di ?, dui da di ?, tu tan tian ?, tong tan tian ?," and the seventh tone "nai ni nv ?, nei nan nian ?, lao leng lv ?, lu luo li ?," and the eighth tone "zou zai zu ?, zi zai jiang ?, cao cai qi ?, cao cai quan ?." Any ending marked with "■" indicates a closed mouth sound that originally did not exist, differing from the four-character groups in the previous lip sounds. The right table uses the eighth tone "qi" and the seventh tone "xin shen jin ?, ? ? ? shi, nan kan qian ?, ? ? ? qie" — this tone is the source of the left table's "qian" sound; afterward, the eighth, ninth, and thirteenth tones cover twelve lines marked with "●●●●." The actual boundaries of the tenth tone become clear at this point: only seven types of distinguishable sounds exist, while the last three types merely occupy their positions. Multiplying the number of sound positions by the number of phonetic positions, and then multiplying each by four levels, results in the numbers recorded at the end of each section, such as "one thousand six hundred forty" and "one thousand three hundred forty-four." These numbers are not arbitrary; they serve as the foundation for the calculations in the "Outer Chapter of Observing Things" regarding the numbers of moving and growing things. Therefore, no grid is omitted in the diagram.

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

The left table, after singing the ninth to twelfth tones and completing the seventh sound, has: "Qiang" paired with the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". The right table starts with "Shou Yin Qing He Lu San Zhi Jiu". According to the sequence, the harmonized sound for this chart should take the third line of the ninth tone, but the third and fourth lines of the ninth tone were originally written as "■ ■ ■ ■", with a sound but no character, so the harmonized sound can only be "■ ■ ■ ■". It continues to harmonize with the first tone "Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", and the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○ ○ ○ Yu". Since the harmonized sound has no characters, but the sounds being harmonized have characters, this pattern of one empty and one filled is common in the diagram.

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

The left table starts with "Going tone: 'Pìchàng Lǚ sān zhī bā'". The eighth tone is a category that has a position but no sound, with four lines all marked with "●", so the singing for this table can only be written as "●●●●". This is different from the fifth tone table, which is written as "○○○○": one has sound without characters, and the other has no sound at all. Even so, Shao Yong still followed the pattern to sing it along with the first tone "Gǔ Jiǎ jiǔ Guǐ, □□ jìn kuí, Kūn qiǎo qiū qì, □□ Qián tóu", the second tone "Hēi huā xiāng xuè, Huáng huā xióng xián, Wǔ wǎ yǎng □, Wú yá yuè yáo", and the third tone "Ān yà yǐ yī, □ yáo Rén Yín, Mǔ mǎ měi mǐ, Mù mào méi mín", to show the completeness of the diagram. The right table continues the table of the ninth tone without characters, using "□□□□" and the fifth tone "Qīzi sì rì, Shuāi ○ Shuài gǔ, ○○○ dé, Guī shuǐ guì běi", the sixth tone "Gōng Kǒng zhòng ○, Lóng yǒng yòng ○, Yú shǔ qù ○, Wū hǔ tù ○", and the seventh tone "Xīn shěn jìn ○, ○○○ shí, Nán Kǎn qiàn ○, ○○○ qiè".

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

The left table continues with the eighth sound 「●●●●」 singing the fourth tone 「Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei」, the fifth tone 「Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping」, and the sixth tone 「Dong dan di ■, Dui da di ■, Tu tan tian ■, Tong tan tian ■」. The twelve lines on the right table are the ninth tone's table with no characters, harmonizing with the eighth, ninth, and tenth sounds. On the side of the initial consonants, it writes 「□□□□」, and on the side of the final vowels, it writes 「●●●●」, with no actual characters at either end. Such completely empty cells in the diagram are not considered wasted strokes: Shao Yong used ten sounds to match twelve tones, aiming to complete the numbers of heaven and earth. The presence or absence of sound and the presence or absence of characters must each be in their proper place, with presence and absence contrasting to reveal the whole of sound. Therefore, when looking at such diagrams, one should not only count the cells with characters: empty cells and cells with characters are both in the same position. What Shao Yong intended to show was the neatness of 「position」; as for whether a character can be pronounced or not, this depends on the local pronunciation and the dictionary of a particular time and place, and is a separate matter from the presence or absence of position.

乃你女■●●●● 耳耳耳耳多可個舌；七音 內南年■●●●● 十音 耳耳耳耳禾火化八；八聲 老冷呂■●●●● 一聲 耳耳耳耳開宰愛○；鹿犖離■●●●● 耳耳耳耳回每退○；走哉足■●●●● 耳耳耳耳良兩向○；八音 自在匠■●●●● 十音 耳耳耳耳光廣況○；八聲 草采七■●●●● 二聲 耳耳耳耳丁井亙○；曹才全■●●●● 耳耳耳耳兄永瑩○；思三星■●●●● 耳耳耳耳千典旦○；九音 寺□象■●●●● 十音 耳耳耳耳元犬半○；八聲 □□□■●●●● 三聲 耳耳耳耳臣引艮○；□□□■●●●● 耳耳耳耳君允巽○。

The left table still uses the eighth tone's "●●●●" as the chant, paired with the seventh tone "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■", and the eighth tone "Zou zai zu ■, zi zai jiang ■, cao caipu qi ■, cao caiquan ■", and the ninth tone "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■". The right table starts with "Shou yin qing he lu san zhi shi", and the harmonic tone is changed to the tenth tone's "Er" — taken from the third line of the tenth tones "■□er ■" in the third column, with the earth position, ending tone, and clear sound; this line starts and ends with "■", and has another "□" in the middle, indicating that the tenth tone can only produce the character "er" in the ending position. "Er er er er" first combines with the first tone "Du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", then with the second tone "Liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○", and third tone "Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○".

■山手■●●●● 耳耳耳耳刀早孝嶽；十音 ■士石■●●●● 十音 耳耳耳耳毛寶報霍；八聲 ■□耳■●●●● 四聲 耳耳耳耳牛斗奏六；■□二■●●●● 耳耳耳耳○○○玉；■莊震■●●●● 耳耳耳耳妻子四日；十一音 ■乍□■●●●● 十音 耳耳耳耳衰○帥骨；八聲 ■叉赤■●●●● 五聲 耳耳耳耳○○○德；■崇辰■●●●● 耳耳耳耳龜水貴北；■卓中■●●●● 耳耳耳耳宮孔眾○；十二音 ■宅直■●●●● 十音 耳耳耳耳龍甬用○；八聲 ■拆丑■●●●● 六聲 耳耳耳耳魚鼠去○；■茶呈■●●●● 耳耳耳耳烏虎兔○。

The left table matches the eighth tone's empty syllables to the tenth tone: "■ mountain hand ■, ■ scholar stone ■, ■ ear ■, ■ two ■", the eleventh tone: "■ Zhuang Zhen ■, ■ sudden ■, ■ fork red ■, ■ Sheng Chen ■", and the twelfth tone: "■ Zhuo Zhong ■, ■ residence straight ■, ■ dismantle Chou ■, ■ tea present ■". The twelve tones are thus completed, and the diagram "Going tone with the eighth tone's singing" is finished. The right table includes the tenth tone's "ear" and the fourth tone: "knife early filial mountain, hair treasure report Huo, ox star composition six, ○○○ jade", the fifth tone: "wife four days, decline ○ general bone, ○○○ virtue, turtle water noble north", and the sixth tone: "palace Kong crowd ○, dragon Yong use ○, fish rat go ○, crow tiger rabbit ○". In the fourth tone's fourth line, "○○○ jade" only has the character "jade" in the entering tone position. The fifth tone's second and third lines also have "○", which are instances where there is a tone but no corresponding character. The situation with initial consonants is similar: the tenth tone's "■□ ear ■" is a clear example, with no sound at the beginning and end, a sound but no character in the second position, and only one character "ear" in the final position among the four. This narrowness is evident here.