The falling tone is used for the third and fourth tones of the three tones, and the ninth tone is the third tone.

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

The left table establishes another entry, "Going tone, singing tone of the third category, ninth tone," where the singing tone belongs to the ninth tone. The ninth tone, like the eighth tone, has a position but no sound, with four lines all marked as "●," so the singing tone is also written as "●●●●." It sings in response to the first tone "Ancient Jia ninth Gui, □□ near揆,坤巧 mountain abandoned, □□ Qian蚪," the second tone "Black flower fragrance blood, yellow flower strong virtue, five wa upward □, Wu ya moon Yao," the third tone "An Ya Yi one, □ yao Renyin, mother horse beauty rice, eye appearance eyebrow people," and the fourth tone "Fu fa □ fly, Fu fan □ bark, Wu wan □ tail, Wen wan □ not yet." The right table uses the tenth tone "ear" and the seventh tone "heart, review, prohibition ○, ○○○ ten, male Kan lack ○, ○○○妾," with the eighth, ninth, and thirteenth tones below all marked as "●●●●." This piece has black marks appearing on both sides simultaneously, precisely where the end of the tenth tone meets the end of the tenth tone, and both sound positions are empty. The black marks on the left come from the singing tone, while those on the right come from the responding tone. Although their origins differ, the principle is the same: for the eighth, ninth, and tenth tones, regardless of whether they are singing or responding, there is no sound, so only four black dots are used to indicate their positions, ensuring the count of ten tones remains complete. Reading this, the reality and emptiness of the ten tones become clear: the first seven categories are real, while the last three are empty.

卜百丙必●●●● 赤赤赤赤多可個舌；五音 步白備鼻●●●● 十一音 赤赤赤赤禾火化八；九聲 普撲品匹●●●● 一聲 赤赤赤赤開宰愛○；旁排平瓶●●●● 赤赤赤赤回每退○；東丹帝■●●●● 赤赤赤赤良兩向○；六音 兌大弟■●●●● 十一音 赤赤赤赤光廣況○；九聲 土貪天■●●●● 二聲 赤赤赤赤丁井亙○；同覃田■●●●● 赤赤赤赤兄永瑩○；乃你女■●●●● 赤赤赤赤千典旦○；七音 內南年■●●●● 十一音 赤赤赤赤元犬半○；九聲 老冷呂■●●●● 三聲 赤赤赤赤臣引艮○；鹿犖離■●●●● 赤赤赤赤君允巽○；走哉足■●●●● 赤赤赤赤刀早孝嶽；八音 自在匠■●●●● 十一音 赤赤赤赤毛寶報霍；九聲 草采七■●●●● 四聲 赤赤赤赤牛斗奏六；曹才全■●●●● 赤赤赤赤○○○玉。

The left table remains "Going tone avoids the sound of the third of the ninth tone." The singing tone is written as "●●●●" because the ninth tone does not have a sound, and it still sings with the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right table starts with "Closing tone, clear and harmonious, the third of the eleventh tone." The harmonious tone is the eleventh tone "Chi," taken from the third column of the third row of the eleventh tone "■ Cha Chi ■," which refers to the earth position, closing tone, and clear sound. "Chi Chi Chi Chi" starts 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 ○," fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The eleventh tone has no sound in the open position, so the first column of this row is marked as "■," and among the four columns, only the words "Cha" and "Chi" can be cited.

思三星■●●●● 赤赤赤赤妻子四日；九音 寺□象■●●●● 十一音 赤赤赤赤衰○帥骨；九聲 □□□■●●●● 五聲 赤赤赤赤○○○德；□□□■●●●● 赤赤赤赤龜水貴北；■山手■●●●● 赤赤赤赤宮孔眾○；十音 ■士石■●●●● 十一音 赤赤赤赤龍甬用○；九聲 ■□耳■●●●● 六聲 赤赤赤赤魚鼠去○；■□二■●●●● 赤赤赤赤烏虎兔○；■莊震■●●●● 赤赤赤赤心審禁○；十一音 ■乍□■●●●● 十一音 赤赤赤赤○○○十；九聲 ■叉赤■●●●● 七聲 赤赤赤赤男坎欠○；■崇辰■●●●● 赤赤赤赤○○○妾；■卓中■●●●● 赤赤赤赤●●●●；十二音 ■宅直■●●●● 十一音 赤赤赤赤●●●●；九聲 ■拆丑■●●●● 八聲 赤赤赤赤●●●●；■茶呈■●●●● 赤赤赤赤●●●●。

The left table uses the ninth tone with the words "Si San Xing", "Si Xiao Xiang", "□□□", "□□□", and finishes with the ninth tone. The right table uses the eleventh tone's "Chi" and the fifth tone "Zi Qi Si Ri, Shuai Zhou Shuai Gu, □□□ De, Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong □, Long Yong Yong □, Yu Shu Qu □, Wu Hu Tu □", the seventh tone "Xin Shen Jin □, □□□ Shi, Nan Kan Qian □, □□□ Qie", and then moves to the eighth tone "●●●●". In this piece, the line "Chi" from the right table is both the original position of the tone "Chi" in the right table and is used as a sound initial in the left table, sung together with an empty sound. This shows that the same character plays different roles in the singing table and the harmonizing table. The singing table leads with sound, with each sound covering forty-eight lines of the twelve tones. The harmonizing table leads with tone, with each tone covering forty lines of the ten sounds. The same character is either the sound being sung or the sound being harmonized, depending on which table it appears in.

古甲九癸●●●● 赤赤赤赤●●●●；一音 □□近揆●●●● 十一音 赤赤赤赤●●●●；十聲 坤巧丘棄●●●● 九聲 赤赤赤赤●●●●；□□乾蚪●●●● 赤赤赤赤●●●●；黑花香血●●●● 赤赤赤赤●●●●；二音 黃華雄賢●●●● 十一音 赤赤赤赤●●●●；十聲 五瓦仰□●●●● 十聲 赤赤赤赤●●●●；吾牙月堯●●●● 赤赤赤赤●●●●。

The left table establishes another section titled "Qu Sheng Pi Chang Lv San Shi," which is the final section of the "Qu Sheng Pi" series. The tenth tone also has a position without a sound, and the singing tone is written as "●●●●." It first sings in response to the first tone "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," and the second tone "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The right table uses the eleventh tone "Chi" together with the ninth and tenth tones, and all eight lines are written as "●●●●." When viewing the eight lines on both sides together, the initial consonant has a character, but the final vowel has no sound, so in reality, they cannot form a single syllable. Shao Yong still arranges them without any omission, aiming to show the complete pairing of ten tones and twelve sounds. Both sounds and no sounds, characters and no characters, each occupy their respective positions, without being discarded due to absence.

安亞乙一●●●● 王王王王多可個舌；三音 □爻壬寅●●●●；十二音 王王王王禾火化八；十聲 母馬美米●●●● 一聲 王王王王開宰愛○；目貌眉民●●●● 王王王王回每退○；夫法□飛●●●● 王王王王良兩向○；四音 父凡□吠●●●● 十二音 王王王王光廣況○；十聲 武晚□尾●●●● 二聲 王王王王丁井亙○；文萬□未●●●● 王王王王兄永瑩○；卜百丙必●●●● 王王王王千典旦○；五音 步白備鼻●●●● 十二音 王王王王元犬半○；十聲 普撲品匹●●●● 三聲 王王王王臣引艮○；旁排平瓶●●●● 王王王王君允巽○；東丹帝■●●●● 王王王王刀早孝嶽。

The continuation of the left table's tenth sound leaves a blank position, paired with the third sound "Anya Yi Yi, □ line Renyin, mother horse mei mi, eyes face eyebrows people," the fourth sound "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth sound "Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the first line of the sixth sound "Dong dan Di ■." Among these, the line below "Third sound □ line Renyin ● ● ● ●" has the text in the right column copied to another line, resulting in a split. When reading, the line "Twelve sounds Wang Wang Wang Wang he fire transformation eight" should be connected back to the right column. The right table starts with "Receiving sound Qing He Law three of twelve," which is the last sheet of the "Receiving sound Qing" series. According to the sequence, the harmonic sound should take the third section of the twelfth sound's third line "■ split Chou ■," which is "Chou." The original text writes "Wang," which is similar in form to "Chou" and is likely a printing error; the original character from the manuscript is still preserved. "Wang Wang Wang Wang" corresponds to the first sound "Du ke ge she, he fire transformation eight, kai zai ai ○, hui mei tui ○," the second sound "Liang liang xiang ○, Guang guang kuang ○, Ding jing geng ○, xiong yong ying ○," the third sound "Qian dian dan ○, Yuan quan ban ○, Chen yin gen ○, Jun yun xun ○," and the first line of the fourth sound "Dao zao xiao yue."

六音 兌大弟■●●●● 十二音 王王王王毛寶報霍；十聲 土貪天■●●●● 四聲 王王王王牛斗奏六；同覃田■●●●● 王王王王○○○玉；乃你女■●●●● 王王王王妻子四日；七音 內南年■●●●● 十二音 王王王王衰○帥骨；十聲 老冷呂■●●●● 五聲 王王王王○○○德；鹿犖離■●●●● 王王王王龜水貴北；走哉足■●●●● 王王王王宮孔眾○；八音 自在匠■●●●● 十二音 王王王王龍甬用○；十聲 草采七■●●●● 六聲 王王王王魚鼠去○；曹才全■●●●● 王王王王烏虎兔○；思三星■●●●● 王王王王心審禁○；九音 寺□象■●●●● 十二音 王王王王○○○十；十聲 □□□■●●●● 七聲 王王王王男坎欠○。

The left table uses the tenth tone's empty chant to pair with the sixth tone's "Dui Da Di, Tu Tan Tian, Tong Tan Tian," then pairs with the seventh tone's "Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan," and the eighth tone's "Si San Xing, Si Fang Xiang, Fang Fang Fang," as well as the ninth tone's "Si San Xing, Si Fang Xiang, Fang Fang Fang." The right table uses the twelfth tone's character form, which has become distorted, to connect with the third line after the fourth tone's "Mao Bao Bao Huo, Niu Dou Zou Liu, O O O Yu," the fifth tone's "Zi Qi Si Ri, Shuai O Shuai Gu, O O O De,Gui Shui Gui Bei," and the sixth tone's "Gong Kong Zhong O, Long Yong Yong O, Yu Shu Qu O, Wu Hu Tu O." The "twelve tones" and "fourth tone, fifth tone, sixth tone, seventh tone" within the rows are labels for the right table's groups moving sequentially. The left table's "tenth tone" remains fixed, as a single tone is used in one chant table. When reading these flat tables, one must remember that each row is formed by one line from the left column and one line from the right column combined: the left column belongs to the chant table, the right column to the harmonizing table, and the contents of the two sides are unrelated and should not be connected into one sentence; the small characters "twelve tones," "fourth tone," etc., in the middle are merely coordinates for their respective columns.

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

The left table ends with the ninth tone's last line "□□□■", the tenth tone "■ mountain hand ■, ■ scholar stone ■, ■ □ ear ■, ■ □ two ■", the eleventh tone "■ zhuang zhen ■, ■ zha □ ■, ■ cha red ■, ■ chong chen ■", and the twelfth tone "■ zhuo zhong ■, ■ zhai straight ■, ■ che chou ■, ■ cha cheng ■". Among these, the line "■ zhuang zhen ●●●●." should originally be "■ zhuang zhen ■", but the original text omitted the last character "■" and added a period instead. This line is recorded as is without alteration. The right table ends with the twelfth tone and the last line of the seventh tone "○○○妾". The following eighth, ninth, and thirteenth tones each have twelve lines of "●●●●". At this point, the ten singing tables with the falling tone and open syllable route, and the twelve harmonizing tables with the earth position ending and clear tone route, have all been paired. The sound diagram from the section "Observing Things" has come to an end. In total, this section includes ten singing tables, each with forty-eight lines, making four hundred and eighty lines in total; and twelve harmonizing tables, each with forty lines, also totaling four hundred and eighty lines. The left and right sections are exactly equal, allowing them to be engraved side by side in one place. When unfolded, they form the current format of one line split into two parts.

星辰聲去翕 土石音收濁　退瑩巽○貴 乾月眉□平田　兔○●●● 離全□二辰呈　星辰聲七，下唱地之 土石音十二，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。

This note originally had two columns side by side, but when written horizontally, the text of the two columns became interwoven, requiring them to be read separately. The left column's heading is "Xingchen Sheng Qu Xi", meaning that this section selects one of the ten tones where "Xing" (Star) and "Chen" (Day) intersect. "Xing" is pronounced in the fourth tone, and "Chen" is a rounded sound, together forming "Qu Sheng Xi" (fourth tone and rounded sound). These ten tones are in order: "Tui, Ying, Xun, ○, Gui, Tu, ○, ●, ●, ●". The fourth and seventh tones have sounds but no characters, so they are written as "○". The eighth to tenth tones have no sounds, so they are written as "●". In total, there are seven actual sound categories. The left column's main text reads continuously: "Xingchen Sheng Qi, Xia Chang Di Zhi Yong Yin Bai Wu Er, Shi Wei Qu Sheng Xi Yin. Qu Sheng Xi Yin Yi Liu Bai Si." Each of the seven tones sings the sound used on earth, which is 152, so seven multiplied by 152 equals 1,064. The right column's heading is "Tu Shi Yin Shou Zhu", meaning that this section selects one of the twelve tones where "Tu" (Earth) and "Shi" (Stone) intersect. "Tu" is a closing sound, and "Shi" is a heavy sound. These twelve tones are in order: "Gan, Yue, Mei, □, Ping, Tian, Li, Quan, □, Er, Chen, Cheng". The fourth and ninth tones have sound positions but no characters, so they are written as "□". The twelve sound positions have no empty ones. The right column's main text reads continuously: "Tu Shi Yin Shiwu, Shang He Tian Zhi Yong Sheng Bai Yi Er, Shi Wei Shou Yin Zhu Sheng. Shou Yin Zhu Sheng Yi Bai San Si Si." Each of the twelve tones harmonizes with the sound used in heaven, which is 112, so twelve multiplied by 112 equals 1,344. Sounds are in heaven and are the main ones sung, so they are called "Lv"; tones are in earth and are the main ones harmonized, so they are called "Lu".

古甲九癸退退退退 乾乾乾乾多可個舌；一音 □□近揆退退退退 一音 乾乾乾乾禾火化八；一聲 坤巧丘棄退退退退 一聲 乾乾乾乾開宰愛○；□□乾蚪退退退退 乾乾乾乾回每退○；黑花香血退退退退 乾乾乾乾良兩向○；二音 黃華雄賢退退退退 一音 乾乾乾乾光廣況○；一聲 五瓦仰□退退退退 二聲 乾乾乾干丁井亙○；吾牙月堯退退退退 乾乾乾乾兄永瑩○；安亞乙一退退退退 乾乾乾乾千典旦○；三音 □爻壬寅退退退退 一音 乾乾乾乾元犬半○；一聲 母馬美米退退退退 三聲 乾乾乾乾臣引艮○；目貌眉民退退退退 乾乾乾乾君允巽○；夫法□飛退退退退 乾乾乾乾刀早孝嶽；四音 父凡□吠退退退退 一音 乾乾乾乾毛寶報霍。

Two new tables are presented together. On the left side, it reads 「Going down in tone, closing sound, Lü Si No. 1」. The singing tone is the first tone's 「retreat」—taken from the third section of the fourth line of the first tone 「returning each retreat ○」, which corresponds to the position of the dragon (Chen), the falling tone, and the closed mouth (Xī). This is similar to the previous text's use of 「love」, which belongs to the first tone and falling tone, but differs in the openness of the mouth. 「Retreat retreat retreat retreat」 is sung starting from the first tone: the first tone 「Ancient Jia Ji Gui, □□ near揆,坤 skill mountain discard, □□ Heaven蚪」, the second tone 「Black flower fragrance blood, yellow flower strong virtuous, five wa upward □, I tooth moon Yao」, the third tone 「An Ya Yi one, □ yao Ren Yin, mother horse beautiful rice, eye face eyebrow people」, and the fourth tone's 「husband law □ fly, father general □ bark」. On the right side, it reads 「Ending tone, heavy and harmonious, Lü Si No. 1」. The harmonious tone is the first tone's 「dry」—taken from the third section of the fourth line of the first tone 「□□ Heaven蚪」, which corresponds to the stone row, ending tone, and heavy sound; 「dry」 and 「Heaven」 are two different writings of the same character. 「Dry dry dry dry」 is combined with the first tone 「many can individual tongue, millet fire change eight, open宰 love ○, return each retreat ○」, the second tone 「good two towards ○, light broad condition ○, Ding well constant ○, elder long bright ○」, the third tone 「thousand classic dawn ○, yuan dog half ○, minister lead Gen ○, king allow Xun ○」, and then the fourth tone's 「knife early filial mountain, hair treasure report Huo」.

一聲 武晚□尾退退退退 四聲 乾乾乾乾牛斗奏六；文萬□未退退退退 乾乾乾乾○○○玉；卜百丙必退退退退 乾乾乾乾妻子四日；五音 步白備鼻退退退退 一音 乾乾乾乾衰○帥骨；一聲 普撲品匹退退退退 五聲 乾乾乾乾○○○德；旁排平瓶退退退退 乾乾乾乾龜水貴北；東丹帝■退退退退 乾乾乾乾宮孔眾○；六音 兌大弟■退退退退 一音 乾乾乾乾龍甬用○；一聲 土貪天■退退退退 六聲 乾乾乾乾魚鼠去○；同覃田■退退退退 乾乾乾乾烏虎兔○；乃你女■退退退退 乾乾乾乾心審禁○；七音 內南年■退退退退 一音 乾乾乾乾○○○十；一聲 老冷呂■退退退退 七聲 乾乾乾乾男坎欠○。

The left table continues the first tone "退" with the fourth tone "wu wan □ wei, wen wan □ wei", then pairs 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 ■". In the fourth tone, there are three lines with "□", indicating that the first sound position has a sound but no character. In the last position of the sixth and seventh tones, the "■" indicates a closed mouth sound with no sound. The right table starts with the first tone "gan" 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 the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○". In the fifth tone, the third line "○○○ de" has only the entering tone position with the character "de", while the other three positions have sound but no character, which corresponds with the left table's first tone fourth line. Whether a character can be cited in the same position depends entirely on the existing character dictionaries at the time.

鹿犖離■退退退退 乾乾乾乾○○○妾；走哉足■退退退退 乾乾乾乾●●●●；八音 自在匠■退退退退 一音 乾乾乾乾●●●●；一聲 草采七■退退退退 八聲 乾乾乾乾●●●●；曹才全■退退退退 乾乾乾乾●●●●；思三星■退退退退 乾乾乾乾●●●●；九音 寺□象■退退退退 一音 乾乾乾乾●●●●；一聲 □□□■退退退退 九聲 乾乾乾乾●●●●；□□□■退退退退 乾乾乾乾●●●●；■山手■退退退退 乾乾乾乾●●●●；十音 ■士石■退退退退 一音 乾乾乾乾●●●●；一聲 ■□耳■退退退退 十聲 乾乾乾乾●●●●；■□二■退退退退 乾乾乾乾●●●●。

The left table continues with the seventh tone's last 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 ■" continuing to correspond with "Tui". After the ninth tone, the two lines have the three characters "Kai", "Fa", and "Shou" each followed by three "■", while the tenth tone's first column is "■", representing either a sound without a character or a position without a sound; these should not be confused when reading the diagram. On the right table, the first tone's "Gan" and the seventh tone's last line "○○○ Qie" are followed by twelve lines of "●●●●" in the eighth, ninth, and tenth tones. Among the ten tones, only seven types actually have sounds, so each chart ends with a series of black marks. In contrast, the singing table always concludes with the eleventh and twelfth tones, which have no sounds in the open position, so the beginning of each line is marked with "■". One table ends with sound, the other with tone, each having its own fixed pattern at the end; when consulting the charts, one can determine when reaching the end of a particular chart based on these patterns.

■莊震■退退退退 月月月月多可個舌；十一音 ■乍□■退退退退 二音 月月月月禾火化八；一聲 ■叉赤■退退退退 一聲 月月月月開宰愛○；■崇辰■退退退退 月月月月回每退○；■卓中■退退退退 月月月月良兩向○；十二音 ■宅直■退退退退 二音 月月月月光廣況○；一聲 ■拆丑■退退退退 二聲 月月月月丁井亙○；■茶呈■退退退退 月月月月兄永瑩○。

The left table uses the eleventh tone 「Zhuang Zhen, Zha Zuo, Cha Chi, Chong Chen」 and the twelfth tone 「Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng」 to sing the first tone. After completing the first tone, 「Qu Sheng Xi Chang Lv Si Yi」 is sung to finish the section. The right table starts with 「Shou Yin Zhu He Lv Si Er」, changing the harmonized tone to the second tone 「Yue」—taken from the fourth line of the second tone 「Wu Ya Yue Yao」, specifically the third section, involving the stone row, the ending tone, and the浊 sound. 「Yue Yue Yue Yue」 first harmonizes with the first tone 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O」, then with the second tone 「Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O」. The first tone's first two lines have four characters complete, making it the most complete section in the entire diagram. After that, the last character of each line is mostly marked as 「○」, indicating that although the入声 tone has a sound, there are no commonly used characters available to fill in the blanks.

古甲九癸瑩瑩瑩瑩 月月月月千典旦○；一音 □□近揆瑩瑩瑩瑩 二音 月月月月元犬半○；二聲 坤巧丘棄瑩瑩瑩瑩 三聲 月月月月臣引艮○；□□乾蚪瑩瑩瑩瑩 月月月月君允巽○；黑花香血瑩瑩瑩瑩 月月月月刀早孝嶽；二音 黃華雄賢瑩瑩瑩瑩 二音 月月月月毛寶報霍；二聲 五瓦仰□瑩瑩瑩瑩 四聲 月月月月牛斗奏六；吾牙月堯瑩瑩瑩瑩 月月月月○○○玉；安亞乙一瑩瑩瑩瑩 月月月月妻子四日；三音 □爻壬寅瑩瑩瑩瑩 二音 月月月月衰○帥骨；二聲 母馬美米瑩瑩瑩瑩 五聲 月月月月○○○德；目貌眉民瑩瑩瑩瑩 月月月月龜水貴北；夫法□飛瑩瑩瑩瑩 月月月月宮孔眾○；四音 父凡□吠瑩瑩瑩瑩 二音 月月月月龍甬用○；二聲 武晚□尾瑩瑩瑩瑩 六聲 月月月月魚鼠去○；文萬□未瑩瑩瑩瑩 月月月月烏虎兔○。

The left table establishes another section titled "Going Up in the Fourth Row of the Second Tone 'Ying'". The singing tone is changed to the second tone "Ying", taken from the third column of the second row "Xiong Yong Ying", which corresponds to the position of Chen, the falling tone, and the closed mouth sound. "Ying Ying Ying Ying" is sung from the beginning: the first tone "Gu Jia Ji Gui, ?? Near Kui, Kun Qiao Qiu Qi, ?? Qian Tu", the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ??, Wu Ya Yue Yao", the third tone "An Ya Yi Yi, ?? Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone "Fu Fa ?? Fei, Fu Fan ?? Fei, Wu Wan ?? Wei, Wen Wan ?? Wei". The right table continues with the "Yue" from the second tone, 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", the sixth tone "Gong Kong Zhong ??, Long Yong Yong ??, Yu Shu Qu ??, Wu Hu Tu ??". The "Ying" sung in the left table appears exactly in the second tone row of the right table's harmonized section. The singing and harmonizing tones take words from the same source but belong to different tables. This is not a coincidence: the tones in the singing table and the tones harmonized in the harmonizing table are from the same set of ten tones, and the tones matched in the singing table and the harmonizing table also come from the same set of twelve tones. The difference is only in the direction of selection, which is vertical for the singing table and horizontal for the harmonizing table, so they often meet within the same section.

卜百丙必瑩瑩瑩瑩 月月月月心審禁○；五音 步白備鼻瑩瑩瑩瑩 二音 月月月月○○○十；二聲 普撲品匹瑩瑩瑩瑩 七聲 月月月月男坎欠□；旁排平瓶瑩瑩瑩瑩 月月月月□□□妾；東丹帝■瑩瑩瑩瑩 月月月月●●●●；六音 兌大弟■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 土貪天■瑩瑩瑩瑩 八聲 月月月月●●●●；同覃田■瑩瑩瑩瑩 月月月月●●●●；乃你女■瑩瑩瑩瑩 月月月月●●●●；七音 內南年■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 老冷呂■瑩瑩瑩瑩 九聲 月月月月●●●●；鹿犖離■瑩瑩瑩瑩 月月月月●●●●；走哉足■瑩瑩瑩瑩 月月月月●●●●；八音 自在匠■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 草采七■瑩瑩瑩瑩 十聲 月月月月●●●●；曹才全■瑩瑩瑩瑩 月月月月●●●●。

The left table continues with the second tone's "ying" being sung in response, paired with the fifth tone "bu ba bi bing, bu bai bei bi, pu pu pin pi, pang pai ping ping," and the sixth tone "dong dan di zhi, dui da di zhi, tu tan tian zhi, tong tan tian zhi," and the seventh tone "nai ni nv zhi, nei nan nian zhi, lao leng lv zhi, lu luo li zhi," and the eighth tone "zou zai zu zhi, zi zai jiang zhi, cao cai qi zhi, cao cai quan zhi." The right table uses the second tone's "yue" and the seventh tone "xin shen jin zhi, zhi zhi zhi shi, nan kan qian zhi, zhi zhi zhi qie," and below this, the eighth, ninth, and thirteenth tones are all marked as "●●●●." It is important to note that after the seventh tone, the two lines should, according to other examples, be "nan kan qian zhi" and "zhi zhi zhi qie," but here they are mistakenly carved as "□"—"□" is the symbol used in the phonetic table for blank spaces, and its use in the tone rows is inconsistent with the general practice of the book, likely due to an error in the printing process. The current edition still retains the original form. This book has been repeatedly reprinted, and instances of mixed symbols and confused characters are not uncommon. When reading, one should only compare the writing style within the same row to determine the correct form, without altering the text based on incorrect editions, nor should such printing errors be regarded as having special meaning on the part of Shao Yong.

思三星■瑩瑩瑩瑩 眉眉眉眉多可個舌；九音 寺□象■瑩瑩瑩瑩 三音 眉眉眉眉禾火化八；二聲 □□□■瑩瑩瑩瑩 一聲 眉眉眉眉開宰愛○；□□□■瑩瑩瑩瑩 眉眉眉眉回每退○；■山手■瑩瑩瑩瑩 眉眉眉眉良兩向○；十音 ■士石■瑩瑩瑩瑩 三音 眉眉眉眉光廣況○；二聲 ■□耳■瑩瑩瑩瑩 二聲 眉眉眉眉丁井亙○；■□二■瑩瑩瑩瑩 眉眉眉眉兄永瑩○；■莊震■瑩瑩瑩瑩 眉眉眉眉千典旦○；十一音 ■乍□■瑩瑩瑩瑩 三音 眉眉眉眉元犬半○；二聲 ■叉赤■瑩瑩瑩瑩 三聲 眉眉眉眉臣引艮○；■崇辰■瑩瑩瑩瑩 眉眉眉眉君允巽○；■卓中■瑩瑩瑩瑩 眉眉眉眉刀早孝嶽；十二音 ■宅直■瑩瑩瑩瑩 三音 眉眉眉眉毛寶報霍；二聲 ■拆丑■瑩瑩瑩瑩 四聲 眉眉眉眉牛斗奏六；■茶呈■瑩瑩瑩瑩 眉眉眉眉○○○玉。

The left table uses the ninth tone "Si San Xing, Si Xiang Xiang, Xiang Xiang Xiang, Xiang Xiang Xiang" and the tenth tone "Shan Shou, Shi Shi Shi, Shi Er, Shi Er" and the eleventh tone "Zhuang Zhen, Zha Xie, Cha Chi, Chong Chen" and the twelfth tone "Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng" and then sings the second tone. The right table starts with "Shou Yin Zhu He Lu Si Zhi San" and the harmonized tone is the third tone "Mei" — taken from the third column of the fourth line of the third tone "Mu Mao Mei Min" — stone row, shou sound, heavy tone. "Mei Mei Mei Mei" starts from the first tone and harmonizes: 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" fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, Yu Yu Yu Yu". Among the sixteen characters in the four lines of the third tone, the characters are most complete, compared with the ninth tone and below, which often have entire lines missing, this shows the uneven distribution of the twelve tones; this unevenness itself is the fact that Shao Yong wanted to record. The diagram does not arbitrarily add a single character in order to make it neat.

古甲九癸巽巽巽巽 眉眉眉眉妻子四日；一音 □□近揆巽巽巽巽 三音 眉眉眉眉衰○帥骨；三聲 坤巧丘棄巽巽巽巽 五聲 眉眉眉眉○○○德；□□乾蚪巽巽巽巽 眉眉眉眉龜水貴北；黑花香血巽巽巽巽 眉眉眉眉宮孔眾○；二音 黃華雄賢巽巽巽巽 三音 眉眉眉眉龍甬用○；三聲 五瓦仰□巽巽巽巽 六聲 眉眉眉眉魚鼠去○；吾牙月堯巽巽巽巽 眉眉眉眉烏虎兔○；安亞乙一巽巽巽巽 眉眉眉眉心審禁○；三音 □爻壬寅巽巽巽巽 三音 眉眉眉眉○○○十；三聲 母馬美米巽巽巽巽 七聲 眉眉眉眉男坎欠○；目貌眉民巽巽巽巽 眉眉眉眉○○○妾。

The left table establishes another section titled "Going Down in the Fourth Row of the Fourth Tone, Singing the Third Tone 'Xun'." The singing tone is changed to the third tone "Xun," taken from the third column of the third row "Jun Yun Xun ○," which corresponds to the position of Chen, the third tone, and the closing mouth sound. "Xun Xun Xun Xun" is sung in harmony with the first tone "Gu Jia Ji Gui, □□ Near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right table continues with the third tone's "Mei" and 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 the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." The last line of the left table, "Mu Mao Mei Min," is exactly the same as the right table's harmonizing "Mei," indicating that the two tables meet here. This shows that the singer and the harmonizer originate from the same overall sound chart.

夫法□飛巽巽巽巽 眉眉眉眉●●●●；四音 父凡□吠巽巽巽巽 三音 眉眉眉眉●●●●；三聲 武晚□尾巽巽巽巽 八聲 眉眉眉眉●●●●；文萬□未巽巽巽巽 眉眉眉眉●●●●；卜百丙必巽巽巽巽 眉眉眉眉●●●●；五音 步白備鼻巽巽巽巽 三音 眉眉眉眉●●●●；三聲 普撲品匹巽巽巽巽 九聲 眉眉眉眉●●●●；旁排平瓶巽巽巽巽 眉眉眉眉●●●●；東丹帝■巽巽巽巽 眉眉眉眉●●●●；六音 兌大弟■巽巽巽巽 三音 眉眉眉眉●●●●；三聲 土貪天■巽巽巽巽 十聲 眉眉眉眉●●●●；同覃田■巽巽巽巽 眉眉眉眉●●●●。

The left table continues with the third tone's "Xun" (Wind), paired with the fourth tone "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," and 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 ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." In the middle column of the four lines of the fourth tone, all are "□," indicating a phonetic position with sound but no character. The final character "■" in the last column of the sixth tone represents a closed mouth sound with no phoneme. The twelve lines on the right table are the third tone "Mei" harmonized with the eighth, ninth, and tenth tones, all marked as "●●●●." Whenever a harmony table is pushed to the eighth tone and beyond, it must be entirely black because among the ten tones, only the first seven actually have sounds, while the last three are added to complete the ten positions. The sound must be full of ten tones, and the phoneme must be full of twelve, forming the structure of the entire diagram. Sounds belong to heaven and use the ten heavenly stems, while phonemes belong to earth and use the twelve earthly branches. The presence or absence of characters and sounds are all arranged within this framework.

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

The left table uses the third tone "Xun" paired with the seventh tone "Nai Ni Nü, Nei Nan Nian, Lao Leng Lü, 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 Fang Xiang, Fang Fang Fang, Fang Fang Fang." The right table starts with "Shou Yin Zhu He Lu Si Zi Si," and according to the sequence, it should take the fourth tone, fourth line "Wen Wan Fang Wei" in the third column as the harmonizing tone. However, that column is marked "□," meaning there is no character to be used, so the entire table's harmonizing tone is written as "□□□□," still four characters in a row to match the four levels of tone. It first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O," then with the second tone "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O," and third tone "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O." The last line of the left table, "Jun Yun Xun O," is exactly the singing tone "Xun," and the singer and the tone being harmonized meet within the same section.

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

The left table uses the third tone with the sounds "shan shou", "shi shi", "er er", and "er er", and the third tone "zhang zhen", "zha xia", "cha cha", "chong chen", and the third tone "zhuo zhong", "zhai zhi", "che chou", "cha cheng", singing out all the third tone entries. These three categories of initial consonants all start with the same character, indicating that they have no sound in the opening position, and the characters that can be used are concentrated in the middle and closing positions. The right table continues with the fourth tone group of sound without characters, and the fourth tone "dao zao xiao yue, mao bao bao huo, niu dou zhou liu, ??? yu", the fifth tone "zi qi si ri, shuai ??? shuai gu, ??? ??? de, gui shui gui bei", the sixth tone "gong kong zhong ???, long yong yong ???, yu shu qu ???, wu hu tu ???". The sound is "□", but the sounds combined with it have characters, indicating that Shao Yong's table is based on matching sound positions and tone positions, not on whether there are characters or not.

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

The left table establishes another entry titled "Going Up in the Fourth Tone of the Fourth Row of the Four Categories." The singing tone for this table should take the fourth tone and fourth row "○○○Jade," specifically the third section, which is "○," meaning there is a tone position but no character, so the entire passage is written as "○○○○." It is sung in sequence with the first tone "Ancient Jia Ninth Gui, □□ Near Kuí, Kūn Qiao Qiū Qi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Five Wa Yàng □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." Among these, the singing tone for the line "Wu Ya Yue Yao" is originally carved as "□□□□," which does not match the full table's "○○○○." The sound table should not use "□," so it is likely a mistake by the carver who placed the tone table's mark. The right table combines the fourth tone's table with no characters: first it harmonizes with the seventh tone "Heart Shen Jin ○, ○○○ Ten, Male Kan Qian ○, ○○○妾," and below it, the eighth, ninth, and thirteenth tones are all "●●●●." In this text, whenever the singing tone takes "○," such as in the fourth and seventh tones, the entire passage is filled with circles; whenever it takes "●," such as in the eighth, ninth, and tenth tones, the entire passage is filled with black dots. Although the table is empty, the positions are still valid, which is the fixed format of this diagram.

卜百丙必○○○○ 平平平平多可個舌；五音 步白備鼻○○○○ 五音 平平平平禾火化八；四聲 普撲品匹○○○○ 一聲 平平平平開宰愛○；旁排平瓶○○○○ 平平平平回每退○；東丹帝■○○○○ 平平平平良兩向○；六音 兌大弟■○○○○ 五音 平平平平光廣況○；四聲 土貪天■○○○○ 二聲 平平平平丁井亙○；同覃田■○○○○ 平平平平兄永瑩○；乃你女■○○○○ 平平平平千典旦○；七音 內南年■○○○○ 五音 平平平平元犬半○；四聲 老冷呂■○○○○ 三聲 平平平平臣引艮○；鹿犖離■○○○○ 平平平平君允巽○；走哉足■○○○○ 平平平平刀早孝嶽；八音 自在匠■○○○○ 五音 平平平平毛寶報霍；四聲 草采七■○○○○ 四聲 平平平平牛斗奏六；曹才全■○○○○ 平平平平○○○玉。

The left table continues to use the group of four empty circles 「○○○○」 with the fourth tone as the chant, paired with the fifth tone 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone 「Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The right table starts with 「Shou Yin Zhu He Lu Si Wu Wu」, and the harmonizing tone is the 「Ping」 from the fifth tone's fourth line 「Pang Pai Ping Ping」, third character, which includes stone tone, ending tone, and浊 sound; this line has all four characters complete, which is rare among the twelve tones. 「Ping Ping Ping Ping」 begins with the first tone and goes through the first tone 「Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, the second tone 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, the third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, and the fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」. The fifth tone has all four characters complete, which is the most complete category among the twelve tones, so this harmonizing table has actual characters to match from beginning to end.

思三星■○○○○ 平平平平妻子四日；九音 寺□象■○○○○ 五音 平平平平衰○帥骨；四聲 □□□■○○○○ 五聲 平平平平○○○德；□□□■○○○○ 平平平平龜水貴北；■山手■○○○○ 平平平平宮孔眾○；十音 ■士石■○○○○ 五音 平平平平龍甬用○；四聲 ■□耳■○○○○ 六聲 平平平平魚鼠去○；■□二■○○○○ 平平平平烏虎兔○；■莊震■○○○○ 平平平平心審禁○；十一音 ■乍□■○○○○ 五音 平平平平○○○十；四聲 ■叉赤■○○○○ 七聲 平平平平男坎欠○；■崇辰■○○○○ 平平平平○○○妾；■卓中■○○○○ 平平平平●●●●；十二音 ■宅直■○○○○ 五音 平平平平●●●●；四聲 ■拆丑■○○○○ 八聲 平平平平●●●●；■茶呈■○○○○ 平平平平●●●●。

The left table uses the ninth tone with "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone with "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone with "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone with "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and finishes with the fourth tone. The right table uses the fifth tone's "Ping" and the fifth tone "Zi Qi Si Ri, Shuai ■ Shuai Gu, ■ ■ ■ De, Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ■, Long Yong Yong ■, Yu Shu Qu ■, Wu Hu Tu ■", the seventh tone "Xin Shen Jin ■, ■ ■ ■ Shi, Nan Kan Qian ■, ■ ■ ■ Qie", and then turns into four lines "●●●●" for the eighth tone. In this piece, the left side's chanting is entirely made up of "○", while the right side's accompanying sounds gradually transition from having characters to being silent. The nature of the blank spaces on both sides differs: one is missing characters, and the other is lost sound. Missing characters may be recoverable in the future, but lost sounds can never be restored. Shao Yong established two different symbols to distinguish between "recoverable" and "irrecoverable" information, so that those reading the diagram would not mistake the absence of characters for silence, nor the silence for an accidental omission of characters.

古甲九癸貴貴貴貴 平平平平●●●●；一音 □□近揆貴貴貴貴 五音 平平平平●●●●；五聲 坤巧丘棄貴貴貴貴 九聲 平平平平●●●●；□□乾蚪貴貴貴貴 平平平平●●●●；黑花香血貴貴貴貴 平平平平●●●●；二音 黃華雄賢貴貴貴貴 五音 平平平平●●●●；五聲 五瓦仰□貴貴貴貴 十聲 平平平平●●●●；吾牙月堯貴貴貴貴 平平平平●●●●。

The left table establishes another entry titled "Going Up in the Fifth Tone, 'Gui' from the Fifth Tone's Fourth Row." The singing tone is "Gui," which is the fifth tone, taken from the third section of the fourth row "Gui Water North" in the fifth tone. This row has all four characters, while the third row of the same tone "○○○De" only has one character in the entering tone, forming a contrast. This shows the difference in the number of open and closed syllables. "Gui Gui Gui Gui" first sings with the first tone "Gu Jia Ji Gui, □□ Near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu," and the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The right table ends with the fifth tone's harmonizing sound, and the eight rows corresponding to the ninth and tenth tones are all "●●●●." Since there are no tone positions, it is naturally impossible to harmonize with the tones.

安亞乙一貴貴貴貴 田田田田多可個舌；三音 □爻壬寅貴貴貴貴 六音 田田田田禾火化八；五聲 母馬美米貴貴貴貴 一聲 田田田田開宰愛○；目貌眉民貴貴貴貴 田田田田回每退○；夫法□飛貴貴貴貴 田田田田良兩向○；四音 父凡□吠貴貴貴貴 六音 田田田田光廣況○；五聲 武晚□尾貴貴貴貴 二聲 田田田田丁井亙○；文萬□未貴貴貴貴 田田田田兄永瑩○；卜百丙必貴貴貴貴 田田田田千典旦○；五音 步白備鼻貴貴貴貴 六音 田田田田元犬半○；五聲 普撲品匹貴貴貴貴 三聲 田田田田臣引艮○；旁排平瓶貴貴貴貴 田田田田君允巽○；東丹帝■貴貴貴貴 田田田田刀早孝嶽；六音 兌大弟■貴貴貴貴 六音 田田田田毛寶報霍。

The left table continues with the fifth tone's "guì," paired with the third tone "ān yà yǐ yī, □ yáo rén yín, mǔ mǎ měi mǐ, mù mào méi mín," the fourth tone "fū fǎ □ fēi, fù fán □ fèi, wǔ wǎn □ wěi, wén wàn □ wèi," the fifth tone "bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng," and the first two lines of the sixth tone "dōng dān dì ■, duì dà dì ■." The right table starts with "shōu yīn zhuó hé lǜ sì zhī liù," and the harmonic tone is "tián" from the fourth line of the six tones "tóng tán tián ■," third section, stone row, shōu yīn, zhuó shēng; the last section's "■" indicates that the sixth tone has no sound in the closed mouth position, so only three characters can be cited. "Tián tián tián tián" is paired with the first tone "duō kě gè shé, hé huǒ huà bā, kāi zǎi ài ○, huí měi tuì ○," the second tone "liáng liǎng xiàng ○, guāng guǎng kuàng ○, dīng jǐng gèng ○, xiōng yǒng yíng ○," the third tone "qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǐn gèn ○, jūn yǔn xùn ○," followed by the fourth tone "dāo zǎo xiào yuè, máo bǎo bào huò." The last two lines of the fourth tone must wait until the next section to be fully paired; in the diagram, each four lines form a group, and the interruption here falls within a group.

五聲 土貪天■貴貴貴貴 四聲 田田田田牛斗奏六；同覃田■貴貴貴貴 田田田田○○○玉；乃你女■貴貴貴貴 田田田田妻子四日；七音 內南年■貴貴貴貴 六音 田田田田衰○帥骨；五聲 老冷呂■貴貴貴貴 五聲 田田田田○○○德；鹿犖離■貴貴貴貴 田田田田龜水貴北；走哉足■貴貴貴貴 田田田田宮孔眾○；八音 自在匠■貴貴貴貴 六音 田田田田龍甬用○；五聲 草采七■貴貴貴貴 六聲 田田田田魚鼠去○；曹才全■貴貴貴貴 田田田田烏虎兔○；思三星■貴貴貴貴 田田田田心審禁○；九音 寺□象■貴貴貴貴 六音 田田田田○○○十；五聲 □□□■貴貴貴貴 七聲 田田田田男坎欠○。

The left table continues with the sixth tone "tu tan tian ", "tong tan tian ", then pairs with the seventh tone "zou zai zu ", "zi zai jiang ", "cao cao qi ", "cao cai quan ", and the ninth tone "si san xing ", "si xiang xiang ", "xiong xiong xiong ". The right table uses the sixth tone "tian " and the fourth tone "niu dou zou liu ", "xiao xiao xiao yu ", the fifth tone "zi qi si ri ", "shuai xiao shuai gu ", "xiao xiao xiao de ", "gui shui gui bei ", the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu ", the seventh tone "xin shen jin ", "xiao xiao xiao shi ", "nan kan qian ". The "gui " in the left table corresponds to the fifth tone "gui shui gui bei " in the right table; and the "tong tan tian " in the right table is also a initial sound in the left table. The singing table and the harmonizing table connect with each other, using the same set of characters. Such mutual references appear frequently in the diagram: any character in the harmonizing table must be one of the initial sounds in a line of the singing table; and any character in the singing table must be one of the final sounds in a line of the harmonizing table. Both tables are based on the same overall sound diagram, but they are divided into singing and harmonizing paths due to different directions of use.

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

The left table ends the ninth tone with three "□" in the last row, which represent the three positions of opening, developing, and closing, each having sound but no characters. The first column of the tenth tone, marked with "■", is the opening position with no sound, and these two should not be confused. The right table uses the character "田" in the sixth tone and "○○○妾" at the end of the seventh tone. The eighth, ninth, and thirteenth tones each have twelve rows marked with "●●●●". The phrase "收音浊和律四之六" concludes here. Each harmony chart has forty rows, with the first twenty-eight rows corresponding to the first seven tones, which still have characters. The remaining twelve rows correspond to the last three tones and are entirely blank. Therefore, the lower third of each harmony chart appears as a solid black block, which is due to the diagram's design, not because the original text is blurred.

古甲九癸兔兔兔兔 離離離離多可個舌；一音 □□近揆兔兔兔兔 七音 離離離離禾火化八；六聲 坤巧丘棄兔兔兔兔 一聲 離離離離開宰愛○；□□乾蚪兔兔兔兔 離離離離回每退○；黑花香血兔兔兔兔 離離離離良兩向○；二音 黃華雄賢兔兔兔兔 七音 離離離離光廣況○；六聲 五瓦仰□兔兔兔兔 二聲 離離離離丁井亙○；吾牙月堯兔兔兔兔 離離離離兄永瑩○；安亞乙一兔兔兔兔 離離離離千典旦○；三音 □爻壬寅兔兔兔兔 七音 離離離離元犬半○；六聲 母馬美米兔兔兔兔 三聲 離離離離臣引艮○；目貌眉民兔兔兔兔 離離離離君允巽○；夫法□飛兔兔兔兔 離離離離刀早孝嶽；四音 父凡□吠兔兔兔兔 七音 離離離離毛寶報霍。

Two new tables begin simultaneously. On the left, it reads 「Going down in tone, harmonizing with the fourth line of the sixth tone, 'Lu Si'」, with the singing tone being the sixth tone's 'Tu' — taken from the third column of the fourth line of the sixth tone's 'Wu Hu Tu ○', which is the Chen position, going down in tone, and a closed mouth sound; this line only has the entering tone marked as '○', while the other three positions have characters. 'Tu Tu Tu Tu' sings with 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'. On the right, it reads 「Ending in tone, harmonizing with the fourth line of the seventh tone, 'Li'」, with the harmonizing tone being the seventh tone's 'Li' — taken from the third column of the fourth line of the seventh tone's 'Lu Luo Li ■', which is the Shi position, ending in tone, and a heavy sound. 'Li Li Li Li' harmonizes with the first tone 'Du Ke Ge She, He Hu 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 then connects with the fourth tone's 'Dao Zao Xiao Yue, Mao Bao Bao Huo'.

六聲 武晚□尾兔兔兔兔 四聲 離離離離牛斗奏六；文萬□未免兔兔兔 離離離離○○○玉；卜百丙必兔兔兔兔 離離離離妻子四日；五音 步白備鼻兔兔兔兔 七音 離離離離衰○帥骨；六聲 普撲品匹兔兔兔兔 五聲 離離離離○○○德；旁排平瓶兔兔兔兔 離離離離龜水貴北；東丹帝■兔兔兔兔 離離離離宮孔眾○；六音 兌大弟■兔兔兔兔 七音 離離離離龍甬用○；六聲 土貪天■兔兔兔兔 六聲 離離離離魚鼠去○；同覃田■兔兔兔兔 離離離離烏虎兔○；乃你女■兔兔兔兔 離離離離心審禁○；七音 內南年■兔兔兔兔 七音 離離離離○○○十；六聲 老冷呂■兔兔兔兔 七聲 離離離離男坎欠○。

The left table connects to the sixth tone's "rabbit" by completing the fourth tone's "Wu Wan □ Wei" and pairing it with the fifth tone's "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone's "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," and the seventh tone's "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■." Among these, the line "Wen Wan □ Wei Mian Tu Tu Tu" has the original first character of the four-character base text carved as "Mian," which does not match the consistent use of "Tu" in the surrounding context. This is likely an error caused by similar characters, and the original form is preserved. The right table includes the seventh tone's "Li" and the fourth tone's "Niu Dou Zou Liu, ○○○ Yu," the fifth tone's "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," the sixth tone's "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," and the seventh tone's "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○." The source of the left table's "Tu" (rabbit) in the singing, "Wu Hu Tu ○," is exactly found within this section of the right table.

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

The left table's seventh tone's last line "Lu Luo Li ■" — this line is exactly the source of the right table's tone "Li" — continues to harmonize with "Tuzi" (rabbit). Below it are 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 right table starts with the seventh tone's "Li" and the last line of the seventh tone "○○○ Qie". Then the eighth, ninth, and tenth tones each have twelve lines of "●●●●". Looking at the same line from both sides: on the left, the initial consonant has characters and the sung sound has characters, while on the right, the harmonized tone has characters but the corresponding sound is entirely empty. In one diagram, both situations are presented side by side, clearly showing Shao Yong's method of arranging by position rather than by character. If only the cells with characters are counted, the number of sounds would be uncertain; only by using position as the standard can the number of sounds used by Heaven be 112 and the number of tones used by Earth be 152, making the multiplicative numbers at the end of the text meaningful.

■莊震■兔兔兔兔 全全全全多可個舌；十一音 ■乍□■兔兔兔兔 八音 全全全全禾火化八；六聲 ■叉赤■兔兔兔兔 一聲 全全全全開宰愛○；■祟辰■兔兔兔兔 全全全全回每退○；■卓中■兔兔兔兔 全全全全良兩向○；十二音 ■宅直■兔兔兔兔 八音 全全全全光廣況○；六聲 ■拆丑■兔兔兔兔 二聲 全全全全丁井亙○；■茶呈■兔兔兔兔 全全全全兄永瑩○。

The left table concludes the eleventh tone with "Zhuang Zhen, Zha Zuo, Cha Chi, Sou Chen" and the twelfth tone with "Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng," then finishes with the sixth tone "Qu Sheng Xi Chang Lv Si Zhi Liu." The fourth line of the eleventh tone elsewhere reads "Chong Chen," but here it is carved as "Sou Chen," where "Sou" is a variant form of "Chong." The original text is preserved as is. The right table begins with "Shou Yin Zhu He Lv Si Zhi Ba," and the harmonized tone is the eighth tone "Quan," taken from the fourth line of the eight tones "Cao Cai Quan" in the third column. "Quan Quan Quan Quan" 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."

古甲九癸○○○○ 全全全全千典旦○；一音 □□近揆○○○○ 八音 全全全全元犬半○；七聲 坤巧丘棄○○○○ 三聲 全全全全臣引艮○；□□乾蚪○○○○ 全全全全君允巽○；黑花香血○○○○ 全全全全刀早孝嶽；二音 黃華雄賢○○○○ 八音 全全全全毛寶報霍；七聲 五瓦仰□○○○○ 四聲 全全全全牛斗奏六；吾牙月堯○○○○ 全全全全○○○玉；安亞乙一○○○○ 全全全全妻子四日；三音 □爻壬寅○○○○ 八音 全全全全衰○帥骨；七聲 母馬美米○○○○ 五聲 全全全全○○○德；目貌眉民○○○○ 全全全全龜水貴北；夫法□飛○○○○ 全全全全宮孔眾○；四音 父凡□吠○○○○ 八音 全全全全龍甬用○；七聲 武晚□尾○○○○ 六聲 全全全全魚鼠去○；文萬□未○○○○ 全全全全烏虎兔○。

The left table establishes another entry titled "Descending Tone Harmonized Singing of the Fourth Row of the Seventh Tone." The singing for this section should take the seventh tone, fourth row "○○○妾," and the third section, which is exactly "○," indicating that the tone position exists but the character cannot be identified, so the entire passage is written as "○○○○." It harmonizes with the first tone "Ancient Jia Ninth Gui, □□ near Kuí, Kūn Qiao Qiudi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtuous, Five Wa Y仰□, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Renyin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table continues the eighth tone "Full," 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 "Spouse Wife Four Days, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." The eighth tone "Zou Zai Zu ■, Zizai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■" has the last character of each row uniformly marked as "■," indicating that these types of initial consonants have no sound in the closed mouth position; the final character "Quan" in the closing tone is the harmonic sound used in this table.

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

The left table still uses the group of four empty characters 「○○○○」 in the seventh tone as the chant, paired with the fifth tone 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone 「Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The right table uses the character 「Quan」 from the eighth tone and the seventh tone 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie」—the chant from the left table is directly taken from the last line 「○○○ Qie」 of the seventh tone, taking the falling tone. Below that, the eighth, ninth, and thirteenth tones are all marked as 「●●●●」. The line 「Cao Cai Quan ■」 at the end of the left table is exactly the same as the line in the right table that corresponds to the harmonizing sound 「Quan」. In this section, the chant table and the harmonizing table exactly complement each other. The character 「Quan」 is merely one character in the fourth line of the eighth tone in the chant table, but in the harmonizing table it becomes the main harmonizing tone of the entire table. The same character changes its function depending on its position, which is the difference between the chant and harmonizing diagram and ordinary rhyme books. Within one diagram, the singer and the harmonizer take turns being the main and the secondary, so when reading, one must first determine which column is the chant and which is the harmonizing to avoid confusion.

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

The left table uses the ninth tone with the lines 「Si San Xing, Si Xiang 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 singing the seventh tone, which is the blank 「○○○○」, the piece ends with 「Qu Sheng Xi Chang Lv Si Zhi Qi」. The right table begins with 「Shou Yin Zhu He Lv Si Zhi Jiu」. According to the sequence, the harmonizing tone for this sheet should be taken from the fourth line of the ninth tone. However, the third and fourth lines of the ninth tone originally read 「□□□■」, with only one tone and no characters, so the harmonizing tone can only be written as 「□□□□」. It starts with the first tone: first tone 「Da Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, second tone 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」. The fourth line of the ninth tone still has characters such as 「Si, San, Xing」 and 「Si, Xiang」 in the first two lines, but the last two lines are entirely blank, showing a clear decrease in the number of characters.

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。

On the left table, another entry is established as 「Going Up Tone with the sound of the fourth row of the eighth tone」. The eighth tone is originally a category with a sound but no position, and all four rows are marked with 「●」, so the sound is written as 「●●●●」. It differs from the tables for the fourth tone and seventh tone, which are marked with 「○○○○」—「○」indicates that the sound exists but the character is missing, while 「●」indicates that the sound is not established. Even so, it still follows the format and is paired with the first tone 「Ancient Jia ninth Gui, □□ near揆, Kun巧 Qu丘 Qi, □□ Qian蚪」, the second tone 「Black flower fragrance blood, Yellow flower strong virtue, Wu Wa仰 □, Wu Ya Yue Yao」, and the third tone 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」. On the right table, it continues with the group of sound-only entries for the ninth tone, harmonizing with the fifth tone 「Child wife four days, Decline ○ general bone, ○○○ virtue, Turtle water precious north」, the sixth tone 「Palace Kong Zhong ○, Dragon Yong Use ○, Fish Mouse Go ○, Wu Hu Tu ○」, and the seventh tone 「Heart Shen Jin ○, ○○○ ten, Male Kan Qian ○, ○○○妾」.

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 pairs the eighth tone with the fourth tone, using empty singing, as in "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," and the fifth tone, as in "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone is "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The twelve lines on the right table are the ninth tone's blank table harmonized with the eighth, ninth, and tenth tones. On one side of the tone positions, it writes "□," and on the other side, it writes "●." The entire table has no actual characters. In such fully filled yet empty sections, the "Huang Ji Jing Shi" does not delete or omit anything. The presence or absence of sound belongs to heaven, the presence or absence of tone belongs to earth, and the presence or absence of characters belongs to people. Each of the three has its own boundary, and the diagram does not omit any single cell to clearly present the boundaries of heaven, earth, and humanity. Therefore, when reading the diagram, areas with many "●" indicate the boundary of heaven, areas with many "■" indicate the boundary of earth, and areas with many "○" and "□" indicate the boundary of people. The interweaving of these three boundaries forms the density and sparsity of the entire diagram.

乃你女■●●●● 二二二二多可個舌；七音 內南年■●●●● 十音 二二二二禾火化八；八聲 老冷呂■●●●● 一聲 二二二二開宰愛○；鹿犖離■●●●● 二二二二回每退○；走哉足■●●●● 二二二二良兩向○；八音 自在匠■●●●● 十音 二二二二光廣況○；八聲 草采七■●●●● 二聲 二二二二丁井亙○；曹才全■●●●● 二二二二兄永瑩○；思三星■●●●● 二二二二千典旦○；九音 寺□象■●●●● 十音 二二二二元犬半○；八聲 □□□■●●●● 三聲 二二二二臣引艮○；□□□■●●●● 二二二二君允巽○。

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 cai qi ■, cao cai quan ■". The ninth tone is "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■". The right table starts with "Shou yin zhu he lu si zhi shi", and the harmonic tone is the tenth tone's "Er" — taken from the fourth line of the ten tones "■□ er ■" in the third column, which includes stone row, shou yin, and zhu sheng. This line starts and ends with "■", and the second column is "□", indicating that the tenth tone can only produce the character "er" in the shou yin position. "Er er er er" corresponds to the first tone "Du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", the second tone "Liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○", and the third tone "Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○".

■山手■●●●● 二二二二刀早孝嶽；十音 ■士石■●●●● 十音 二二二二毛寶報霍；八聲 ■□耳■●●●● 四聲 二二二二牛斗奏六；■□二■●●●● 二二二二○○○玉；■莊震■●●●● 二二二二妻子四日；十一音 ■乍□■●●●● 十音 二二二二衰○帥骨；八聲 ■叉赤■●●●● 五聲 二二二二○○○德；■崇辰■●●●● 二二二二龜水貴北；■卓中■●●●● 二二二二宮孔眾○；十二音 ■宅直■●●●● 十音 二二二二龍甬用○；八聲 ■拆丑■●●●● 六聲 二二二二魚鼠去○；■茶呈■●●●● 二二二二烏虎兔○。

The left table uses the tenth tone "■shan3 shou3 ■, ■shi3 shi4 ■, ■□er4 ■, ■□er4 ■", the eleventh tone "■zhuang1 zhen3 ■, ■zha4 □ ■, ■cha1 chi2 ■, ■chong2 chen2 ■", and the twelfth tone "■zhuo2 zhong1 ■, ■zhai2 zhi2 ■, ■che2 chou4 ■, ■cha1 cheng2 ■". Singing through the eighth tone on this table, "qu4 sheng1 xi1 chang3 lv3 si1 zhi1 ba1" completes the song. The fourth line of the left table "■□er4 ■" exactly corresponds to the "er4" tone in the right table's row. In the singing table, the character serves as a sound initial, while in the harmonizing table, it functions as a harmonic sound. Though their positions differ, the character remains the same. The right table continues with the fourth tone "dao1 zao3 xiao3 yue4, mao2 bao3 bao4 huo2, niu2 dou3 zhou4 liu2, ○○○ yu4", the fifth tone "zi2 qi3 si4 ri4, shuai1 ○ shuai2 gu4, ○○○ de4, gui1 shui3 gui3 bei2", and the sixth tone "gong1 kong3 zhong4 ○, long2 yong3 yong4 ○, yu2 shu3 qu4 ○, wu1 hu3 tu2 ○". The left table is entirely marked with black notes, while the right table has each character clearly placed. Within one line, two different scenes are presented: the sounds sung on the left are not actual sounds, while the sounds harmonized on the right have both sound and character. The singing and harmonizing each have their own fullness and emptiness, and readers can thus understand the overall structure of the diagram from this single section.

古甲九癸●●●● 二二二二心審禁○；一音 □□近揆●●●● 十音 二二二二○○○十；九聲 坤巧丘棄●●●● 七聲 二二二二男坎欠○；□□乾蚪●●●● 二二二二○○○妾；黑花香血●●●● 二二二二●●●●；二音 黃華雄賢●●●● 十音 二二二二●●●●；九聲 五瓦仰□●●●● 八聲 二二二二●●●●；吾牙月堯●●●● 二二二二●●●●；安亞乙一●●●● 二二二二●●●●；三音 □爻壬寅●●●● 十音 二二二二●●●●；九聲 母馬美米●●●● 九聲 二二二二●●●●；目貌眉民●●●● 二二二二●●●●；夫法□飛●●●● 二二二二●●●●；四音 父凡□吠●●●● 十音 二二二二●●●●；九聲 武晚□尾●●●● 十聲 二二二二●●●●；文萬□未●●●● 二二二二●●●●。

The left table establishes another entry titled "Descending Tone Singing of the Fourth Category's Ninth Tone," where the singing tone belongs to the ninth tone. The ninth tone, like the eighth tone, has position but no sound, so it is also written as "●●●●." It follows in sequence with the first tone "Ancient Jia Ninth Gui, □□ Near Kuí,坤 Qiao Qiu Qi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table uses the tenth tone's "Er" and the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie," with the eighth, ninth, and thirteenth tones all written as "●●●●." It concludes with "Closing Tone,浊 and Harmonizing the Fourth Category's Tenth Tone." From this section onward, the number of black-marked cells corresponding row by row on both sides increases, and the diagram gradually approaches its end. This is because the singing table has progressed to the ninth tone and the harmonizing table to the tenth tone, both sides approaching their respective ends: tones end at the seventh category, and sounds end at the twelfth category. As we proceed, the number of characters that can be cited becomes fewer, and the number of blank marks increases, until the final sheet is almost entirely devoid of characters. After this, the tables mostly contain only positions, with very few actual characters.

卜百丙必●●●● 辰辰辰辰多可個舌；五音 步白備鼻●●●● 十一音 辰辰辰辰禾火化八；九聲 普撲品匹●●●● 一聲 辰辰辰辰開宰愛○；旁排平瓶●●●● 辰辰辰辰回每退○；東丹帝■●●●● 辰辰辰辰良兩向○；六音 兌大弟■●●●● 十一音 辰辰辰辰光廣況○；九聲 土貪天■●●●● 二聲 辰辰辰辰丁井亙○；同覃田■●●●● 辰辰辰辰兄永瑩○；乃你女■●●●● 辰辰辰辰千典旦○；七音 內南年■●●●● 十一音 辰辰辰辰元犬半○；九聲 老冷呂■●●●● 三聲 辰辰辰辰臣引艮○；鹿犖離■●●●● 辰辰辰辰君允巽○；走哉足■●●●● 辰辰辰辰刀早孝嶽；八音 自在匠■●●●● 十一音 辰辰辰辰毛寶報霍；九聲 草采七■●●●● 四聲 辰辰辰辰牛斗奏六；曹才全■●●●● 辰辰辰辰○○○玉。

The left table continues with the ninth tone's empty chant paired with the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right table starts with "Closing tone,浊 and harmony, the fourth tone of the eleventh sound," where the harmony is the eleventh tone's "Chen" — taken from the third column of the fourth line of the eleventh tone "■ Chong Chen ■," which refers to stone row, closing tone, and浊 sound; this "Chen" is the representative character in the sound chart, and it is the same character as the "Chen" used earlier as the name for the row position in "Chen day sound," but it is used differently and should not be confused. "Chen Chen Chen Chen" and the first tone "Du Ke Ge She, He Hu 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 ○," the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The eleventh tone has no sound for the opening position, and among the four columns, only a few characters such as "Cha, Chi" and "Chong, Chen" can be cited. Therefore, the "Chen" used in this chart is particularly rare.

思三星■●●●● 辰辰辰辰妻子四日；九音 寺□象■●●●● 十一音 辰辰辰辰衰○帥骨；九聲 □□□■●●●● 五聲 辰辰辰辰○○○德；□□□■●●●● 辰辰辰辰龜水貴北；■山手■●●●● 辰辰辰辰宮孔眾○；十音 ■士石■●●●● 十一音 辰辰辰辰龍甬用○；九聲 ■□耳■●●●● 六聲 辰辰辰辰魚鼠去○；■□二■●●●● 辰辰辰辰烏虎兔○；■莊震■●●●● 辰辰辰辰心審禁○；十一音 ■乍□■●●●● 十一音 辰辰辰辰○○○十；九聲 ■叉赤■●●●● 七聲 辰辰辰辰男坎欠○；■崇辰■●●●● 辰辰辰辰○○○妾；■卓中■●●●● 辰辰辰辰●●●●；十二音 ■宅直■●●●● 十一音 辰辰辰辰●●●●；九聲 ■拆丑■●●●● 八聲 辰辰辰辰●●●●；■茶呈■●●●● 辰辰辰辰●●●●。

The left table uses the ninth tone with the words "Si San Xing, Si Shi Xiang, empty empty empty, empty empty empty," the tenth tone with "empty Shan Shou, empty Shi Shi, empty empty Er, empty empty Er," the eleventh tone with "empty Zhuang Zhen, empty Zha empty, empty Cha Chi, empty Chong Chen," and the twelfth tone with "empty Zhuo Zhong, empty Zhai Zhi, empty Che Chou, empty Cha Cheng." After singing the ninth tone, one sheet is completed. Among these, "Chong Chen" corresponds exactly to the tone "Chen" in the right table. The right table uses the eleventh tone "Chen" and the fifth tone "Zi Qi Si Ri, Shuai empty Shuai Gu, empty empty empty De, Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong empty, Long Yong Yong empty, Yu Shu Qu empty, Wu Hu Tu empty," the seventh tone "Xin Shen Jin empty, empty empty empty Shi, Nan Kan Qian empty, empty empty empty Qie," and the eighth tone is four lines "●●●●." Each sheet of the harmonizing table covers ten tones across forty lines, while each sheet of the singing table covers twelve tones across forty-eight lines. One vertical and one horizontal, this corresponds to the meaning of sound resonating in heaven and tone harmonizing on earth. Therefore, the sound table is titled "Lv" and the tone table is titled "Lu," taking the meaning of corresponding "Lv" and "Lu," not referring to another name for musical scales. Once this is clear, the four characters "Chang Lv" and "He Lu" in the titles of the tables are no longer empty titles.