The falling tone is sung for the tenth of the fourth branch, which is Si.

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

The left table establishes another section titled "Going Down in the Fourth Level of the Four Tones and the Tenth Tone," which is the last sheet of the fourth level in the descending tone. The tenth tone has a position but no sound, and the singing tone is still written as "●●●●." It first sings in harmony with the first tone "Gu Jia Ji Gui, □□ near揆, 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 uses the eleventh tone "Chen" together with the ninth and tenth tones, and all eight lines are written as "●●●●." "Releasing the tone with a dull sound and the fourth level of the eleventh tone" ends here. These eight lines are blank on both sides, allowing readers to count that among the ten tones, seven actually have sound, while the remaining three merely complete the ten positions. This is why the beginning of this passage says "seven tones of stars and constellations," multiplying seven by 152 to get 1064.

安亞乙一●●●● 呈呈呈呈多可個舌；三音 □爻壬寅●●●● 十二音 呈呈呈呈禾火化八；十聲 母馬美米●●●● 一聲 呈呈呈呈開宰愛○；目貌眉民●●●● 呈呈呈呈回每退○；夫法□飛●●●● 呈呈呈呈良兩向○；四音 父凡□吠●●●● 十二音 呈呈呈呈光廣況○；十聲 武晚□尾●●●● 二聲 呈呈呈呈丁井亙○；文萬□未●●●● 呈呈呈呈兄永瑩○；卜百丙必●●●● 呈呈呈呈千典旦○；五音 步白備鼻●●●● 十二音 呈呈呈呈元犬半○；十聲 普撲品匹●●●● 三聲 呈呈呈呈臣引艮○；旁排平瓶●●●● 呈呈呈呈君允巽○；東丹帝■●●●● 呈呈呈呈刀早孝嶽；六音 兌大弟■●●●● 十二音 呈呈呈呈毛寶報霍。

The empty position in the tenth sound of the left table is paired with the third sound 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, the fourth sound 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」, the fifth sound 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, and the first two lines of the sixth sound 「Dong Dan Di ■, Dui Da Di ■」. The right table starts with 「Ending sound with heavy and harmonious tone of the fourth of twelve tones」, which is the last sheet of the heavy and resonant ending sounds, and the tone is the twelfth sound 「Cheng」—taken from the third column of the fourth line 「■ Cha Cheng ■」. 「Cheng Cheng Cheng Cheng」 begins from the first sound: the first sound 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, the second sound 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, the third sound 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, followed by the fourth sound 「Dao Zao Xiao Yue, Mao Bao Bao Huo」. 「Cheng」 is taken from the third position of 「■ Cha Cheng ■」, where the beginning and end of this line are both 「■」, indicating that the twelfth sound can only produce characters in the initial and final positions, making it the most restricted type among the twelve tones, far from the first sound which has almost all positions fully covered.

十聲 土貪天■●●●● 四聲 呈呈呈呈牛斗奏六；同覃田■●●●● 呈呈呈呈○○○玉；乃你女■●●●● 呈呈呈呈妻子四日；七音 內南年■●●●● 十二音 呈呈呈呈衰○帥骨；十聲 老冷呂■●●●● 五聲 呈呈呈呈○○○德；鹿犖離■●●●● 呈呈呈呈龜水貴北；走哉足■●●●● 呈呈呈呈宮孔眾○；八音 自在匠■●●●● 十二音 呈呈呈呈龍甬用○；十聲 草采七■●●●● 六聲 呈呈呈呈魚鼠去○；曹才全■●●●● 呈呈呈呈烏虎兔○；思三星■●●●● 呈呈呈呈心審禁○；九音 寺□象■●●●● 十二音 呈呈呈呈○○○十；十聲 □□□■●●●● 七聲 呈呈呈呈男坎欠○。

The left table uses the tenth tone's empty chant to pair with the sixth tone's "tǔ tān tiān ■, tóng tán tián ■", then pairs with the seventh tone "nǎi nǐ nǚ ■, nèi nán nián ■, lǎo lěng lǚ ■, lù luò lí ■", the eighth tone "zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■", and the ninth tone "sī sān xīng ■, sì ■ xiàng ■, ■ ■ ■ ■". The right table uses the twelfth tone "chéng" and the fourth tone "niú dǒu zòu liù, ○○○ yù", the fifth tone "qī zi 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 ○". Between the lines, the left side marks "shí shēng" (ten tones) unchanged, while the right side moves from "sì shēng" (four tones) to "qī shēng" (seven tones", clearly showing the progression of one chant responding to the other. Once the tones on the chant table are fixed, they remain unchanged throughout the text, as do the tones on the harmony table. What changes is the other side that it is paired with; every four lines form a new group, continuing until all ten tones or twelve tones are covered, at which point the table is complete, and a new table begins.

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

The left table ends with the ninth tone's last line "□□□■", the tenth tone "■ mountain hand ■, ■ person stone ■, ■ □ ear ■, ■ □ two ■", the eleventh tone "■ Zhuang Zhen ■, ■ just □ ■, ■ fork red ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ residence straight ■, ■ split Chou ■, ■ tea present ■". The right table ends with the twelfth tone's "present" and the seventh tone's last line "○○○妾". Below this, the eighth, ninth, and thirteenth tones each have twelve lines of "●●●●". The left side's last line "■ tea present ■" corresponds exactly to the right side's "present" line, completing the diagram with the beginning and end connected. At this point, the ten singing tables for the level of Chen with falling tone and closed mouth, and the twelve harmonizing tables for the Shih row with dull tones, are all matched. The forty-six sound diagrams in the Guanwu section are thus completed. When combining all the sections, the sky's use of sound is one hundred and twelve, and the earth's use of tone is one hundred and fifty-two. Multiplying these two numbers gives seventeen thousand and twenty-four. Shao Yong used this number as the fundamental principle for deriving the movement and growth of all things. Only when the sound diagrams are arranged in this way does one see where they ultimately lead.

辰日聲入闢 石水音閉清　舌○○嶽日 癸血一飛必■　○○●●● ■■■■■■　辰日聲七，下唱地之 石水音五，上和天之　用音一百五十二，是 用聲一百一十二，是　謂入聲闢音。入聲闢 謂閉音清聲。閉音清　音一千六十四。 聲五百六十。

This note is also arranged in two columns side by side, copied horizontally with the lines crossing each other, requiring reading by column. The left column heading is "Chen day sound enters the closed tone," meaning that the selection in this passage is the grid where "Chen" and "day" intersect among ten sounds—"Chen" is a closed tone, "day" is an open tone, together called "closed tone entry." These ten grids are sequentially "she, ○, ○, yue, ri, ○, ○, ●, ●, ●," where the first sound takes "duo ke ge she" as "she," the fourth sound takes "dao zao xiao yue" as "yue," the fifth sound takes "zi qi si ri" as "ri," the second, third, sixth, and seventh sounds have sounds but no characters, written as "○," the eighth to tenth sounds have no actual sounds, written as "●," and there are seven actual sound categories. The left column text read continuously is: "Chen day sound seven, below singing earth's use of sound one hundred fifty-two, this is called closed tone entry sound. Closed tone entry sound one thousand six hundred forty." Seven multiplied by one hundred fifty-two gives one thousand and sixty-four. The right column heading is "stone water sound closed clear," meaning that the sounds in this passage are selected from the twelve sounds where "stone" and "water" intersect—"stone" is a closed sound, "water" is a clear sound. These twelve grids are "gui, xue, yi, fei, bi" and the seven below them as "■," where the first sound takes "gu jia jiu gui" as "gui," the second sound takes "he hua xiang xue" as "xue," the third sound takes "an ya yi yi" as "yi," the fourth sound takes "fu fa □ fei" as "fei," the fifth sound takes "bu bai bing bi" as "bi," and the sixth sound and below are closed sounds with no actual sound, thus all written as "■," and there are only five actual sound categories. The right column text read continuously is: "stone water sound five, above harmonizing heaven's use of sound one hundred twelve, this is called closed sound clear sound. Closed sound clear sound five hundred sixty." Five multiplied by one hundred twelve gives five hundred sixty.

古甲九癸舌舌舌舌 癸癸癸癸多可個舌；一音 □□近揆舌舌舌舌 一音 癸癸癸癸禾火化八；一聲 坤巧丘棄舌舌舌舌 一聲 癸癸癸癸開宰愛○；□□乾蚪舌舌舌舌 癸癸癸癸回每退○；黑花香血舌舌舌舌 癸癸癸癸良兩向○；二音 黃華雄賢舌舌舌舌 一音 癸癸癸癸光廣況○；一聲 五瓦仰□舌舌舌舌 二聲 癸癸癸癸丁井亙○；吾牙月光舌舌舌舌 癸癸癸癸兄永瑩○；安亞乙一舌舌舌舌 癸癸癸癸千典旦○；三音 □爻壬寅舌舌舌舌 一音 癸癸癸癸元犬半○；一聲 母馬美米舌舌舌舌 三聲 癸癸癸癸臣引艮○；目貌眉民舌舌舌舌 癸癸癸癸君允巽○；夫法□飛舌舌舌舌 癸癸癸癸刀早孝嶽；四音 父凡□吠舌舌舌舌 一音 癸癸癸癸毛寶報霍。

The two top sections of the new composition begin together. The left half is titled 「入声辟唱吕一之一」, with the singing tone being the first tone's 「舌」—taken from the fourth section of the first line of the first tone 「多可个舌」, which refers to the daily movement, the entering tone, and the open syllable, hence called 「入声辟」; 「舌舌舌舌」 is written four times in succession, still corresponding to the four categories of initial consonants. It starts from the first tone: the first tone 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone 「黑花香血、黄华雄贤、五瓦仰□、吾牙月光」, the third tone 「安亚乙一、□爻壬寅、母马美米、目貌眉民」, and the fourth tone 「夫法□飞、父凡□吠」. Among these, the line 「吾牙月光」 is usually written as 「吾牙月尧」 elsewhere, but here the character 「光」 is a variant form of 「尧」, and it is still recorded according to the original manuscript. The right half is titled 「闭音清和律一之一」, with the harmonious tone being the character 「癸」 from the first tone's first line 「古甲九癸」, specifically the fourth section, which refers to the water movement, the closed tone, and the clear sound. 「癸癸癸癸」 corresponds to the first tone's 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's 「千典旦○、元犬半○、臣引艮○、君允巽○」, and then the fourth tone's 「刀早孝岳、毛宝报霍」.

一聲 武晚□尾舌舌舌舌 四聲 癸癸癸癸牛斗奏六；文萬□未舌舌舌舌 癸癸癸癸○○○玉；卜百丙必舌舌舌舌 癸癸癸癸妻子四日；五音 步白備鼻舌舌舌舌 一音 癸癸癸癸衰○帥骨；一聲 普撲品匹舌舌舌舌 五聲 癸癸癸癸○○○德；旁排平瓶舌舌舌舌 癸癸癸癸龜水貴北；東丹帝□舌舌舌舌 癸癸癸癸宮孔眾○；六音 兌大弟□舌舌舌舌 一音 癸癸癸癸龍甬用○；一聲 土貪天□舌舌舌舌 六聲 癸癸癸癸魚鼠去○；同覃田□舌舌舌舌 癸癸癸癸烏虎兔○；乃你女■舌舌舌舌 癸癸癸癸心審禁○；七音 內南年■舌舌舌舌 一音 癸癸癸癸○○○十；一聲 老冷呂■舌舌舌舌 七聲 癸癸癸癸男坎欠○。

The left table continues the first tone "she" by completing the fourth tone "wu wan □ wei, wen wan □ wei". It is then 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 ■". At the end of the four lines in the sixth tone, the character is marked with "■", while elsewhere it is marked with "□". These two symbols represent different meanings: one indicates no sound, and the other indicates a sound without a character. Therefore, the "■" should be considered correct. The original character from the source remains. The right table uses the first tone "gui" 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 ○". The left table's singing tone "she" and the right table's first line "duo ke ge she" come from the same grid, indicating that the characters used for singing and responding in this text are all taken from the same comprehensive sound chart.

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

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 ■", all continuing to be sung with "She". The two lines after the ninth tone have three "■" in a row, which represent three positions with sound but no characters: opening, developing, and closing. The first position of the tenth tone's first column "■" represents an opening position with no sound. The right table starts with the first tone "Gui" and the seventh tone's last line "○○○ Qie". Below that, the eighth, ninth, and tenth tones each have twelve lines marked as "●●●●". This passage only has five types of sounds, so the "closed sound clear and harmonious law" only has five tables of harmony, differing from the "entering tone singing law" which has ten singing tables. This corresponds to the beginning statement "stone water sound five" and "chén day sound seven". The closed sound position only has one character in each of the first five tones, while the remaining seven tones have no sound, hence the harmony tables stop at five. For the entering tone, the opening position has seven tones that can still be sung, hence the singing tables remain complete at ten. The difference in number is entirely determined by the presence or absence of sound, not by the scribe's omission.

■莊震■舌舌舌舌 血血血血多可個舌；十一音 ■乍□■舌舌舌舌 二音 血血血血禾火化八；一聲 ■叉赤■舌舌舌舌 一聲 血血血血開宰愛○；■崇辰■舌舌舌舌 血血血血回每退○；■卓中■舌舌舌舌 血血血血良兩向○；十二音 ■宅直■舌舌舌舌 二音 血血血血光廣況○；一聲 ■拆丑■舌舌舌舌 二聲 血血血血丁井亙○；■茶呈■舌舌舌舌 血血血血兄永瑩○。

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 complete the first sound, "Ru Sheng Bi Chang Lv Yi Zhi Yi". These two groups of initial consonants have many instances of "■" at the beginning and end, and the characters that can be cited are all pronounced with the "Fa" and "Shou" sounds, which is a common feature of dental sounds. The right table starts with "Bi Yin Qing He Lv Yi Zhi Er", and the harmonic sound is changed to the second tone "Xue" — taken from the fourth line of the first line of the second tone "Hei Hua Xiang Xue". This is associated with the water element, closed sound, and clear tone. "Xue Xue Xue Xue" 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".

古甲九癸○○○○ 血血血血千典旦○；一音 □□近揆○○○○ 二音 血血血血元犬半○；二聲 坤巧丘棄○○○○ 三聲 血血血血臣引艮○；□□乾蚪○○○○ 血血血血君允巽○；黑花香血○○○○ 血血血血刀早孝嶽；二音 黃華雄賢○○○○ 二音 血血血血毛寶報霍；二聲 五瓦仰□○○○○ 四聲 血血血血牛斗奏六；吾牙月堯○○○○ 血血血血○○○玉；安亞乙一○○○○ 血血血血妻子四日；三音 □爻壬寅○○○○ 二音 血血血血衰○帥骨；二聲 母馬美米○○○○ 五聲 血血血血○○○德；目貌眉民○○○○ 血血血血龜水貴北；夫法□飛○○○○ 血血血血宮孔眾○；四音 父凡□吠○○○○ 二音 血血血血龍甬用○；二聲 武晚□尾○○○○ 六聲 血血血血魚鼠去○。

The left table establishes another section titled "入声辟唱吕一之二". The singing tones for this section should be taken from the second tone and first line "良两向○" of the fourth grid, which is exactly "○". The entering tone has its sound but no character to cite, so the entire passage is written as "○○○○". It begins with the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪", the second tone: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧", the third tone: "安亚乙一、□爻壬寅、母马美米、目貌眉民", and the fourth tone: "夫法□飞、父凡□吠、武晚□尾". The right table continues with the second tone "血" and the third tone "千典旦○、元犬半○、臣引艮○、君允巽○", the fourth tone "刀早孝岳、毛宝报霍、牛斗奏六、○○○玉", the fifth tone "妻子四日、衰○帅骨、○○○德、龟水贵北", and the sixth tone "宫孔众○、龙甬用○、鱼鼠去○". The line "黑花香血" in the fifth row of the left table corresponds exactly to the "血" in the right table's harmonized tones. This grouping of sections ends here, and both tables are not yet fully paired; their continuation follows later.

文萬□未○○○○，血血血血烏虎兔○；卜百丙必○○○○，血血血血心審禁○；五音：步白備鼻○○○○，二音：血血血血○○○十；二聲：普撲品匹○○○○，七聲：血血血血男坎欠○；旁排平瓶○○○○，血血血血○○○妾；東丹帝■○○○○，血血血血●●●●；六音：兌大弟■○○○○，二音：血血血血●●●●；二聲：土貪天■○○○○，八聲：血血血血●●●●；同覃田■○○○○，血血血血●●●●；乃你女■○○○○，血血血血●●●●；七音：內南年■○○○○，二音：血血血血●●●●；二聲：老冷呂■○○○○，九聲：血血血血●●●●。

This passage is the result of two diagrams printed side by side and flattened into rows of text: the first half of each line belongs to the left diagram, and the second half belongs to the right diagram. The left diagram continues from the previous text, "入声辟唱吕一之二," which sings the second type of the "光广况○" in the "正声" (level tone) of the "日行" (day line). This position has a sound but no character to write, so the diagram simply marks it with "○," and repeats it four times in succession, in order to sing the four phonetic characters "开, 发, 收, 闭" in the line on the right. In the left column, this section first completes the last line of the fourth tone, "文万□未," where "未" is a character borrowed from the Earthly Branches to serve as an example of sound, read in its original pronunciation, not as a negative word. Then it proceeds to the next four lines for the fifth tone: "卜百丙必、步白备鼻、普扑品匹、旁排平瓶," followed by four lines for the sixth tone: "东丹帝■、兑大弟■、土贪天■、同覃田■," and then the seventh tone's line: "乃你女■、内南年■、老冷吕■." The "■" at the end of each line for the sixth and seventh tones indicates that there is no phonetic position at all in that square, distinguishing it clearly from "□," which represents a phonetic position that cannot be assigned a character. The right column belongs to "闭音清和律一之二," which harmonizes with the second tone of the "水行" (water line), "黑花香血," specifically the closed tone "血." This is also repeated four times to harmonize with the four levels of the left side's level tone characters: first with the sixth tone "辰行" (dragon line) "乌虎兔○," where "乌, 虎, 兔" represent the level, rising, and falling tones, and the entering tone position is marked with "○" because there is no character. Then it proceeds to the seventh tone's four lines: "心审禁○、○○○十、男坎欠○、○○○妾." Below this, the eighth and ninth tones have all lines marked with "●," indicating that there are no phonetic positions at all. The labels "五音," "六音," "七音" and "二音," "二声," "七声," "八声," "九声" between the lines record the current tone and level positions reached by the left and right columns respectively.

鹿犖離■○○○○，血血血血●●●●；走哉足■○○○○，血血血血●●●●；八音：自在匠■○○○○，二音：血血血血●●●●；二聲：草采七■○○○○，十聲：血血血血●●●●；曹才全■○○○○，血血血血●●●●。

In the left column, "Rusheng Bichang Lü Yi Zhi Er" has completed the seventh tone's last line "Lu Luo Li ■", followed by singing the four lines of the eighth tone: "Zou Zai Zu ■, Zizai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■". This tone belongs to the dental initial series, and the fourth character in each of the four lines cannot be pronounced, so they are all marked as "■". Below each of the four lines, four "○" are added, representing the same entering tone empty position repeated four times, matching with the four characters "Kai, Fa, Shou, Bi" in sequence. In the right column, "Biyin Qing He Lu Yi Zhi Er" uses the fourth repetition of the closed tone character "Xue" to correspond with the last line of the ninth tone and all four lines of the tenth tone. These five lines originally had no tone positions in Shao Yong's diagram, so the entire section is written as "●●●●". Both columns are labeled with "Ba Yin" (eight tones) and "Er Sheng" (two tones) on the left, and "Er Yin" (two tones) and "Shi Sheng" (ten tones) on the right, reminding the reader that one column follows the order of tones, while the other follows the order of sounds, and the two sets of characters on the same line are not related.

閉音清和律一之三；思三星■○○○○，一一一一多可個舌；九音：寺□象■○○○○，三音：一一一一禾火化八；二聲：□□□■○○○○，一聲：一一一一開宰愛○；□□□■○○○○，一一一一回每退○；□山手■○○○○，一一一一良兩向○；十音：□士石■○○○○，三音：一一一一光廣況○；二聲：□□耳■○○○○，二聲：一一一一丁井亙○；□□二■○○○○，一一一一兄永瑩○；■莊震■○○○○，一一一一千典旦○；十一音：■乍□■○○○○，三音：一一一一元犬半○；二聲：■叉赤■○○○○，三聲：一一一一臣引艮○；■崇辰■○○○○，一一一一君允巽○。

On the right side, another diagram begins, titled "Closed Tone Clear Harmony Law One Three": it harmonizes with the third tone water element "An Ya Yi Yi" using the closed position character "Yi". Below, each line repeats the character "Yi" four times, distributing them to harmonize with the four tones—level, rising, falling, and entering—of the characters listed on the left. It first harmonizes with the four lines of the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", then with the four lines of the second tone "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O", and then with the four lines of the third tone "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O"—the "O" at the end of each line in the second and third tones indicates that there is a tone but no corresponding character. The left side continues with the text of "Entering Tone Exclusion Singing Lu One Two", sequentially listing nine tones with four lines each: "Si San Xing Zhi, Si Fang Xiang Zhi, Fang Fang Fang Zhi, Fang Fang Fang Zhi", ten tones with four lines each: "Fang Shan Shou Zhi, Fang Shi Shi Zhi, Fang Fang Er Zhi, Fang Fang Er Zhi", and eleven tones: "Zhi Zhuang Zhen Zhi, Zhi Zha Fang Zhi, Zhi Cha Chi Zhi, Zhi Chong Chen Zhi". These tones have the most blank spaces: "Fang" indicates an existing tone with no character, while "Zhi" indicates no such tone exists, and the two symbols must not be confused. Reading both columns together, one can see that the four symbols in the diagram each have their respective positions.

■卓中■○○○○，一一一一刀早孝嶽；十二音：■宅直■○○○○，三音：一一一一毛寶報霍；二聲：■拆丑■○○○○，四聲：一一一一牛斗奏六；■茶呈■○○○○，一一一一○○○玉。

The left column concludes the twelfth tone with four lines: 「■Zhuo Zhong■, ■Zhai Zhi■, ■Che Chou■, ■Cha Cheng■」. This tone only has two characters that can be filled in the middle positions, while the first and last positions are marked as 「■」, indicating that there is no character for this tone position. Below each of the four lines, 「○○○○」 is added, meaning that the original入声 (entering tone) empty position is still repeated four times, matching the four characters. On the right column, in 「Closed Tone Clear Harmony Law One, Part Three」, the character 「一」 is repeated four times, continuing to harmonize with the fourth tone's four lines: 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○Yu」; the last line has no characters for level, rising, and departing tones, marked as 「○」, while only the entering tone position has 「Yu」 to match. At this point, the left diagram's twelve tones and forty-eight positions are fully filled, and the right diagram has also harmonized with the four tones.

入聲闢唱呂一之三；古甲九癸○○○○，一一一一妻子四日；一音：□□近揆○○○○，三音：一一一一衰○帥骨；三聲：坤巧丘棄○○○○，五聲：一一一一○○○德；□□乾蚪○○○○，一一一一龜水貴北；黑花香血○○○○，一一一一宮孔眾○；二音：黃華雄賢○○○○，三音：一一一一龍甬用○；三聲：五瓦仰□○○○○，六聲：一一一一魚鼠去○；吾牙月堯○○○○，一一一一烏虎兔○；安亞乙一○○○○，一一一一心審禁○；三音：□爻壬寅○○○○，三音：一一一一○○○十；三聲：母馬美米○○○○，七聲：一一一一男坎欠○；目貌眉民○○○○，一一一一○○○妾。

The left column begins with "Rusheng Bi Chang Lü Yi Zhi San": it sings the third category of the "Qian Dian Dan" tone, which is the entering tone position. This position has a tone but no character, and in the general diagram it is marked as "○". Each line repeats four instances of this, and they are sung together with the four characters in the same line. It starts with the first tone's four lines "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu", then proceeds to the second tone's four lines "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", and then to the third tone's four lines "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The "□" in "□□ Jin Kui" and "Wu Wa Yang □" indicates that there is a tone position but no character is known at the moment. The right column remains "Bi Yin Qing He Lu Yi Zhi San", using the fourth repetition of the closed tone character "Yi" for the third tone. It follows in order with the fifth tone's four lines "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's four lines "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", and the seventh tone's four lines "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie". For example, the line "Wu Hu Tu ○" is the fourth class of the sixth tone, where the level, rising, and falling tones have Wu, Hu, Tu, but the entering tone is left blank as "○".

夫法□飛○○○○，一一一一●●●●；四音：父凡□吠○○○○，三音：一一一一●●●●；三聲：武晚□尾○○○○，八聲：一一一一●●●●；文萬□未○○○○，一一一一●●●●；卜百丙必○○○○，一一一一●●●●；五音：步白備鼻○○○○，三音：一一一一●●●●；三聲：普撲品匹○○○○，九聲：一一一一●●●●；旁排平瓶○○○○，一一一一●●●●；東丹帝■○○○○，一一一一●●●●；六音：兌大弟■○○○○，三音：一一一一●●●●；三聲：土貪天■○○○○，十聲：一一一一●●●●；同覃田■○○○○，一一一一●●●●。

The left column follows "Entering the Tonal Categories of the Leveling Tone" and sings through four lines of the fourth tone: "Fu fa □ fei, Fu fa □ fei, Wu wan □ wei, Wen wan □ wei," and four lines of the fifth tone: "Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines of the sixth tone: "Dong dan Di ■, Dui da Di ■, Tu tan Tian ■, Tong Tan Tian ■." The fourth tone belongs to the light lip series, and the third character in each of the four lines is written as "□," indicating a phoneme without a character; the last line's "Wei" is still an example of a character borrowed from the Earthly Branches. The last character in each of the four lines of the sixth tone is marked as "■," indicating that there is no phoneme at all in this category. The right column, "Closed Tones with Clear and Harmonious Law One of Three," has the character "yi" at this point covering the eighth, ninth, and tenth tones; these three tones in Shao Yong's tonal chart are all silent positions, so all twelve lines are written as "●●●●"—not omitted, but accurately marked as "no sound here." Upon close examination, it is clear that the empty symbols in both columns have their own designated meanings: the "□" and "■" in the left column's phonetic character lines belong to the phonetic chart, while the "○" and "●" in the right column's sound character lines belong to the sound chart. Conversely, the four repeated characters at the end of the left column lines belong to the sound positions, while the four repeated characters at the beginning of the right column lines belong to the phoneme positions, so the symbols used on both sides are exactly reversed.

閉音清和律一之四；乃你女■○○○○，飛飛飛飛多可個舌；七音：內南年■○○○○，四音：飛飛飛飛禾火化八；三聲：老冷呂■○○○○，一聲：飛飛飛飛開宰愛○；鹿犖離■○○○○，飛飛飛飛回每退○；走哉足■○○○○，飛飛飛飛良兩向○；八音：自在匠■○○○○，四音：飛飛飛飛光廣況○；三聲：草采七■○○○○，二聲：飛飛飛飛丁井亙○；曹才全■○○○○，飛飛飛飛兄永瑩○；思三星■○○○○，飛飛飛飛千典旦○；九音：寺□象■○○○○，四音：飛飛飛飛元犬半○；三聲：□□□■○○○○，三聲：飛飛飛飛臣引艮○；□□□■○○○○，飛飛飛飛君允巽○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One, Part Four": it harmonizes with the fourth tone water element "夫法□飞" using the closed position character "飞", with four repetitions per line, corresponding to the four tones of level, rising, falling, and entering in the left column. It sequentially harmonizes with the first tone four lines "多可个舌、禾火化八、开宰爱○、回每退○", the second tone four lines "良两向○、光广况○、丁井亘○、兄永莹○", and the third tone four lines "千典旦○、元犬半○、臣引艮○、君允巽○". The left column remains "Entering Tone Singing Law One, Part Three", continuing to sing the seventh tone four lines "乃你女■、内南年■、老冷吕■、鹿荦离■", the eighth tone four lines "走哉足■、自在匠■、草采七■、曹才全■", and the ninth tone four lines "思三星■、寺□象■、□□□■、□□□■". The last two lines of the ninth tone are almost entirely filled with "□", with only the last character "■" remaining, indicating that very few characters can be retained in this series on the rhyme chart. The ninth tone series "思三星" is positioned later in Shao Yong's chart, and the examples of characters are already sparse, becoming even more sparse as it goes down, which is not due to the manuscript being incomplete, but rather reflects the actual recorded pronunciation at that time. The small notes in the chart such as "third tone" and "fourth tone" are marked alongside the lines to indicate their positions.

■山手■○○○○，飛飛飛飛刀早孝嶽；十音：■士石■○○○○，四音：飛飛飛飛毛寶報霍；三聲：■□耳■○○○○，四聲：飛飛飛飛牛斗奏六；■□二■○○○○，飛飛飛飛○○○玉；■莊震■○○○○，飛飛飛飛妻子四日；十一音：■乍□■○○○○，四音：飛飛飛飛衰○帥骨；三聲：■叉赤■○○○○，五聲：飛飛飛飛○○○德；■崇辰■○○○○，飛飛飛飛龜水貴北；■卓中■○○○○，飛飛飛飛宮孔眾○；十二音：■宅直■○○○○，四音：飛飛飛飛龍甬用○；三聲：■拆丑■○○○○，六聲：飛飛飛飛魚鼠去○；■茶呈■○○○○，飛飛飛飛烏虎兔○。

The left column, "入声辟唱吕一之三," ends with the last three tones: the tenth tone has four lines "■ mountain hand ■, ■ man stone ■, ■ ear ■, ■ two ■," the eleventh tone has four lines "■ middle Zhong ■, ■ residence straight ■, ■ split chou ■, ■ tea present ■," and the twelfth tone has four lines "■卓 middle ■, ■ residence straight ■, ■ split chou ■, ■ tea present ■." The first and last characters of these three tones are mostly marked with "■," indicating the absence of that sound. At the end of each line, the suffix "○○○○" consistently represents the silent, unmarked position of the入声 (entering tone) in four repetitions. In the right column, "闭音清和律一之四," the character "飞" is sequentially paired with four lines of the fourth tone "knife early filial piety mountain, hair treasure report Huo, cow struggle music six, ○○○ jade," five lines of the fifth tone "wife four day, decline ○ general bone, ○○○ virtue, turtle water noble north," and six lines of the sixth tone "palace hole crowd ○, dragon Yong use ○, fish rat go ○, crow tiger rabbit ○." Among these, the "○" in "decline ○ general bone," "○○○ jade," and "crow tiger rabbit ○" all represent positions with sound but no written character. Within one diagram, each of the forty-eight tone positions is paired with four characters, resulting in a total of one hundred ninety-two characters for singing and responding. Whether or not a character is present, the position is never missing, which follows the general principle of "皇极经世" (the Great Ultimate and the World's Order) in counting the number of sounds.

入聲闢唱呂一之四；古甲九癸嶽嶽嶽嶽，飛飛飛飛心審禁○；一音：□□近揆嶽嶽嶽嶽，四音：飛飛飛飛○○○十；四聲：坤巧丘棄嶽嶽嶽嶽，七聲：飛飛飛飛男坎欠○；□□乾蚪嶽嶽嶽嶽，飛飛飛飛○○○妾；黑花香血嶽嶽嶽嶽，飛飛飛飛●●●●；二音：黃華雄賢嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：五瓦仰□嶽嶽嶽嶽，八聲：飛飛飛飛●●●●；吾牙月堯嶽嶽嶽嶽，飛飛飛飛●●●●；安亞乙一嶽嶽嶽嶽，飛飛飛飛●●●●；三音：□爻壬寅嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：母馬美米嶽嶽嶽嶽，九聲：飛飛飛飛●●●●；目貌眉民嶽嶽嶽嶽，飛飛飛飛●●●●。

The left column begins with "The Fourth of the Rhythm of the Fourth Class of the Level Tone 'Dao Zao Xiao Yue'": the character sung is the level tone position "Yue" from the fourth class of the daily tone "Dao Zao Xiao Yue." This position not only has a tone but also a character, so the actual character "Yue" is written in the diagram. Each line is repeated as "Yue Yue Yue Yue." It is sung in four lines for the first tone: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," four lines for the second tone: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and four lines for the third tone: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The repetition of four lines is intended to pair with the four characters of the same line (open, release, close, and close) to form a call and response. The character "Fei" in the right column "The Fourth of the Clear and Harmonious Law of the Closing Tone" reaches the seventh tone's four lines: "Xin Shen Jin □, □□□ Shi, Nan Kan Qian □, □□□ Qie," and the eighth and ninth tones below, totaling eight lines, are all "●●●●," which are silent positions. Shao Yong uses "Sun, Moon, Stars, and Planets" to name the four lines of the tone, and "Water, Fire, Earth, and Stone" to name the four lines of the sound. The title "One" in the diagram refers to the daily tone line of the sound. Since the daily tone's entering tone is "Yue," this diagram uses "Yue" as the sung character. Although only one character is sung, it passes through forty-eight tone positions, with one call and four responses, resulting in a total of one hundred ninety-two.

夫法□飛嶽嶽嶽嶽，飛飛飛飛●●●●；四音：父凡□吠嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：武晚□尾嶽嶽嶽嶽，十聲：飛飛飛飛●●●●；文萬□未嶽嶽嶽嶽，飛飛飛飛●●●●。

The left column, "入声辟唱吕一之四," uses the character "岳" repeated four times, singing through four lines ending at the fourth tone: "夫法□飞, 父凡□吠, 武晚□尾, 文万□未." In each of these lines, the third character is marked with "□," indicating a phoneme without a corresponding character. The last line, "文万□未," still uses the character "未," which is borrowed from the Earthly Branch to establish the sound. The right column, "闭音清和律一之四," uses the character "飞" repeated four times, harmonizing with the tenth tone over four lines. Since the tenth tone has no phoneme, all four lines are marked as "●●●●," which is also the way this diagram ends with the final note.

閉音清和律一之五；卜百丙必嶽嶽嶽嶽，必必必必多可個舌；五音：步白備鼻嶽嶽嶽嶽，五音：必必必必禾火化八；四聲：普撲品匹嶽嶽嶽嶽，一聲：必必必必開宰愛○；旁排平瓶嶽嶽嶽嶽，必必必必回每退○；東丹帝■嶽嶽嶽嶽，必必必必良兩向○；六音：兌大弟■嶽嶽嶽嶽，五音：必必必必光廣況○；四聲：土貪天■嶽嶽嶽嶽，二聲：必必必必丁井亙○；同覃田■嶽嶽嶽嶽，必必必必兄永瑩○；乃你女■嶽嶽嶽嶽，必必必必千典旦○；七音：內南年■嶽嶽嶽嶽，五音：必必必必元犬半○；四聲：老冷呂■嶽嶽嶽嶽，三聲：必必必必臣引艮○；鹿犖離■嶽嶽嶽嶽，必必必必君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One of Five": it harmonizes with the fifth tone, the water element "Bo Bai Bing Bi", using the closed position character "Bi". Each line writes four characters in sequence, corresponding to the four tones of the left column's sound characters. It first harmonizes with the first tone's four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", then with the second tone's four lines "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and then with the third tone's four lines "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". The left column remains "Entering Tone Exclamation Singing Lu One of Four", continuing to sing the fifth tone's four lines "Bo Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping" with the character "Yue" repeated four times, then the sixth tone's four lines "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", and the seventh tone's four lines "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■". The fifth tone has all four positions, while the sixth and seventh tones have the last position marked as "■", indicating the absence of this tone. The title "One of Five" refers to "one" meaning the day's tone row, and "five" meaning the fifth category of the main tone. The "day" character sung in the following "Entering Tone Exclamation Singing Lu One of Five" is arranged according to this sequence. The order of the two columns is not aligned because the sound chart has forty positions and the tone chart has forty-eight positions, resulting in different numbers of lines.

走哉足■嶽嶽嶽嶽，必必必必刀早孝嶽；八音：自在匠■嶽嶽嶽嶽，五音：必必必必毛寶報霍；四聲：草采七■嶽嶽嶽嶽，四聲：必必必必牛斗奏六；曹才全■嶽嶽嶽嶽，必必必必○○○玉；思三星■嶽嶽嶽嶽，必必必必妻子四日；九音：寺□象■嶽嶽嶽嶽，五音：必必必必衰○帥骨；四聲：□□□■嶽嶽嶽嶽，五聲：必必必必○○○德；□□□■嶽嶽嶽嶽，必必必必龜水貴北；■山手■嶽嶽嶽嶽，必必必必宮孔眾○；十音：■士石■嶽嶽嶽嶽，五音：必必必必龍甬用○；四聲：■□耳■嶽嶽嶽嶽，六聲：必必必必魚鼠去○；■□二■嶽嶽嶽嶽，必必必必烏虎兔○。

The left column, "Rush Sound of the Level One Four" from the "Fourth of the Level One," uses the character "Yuè" repeated four times, singing through four lines of the eighth tone: "Zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■," four lines of the ninth tone: "Sī sān xīng ■, sì ■ xiàng ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ shān shǒu ■, ■ shì shí ■, ■ ■ ěr ■, ■ ■ èr ■." As it progresses, the characters that can be confirmed become fewer: the last two lines of the ninth tone only have "■" and "■," and the tenth tone even has "■" in the first position. In the right column, "Clear and Harmonious Law One Five" uses the character "Bì," sequentially matching four lines of the fourth tone: "Dāo zǎo xiào yuè, máo bǎo bào huò, niú dǒu zòu liù, ○○○ yù," four lines of the fifth tone: "Zǐ qī sì rì, shuāi ○ shuài gǔ, ○○○ dé, guī shuǐ guì běi," and four lines of the sixth tone: "Gōng kǒng zhòng ○, lóng yǒng yòng ○, yú shǔ qù ○, wū hǔ tù ○." The line "wū hǔ tù ○" is the fourth of the sixth tone, with the first three characters present and the position left blank as "○." The left column becomes increasingly vague as it progresses, while the right column matches each character clearly, showing a contrast between the real and the empty. This clearly demonstrates Shao Yong's method of first listing positions and then writing characters: positions are necessary to be counted, while characters are written when available and left blank when not.

■莊震■嶽嶽嶽嶽，必必必必心審禁○；十一音：■乍□■嶽嶽嶽嶽，五音：必必必必○○○十；四聲：■叉赤■嶽嶽嶽嶽，七聲：必必必必男坎欠○；■崇辰■嶽嶽嶽嶽，必必必必○○○妾；■卓中■嶽嶽嶽嶽，必必必必●●●●；十二音：■宅直■嶽嶽嶽嶽，五音：必必必必●●●●；四聲：■拆丑■嶽嶽嶽嶽，八聲：必必必必●●●●；■茶呈■嶽嶽嶽嶽，必必必必●●●●。

The left column concludes with "Rusheng Pichang Lü Yi Zhi Si": using the character "Yue" repeated four times to sing the eleventh tone in four lines "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■" and the twelfth tone in four lines "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". In both tones, the opening and closing positions are all marked with "■", with only the middle initial and final positions occasionally having characters, so there is the most blank space in one diagram. On the right column, "Bi" in "Biyin Qing He Lu Yi Zhi Wu" corresponds to the seventh tone in four lines "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie" and the eighth tone in four lines; in the seventh tone, the lines contain "○", while in the eighth tone, the entire section is marked with "● ● ● ●". One has sound without characters, and the other has no sound at all. The examples for the seventh tone "Xin Shen Jin ○" are the fewest, with more than half of the four lines being blank.

入聲闢唱呂一之五；古甲九癸日日日日，必必必必●●●●；一音：□□近揆日日日日，五音：必必必必●●●●；五聲：坤巧丘棄日日日日，九聲：必必必必●●●●；□□乾蚪日日日日，必必必必●●●●；黑花香血日日日日，必必必必●●●●；二音：黃華雄賢日日日日，五音：必必必必●●●●；五聲：五瓦仰□日日日日，十聲：必必必必●●●●；吾牙月堯日日日日，必必必必●●●●。

The left column begins with "入声辟唱吕一之五": the character sung is the fifth class of the level tone "日" (day), which is the position of the entering tone "日" in the "妻子四日" (wife and child on the fourth day). This position has both sound and character, so it is written as "日", and each line is repeated as "日日日日". It is sung in four lines for the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" and four lines for the second tone: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". The character "日" is a very important character in the "皇极经世", being both an entering tone character and related to the name "日月星辰". Here, only its sound is taken. The right column, "闭音清和律一之五", ends with the character "必", and together with the ninth and tenth tones, makes eight lines, all written as "●●●●", with no sound to harmonize. The left and right columns are one filled and one empty, forming a contrast. Readers should not mistakenly think the right column is missing.

閉音清和律一之六；安亞乙一日日日日，■■■■多可個舌；三音：□爻壬寅日日日日，六音：■■■■禾火化八；五聲：母馬美米日日日日，一聲：■■■■開宰愛○；目貌眉民日日日日，■■■■回每退○；夫法□飛日日日日，■■■■良兩向○；四音：父凡□吠日日日日，六音：■■■■光廣況○；五聲：武晚□尾日日日日，二聲：■■■■丁井亙○；文萬□未日日日日，■■■■兄永瑩○；卜百丙必日日日日，■■■■千典旦○；五音：步白備鼻日日日日，六音：■■■■元犬半○；五聲：普撲品匹日日日日，三聲：■■■■臣引艮○；旁排平瓶日日日日，■■■■君允巽○。

On the right side, a new section begins titled "Closed Tone Clear and Harmonious Law One of Six," which differs from the previous figures in that the sixth tone, associated with the water element, is "Dong Dan Di ■," and since the closed position originally had no sound, the character "he" in the diagram can only be written as "■." Each line still consists of four repetitions following the old pattern. This means that this diagram is harmonizing with an empty position, merely to complete the format. It sequentially harmonizes with the first tone's four lines: "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone's four lines: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○," and the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." On the left side, it remains "Entering Tone Singing Law One of Five," continuing to sing the third tone's four lines with the character "ri" repeated four times: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," the fourth tone's four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," and the fifth tone's four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." Starting from this diagram, the series of closed tones continues for six diagrams in a row, with the character "he" always being "■." The reason for this is that the closed positions below the sixth tone originally had no sounds. Shao Yong did not abandon the position just because there was no character, and continued to arrange one diagram after another to complete the full number of twelve tones.

東丹帝■日日日日，■■■■刀早孝嶽；六音：兌大弟■日日日日，六音：■■■■毛寶報霍；五聲：土貪天■日日日日，四聲：■■■■牛斗奏六；同覃田■日日日日，■■■■○○○玉；乃你女■日日日日，■■■■妻子四日；七音：內南年■日日日日，六音：■■■■衰○帥骨；五聲：老冷呂■日日日日，五聲：■■■■○○○德；鹿犖離■日日日日，■■■■龜水貴北；走哉足■日日日日，■■■■宮孔眾○；八音：自在匠■日日日日，六音：■■■■龍甬用○；五聲：草采七■日日日日，六聲：■■■■魚鼠去○；曹才全■日日日日，■■■■烏虎兔○。

The left column, "Rush Sound of the First Five of the Lu" uses the character "日" repeated four times, followed by four lines of the sixth tone "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", four lines of the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", and four lines of the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■". In these three tones, each line has three characters followed by a blank "■", showing that the tongue and dental sounds have no sound in the closed position. The right column, "Clear and Harmonious Law of the First Six of the Closed Tone" still uses the blank symbol "■" repeated four times, with four lines of the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", four lines of the fifth tone "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei", and four lines of the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○". On one side there are positions without sound, and on the other side there are characters with sound. Comparing them two by two, it clearly shows Shao Yong's intention to keep empty positions rather than fill them randomly. The three series of the sixth tone "Dong Dan Di ■", the seventh tone "Nai Ni Nu ■", and the eighth tone "Zou Zai Zu ■" all have three characters followed by a blank in each line, showing that the lack of sound in the closed position is most common among the tongue and dental sounds.

思三星■日日日日，■■■■心審禁○；九音：寺□象■日日日日，六音：■■■■○○○十；五聲：□□□■日日日日，七聲：■■■■男坎欠○；□□□■日日日日，■■■■○○○妾；■山手■日日日日，■■■■●●●●；十音：■士石■日日日日，六音：■■■■●●●●；五聲：■□耳■日日日日，八聲：■■■■●●●●；■□二■日日日日，■■■■●●●●；■莊震■日日日日，■■■■●●●●；十一音：□乍□■日日日日，六音：■■■■●●●●；五聲：■叉赤■日日日日，九聲：■■■■●●●●；■崇辰■日日日日，■■■■●●●●。

The left column, "入声辟唱吕一之五," uses the character "日" repeated four times, singing four lines of the ninth tone: "思三星■, 寺□象■, □□□■, □□□■," and four lines of the tenth tone: "■山手■, ■士石■, ■□耳■, ■□二■," and four lines of the eleventh tone: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■." Among the three tones, "□" and "■" alternate: the former refers to a phonetic position without a character, while the latter refers to no phonetic position at all. The right column, "闭音清和律一之六," has the empty symbol "■" repeated four times, along with four lines of the seventh tone: "心审禁○, ○○○十, 男坎欠○, ○○○妾," and the eighth and ninth tones, totaling eight lines. The latter eight lines are all "●●●●," representing silent positions. At this point, within one line, both left and right are empty, forming the most empty part of the entire diagram. The "日" character sung in the left column comes from the fifth category of the "日行" in the fifth tone, which is the entering tone position. This character appears frequently in "皇极经世," serving both as an actual entering tone character and relating to the name "日月星辰." Here, only its sound is taken, not its meaning. The entire section has sound on the left and silence on the right, making it the most empty part of the whole diagram.

■卓中■日日日日，■■■■●●●●；十二音：■宅直■日日日日，六音：■■■■●●●●；五聲：■拆丑■日日日日，十聲：■■■■●●●●；■茶呈■日日日日，■■■■●●●●。

The left column concludes with "Rusheng Bi Chang Lv Yi Zhi Wu," using the character "ri" repeated four times to sing the twelfth tone in four lines: "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng." The first and last characters of each line are marked with "■." The right column, "Bi Yin Qing He Lv Yi Zhi Liu," uses the empty symbol "■" repeated four times, harmonizing with the tenth tone in four lines, each line also marked with "●●●●." The left diagram has forty-eight tone positions and the right diagram has forty tones, both fully arranged at the same time. The next line then uses a new diagram.

入聲闢唱呂一之六　閉音清和律一之七；古甲九癸○○○○，■■■■多可個舌；一音：□□近揆○○○○，七音：■■■■禾火化八；六聲：坤巧丘棄○○○○，一聲：■■■■開宰愛○；□□乾蚪○○○○，■■■■回每退○；黑花香血○○○○，■■■■良兩向○；二音：黃華雄賢○○○○，七音：■■■■光廣況○；六聲：五瓦仰□○○○○，二聲：■■■■丁井亙○；吾牙月堯○○○○，■■■■兄永瑩○；安亞乙一○○○○，■■■■千典旦○；三音：□爻壬寅○○○○，七音：■■■■元犬半○；六聲：母馬美米○○○○，三聲：■■■■臣引艮○；目貌眉民○○○○，■■■■君允巽○。

This line simultaneously lists two titles: on the left side, it begins with "Entering Tone: Qiyi Li Yi Zhi Liu," and on the right side, it begins with "Closed Tone: Qing He Lu Yi Zhi Qi." The left diagram sings the entering tone position of the sixth category of the "Gong Kong Zhong" in the daily movement, which has sound but no characters, written as "○," with four repetitions per line. The right diagram harmonizes the seventh tone of the water movement "Nai Ni Nu ■," which originally has no such sound, written as "■," also with four repetitions per line. One has sound but no characters, and the other has no sound at all; the two empty positions are arranged side by side on the same line, clearly showing the detailed division of "○" and "■." The left side sings the first tone with four lines: "Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone with four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone with four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right side harmonizes the first tone with four lines: "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone with four lines: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," and the third tone with four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." Since both diagrams are combined, this line alone has two titles.

夫法□飛○○○○，■■■■刀早孝嶽；四音：父凡□吠○○○○，七音：■■■■毛寶報霍；六聲：武晚□尾○○○○，四聲：■■■■牛斗奏六；文萬□未○○○○，■■■■○○○玉；卜百丙必○○○○，■■■■妻子四日；五音：步白備鼻○○○○，七音：■■■■衰○帥骨；六聲：普撲品匹○○○○，五聲：■■■■○○○德；旁排平瓶○○○○，■■■■龜水貴北；東丹帝■○○○○，■■■■宮孔眾○；六音：兌大弟■○○○○，七音：■■■■龍甬用○；六聲：土貪天■○○○○，六聲：■■■■魚鼠去○；同覃田■○○○○，■■■■烏虎兔○。

The left column, "Rush Sound Clear Pronunciation Law One of Six," uses the symbol "○" four times, followed by four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." The third character in each line is "□." The last line's "wei" is an example using a character from the Earthly Branches. The right column, "Closed Sound Clear Harmony Law One of Seven," uses the symbol "■" four times, followed by four lines of the fourth tone: "Dao zao xiao yue, Mao bao bao huo, Niu dou zhou liu, ○○○ yu." The fourth tone's last line "○○○ yu" has only the position with a character filled in. The fifth tone's second line "Cui ○ shuai gu" is missing a character in the rising tone position, marked with "○."

乃你女■○○○○，■■■■心審禁○；七音：內南年■○○○○，七音：■■■■○○○十；六聲：老冷呂■○○○○，七聲：■■■■男坎欠○；鹿犖離■○○○○，■■■■○○○妾；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，七音：■■■■●●●●；六聲：草采七■○○○○，八聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●；思三星■○○○○，■■■■●●●●；九音：寺□象■○○○○，七音：■■■■●●●●；六聲：□□□■○○○○，九聲：■■■■●●●●；□□□■○○○○，■■■■●●●●。

The left column, "Rush Sound of the First Six of the First Category," uses four repetitions of "○," singing four lines for the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," four lines for the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao caipu qi ■, cao caiquan ■," and four lines for the ninth tone: "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The right column, "Clear and Harmonious Tone of the First Seven of the First Category," uses four repetitions of "■," harmonizing four lines for the seventh tone: "Xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie," with the eighth and ninth tones below having eight lines all marked as "●●●●." In the four lines of the seventh tone, there are five instances of "○," which are all marked as positions with sound but without corresponding characters. In contrast, the right column's harmonized "■" corresponds to these, one being a sound position and the other an empty one, each having its own distinction. In the left column, for the seventh, eighth, and ninth tones, each line ends without a sound, only the first three characters are written; whereas in the right column, the eighth and ninth tones have no sound positions at all, hence all eight lines are marked as "●." Though both are blank, the left uses "■" and the right uses "●," one belonging to a sound diagram and the other to a tone diagram, and they cannot be exchanged. The labels "seven tones," "eight tones," and "nine tones" as well as "seven sounds," "eight sounds," and "nine sounds" are used to indicate the positions within each column.

■山手■○○○○，■■■■●●●●；十音：■士石■○○○○，七音：■■■■●●●●；六聲：■□耳■○○○○，十聲：■■■■●●●●；■□二■○○○○，■■■■●●●●。

The left column, "Rush Sound Regulation of the Sixth of the First of the Six," sings the tenth tone in four lines: "■ mountain hand ■, ■ man stone ■, ■ ■ ear ■, ■ ■ two ■." The opening positions of the four lines are mostly marked with "■," while the closing positions occasionally include characters like "ear" and "two." The final position has no sound at all. The right column, "Clear and Harmonious Law of the Seventh of the First of the One," uses four repetitions of "■" and the tenth tone in four lines, each line being "●●●●." Both figures simultaneously conclude: the left figure sings fully through forty-eight tone positions but still has two tones remaining, while the right figure has already completed all forty tone positions.

閉音清和律一之八；■莊震■○○○○，■■■■多可個舌；十一音：■乍□■○○○○，八音：■■■■禾火化八；六聲：■叉赤■○○○○，一聲：■■■■開宰愛○；■崇辰■○○○○，■■■■回每退○；■卓中■○○○○，■■■■良兩向○；十二音：■宅直■○○○○，八音：■■■■光廣況○；六聲：■拆丑■○○○○，二聲：■■■■丁井亙○；■茶呈■○○○○，■■■■兄永瑩○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One of Eight": it harmonizes with the eighth tone of the water element "Zou Zai Zu ■", which does not exist, so it still uses "■" repeated four times as the harmonizing character. It harmonizes with the first tone's four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○" and the second tone's four lines "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○". On the left side, it concludes with the ending of "Entering Tone Separate Singing Law One of Six", using the entering tone empty position "○" repeated four times to sing the eleventh tone's four lines "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■" and the twelfth tone's four lines "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". These two tones belong to the category of correct teeth and tongue root, with no sounds in the open or closed positions, so each line only has characters fitting in the middle two sections. Each column starts separately, so the positions do not align with each other.

入聲闢唱呂一之七；古甲九癸○○○○，■■■■千典旦○；一音：□□近揆○○○○，八音：■■■■元犬半○；七聲：坤巧丘棄○○○○，三聲：■■■■臣引艮○；□□乾蚪○○○○，■■■■君允巽○；黑花香血○○○○，■■■■刀早孝嶽；二音：黃華雄賢○○○○，八音：■■■■毛寶報霍；七聲：五瓦仰□○○○○，四聲：■■■■牛斗奏六；吾牙月堯○○○○，■■■■○○○玉；安亞乙一○○○○，■■■■妻子四日；三音：□爻壬寅○○○○，八音：■■■■衰○帥骨；七聲：母馬美米○○○○，五聲：■■■■○○○德；目貌眉民○○○○，■■■■龜水貴北。

The left column begins with "Rusheng Bichang Lü Yi Zhi Qi": the singing is of the seventh category of the "Xin Shen Jin" in the "Rusheng" position, which has sound but no character, written as "○". Each line is repeated four times. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "Biyin Qing He Lu Yi Zhi Ba", still uses "■" repeated four times as the harmonizing character, with the third tone having four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yun Gen ○, Jun Yun Xun ○", and the fourth tone having four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu". The order of the lines in the left and right columns no longer correspond, because the "Shengtu" has forty positions and the "Yintu" has forty-eight positions, so the number of lines differs. "Huangji Jingshi" takes the singing of sound and the harmonizing of tone as its main framework: sound is above and sung, tone is below and harmonized. Once a sound is fixed, it goes through all forty-eight tones; once a tone is fixed, it harmonizes with all forty sounds. The left column represents the former, and the right column represents the latter, so the two groups of characters in the same line are not related, and each should be read vertically within its own column.

夫法□飛○○○○，■■■■宮孔眾○；四音：父凡□吠○○○○，八音：■■■■龍甬用○；七聲：武晚□尾○○○○，六聲：■■■■魚鼠去○；文萬□未○○○○，■■■■烏虎兔○；卜百丙必○○○○，■■■■心審禁○；五音：步白備鼻○○○○，八音：■■■■○○○十；七聲：普撲品匹○○○○，七聲：■■■■男坎欠○；旁排平瓶○○○○，■■■■○○○妾；東丹帝■○○○○，■■■■●●●●；六音：兌大弟■○○○○，八音：■■■■●●●●；七聲：土貪天■○○○○，八聲：■■■■●●●●；同覃田■○○○○，■■■■●●●●。

The left column, "入声辟唱吕一之七," uses "○" four times in succession, followed by the fourth tone with four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth tone with four lines: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the sixth tone with four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "闭音清和律一之八," uses "■" four times in succession, harmonizing the sixth tone with four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○," the seventh tone with four lines: "Xin shen jin ○, ○○○shi, Nan kan qian ○, ○○○jie," and then the eighth tone with four lines. The sixth tone's four lines have all their positions missing, while the seventh tone's lines "○○○shi" and "○○○jie" only have characters in the positions of the entering tone. The eighth tone has no sound at all, so it is marked with "●." The two symbols are similar in form but differ in meaning: one represents a sound without a character, and the other represents no sound at all.

乃你女■○○○○，■■■■●●●●；七音：內南年■○○○○，八音：■■■■●●●●；七聲：老冷呂■○○○○，九聲：■■■■●●●●；鹿犖離■○○○○，■■■■●●●●；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，八音：■■■■●●●●；七聲：草采七■○○○○，十聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●。

The left column, "入声辟唱吕一之七," uses four repetitions of "○," singing seven tones with four lines each: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■" and "走哉足■, 自在匠■, 草采七■, 曹才全■." In each line of the two tones, the first three characters are present, while the last character is marked as "■." The right column, "闭音清和律一之八," uses four repetitions of "■," harmonizing the ninth and tenth tones, totaling eight lines, all marked as "●●●●." This diagram ends with the completion of the harmonization. Within each line, the left side has characters representing sounds, while the right side has no sound positions, clearly demonstrating the phenomenon of "many sounds and few tones." In the left column, the seventh tone "乃你女■" and the eighth tone "走哉足■" both end with "■," indicating a closed position with no sound. In contrast, the ninth and tenth tones on the right have no sound positions at all, hence all eight lines are marked as "●." The left side has characters while the right side is completely empty, precisely illustrating the concept of "many sounds and few tones" mentioned in the "皇极经世."

閉音清和律一之九；思三星■○○○○，■■■■多可個舌；九音：寺□象■○○○○，九音：■■■■禾火化八；七聲：□□□■○○○○，一聲：■■■■開宰愛○；□□□■○○○○，■■■■回每退○；■山手■○○○○，■■■■良兩向○；十音：■士石■○○○○，九音：■■■■光廣況○；七聲：■□耳■○○○○，二聲：■■■■丁井亙○；■□二■○○○○，■■■■兄永瑩○；■莊震■○○○○，■■■■千典旦○；十一音：■乍□■○○○○，九音：■■■■元犬半○；七聲：■叉赤■○○○○，三聲：■■■■臣引艮○；■崇辰■○○○○，■■■■君允巽○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One, Ninth": The ninth tone, belonging to the water element, is "Thinking of Three Stars ■". Since there is no sound in the closed position, the character "和" is still written as "■". It is repeated four times downward. The first tone, with four lines, includes "More, Can, Individual, Tongue; Millet, Fire, Transform, Eight; Open, Chancellor, Love, ○; Return, Every, Retreat, ○". The second tone, with four lines, includes "Good, Two, Facing, ○; Light, Broad, Situation, ○; Ding, Well, Endless, ○; Brother, Long, Bright, ○". The third tone, with four lines, includes "Thousand, Classic, Dawn, ○; Yuan, Dog, Half, ○; Minister, Lead, Gen, ○; King, Allow, Xun, ○". On the left side, it remains "Entering Tone Singing Law One, Seventh", continuing to sing the ninth tone with four lines using "○" repeated four times: "Thinking of Three Stars ■, Temple □ Image ■, □ □ □ ■, □ □ □ ■". The tenth tone includes four lines: "■ Mountain Hand ■, ■ Scholar Stone ■, ■ □ Ear ■, ■ □ Two ■". The eleventh tone includes four lines: "■ Village Thunder ■, ■ Sudden □ ■, ■ Fork Red ■, ■ Prosperous Morning ■". The left side is filled with "□" and "■", while the right side is filled with "■" and characters with sounds. The contrast between the real and the empty is clear at a glance. From the ninth tone onwards, the number of actual characters decreases while the number of empty positions increases: "□" indicates a position with a sound but no character, while "■" indicates a position without a sound. These symbols are mixed together in lines, and when reading, one must distinguish each section carefully, not treating them all as missing characters.

■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 column, "Rush Sound Punctuation of the First Seventh of the Lu Scale," uses the symbol "○" four times, singing the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," completing this diagram. The right column, "Clear and Harmonious Tone of the First Ninth of the Lu Scale," uses the symbol "■" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu"; the first three characters of the last line are blank, represented by "○," with only the character "Yu" occupying the position of entry.

入聲闢唱呂一之八；古甲九癸●●●●，■■■■妻子四日；一音：□□近揆●●●●，九音：■■■■衰○帥骨；八聲：坤巧丘棄●●●●，五聲：■■■■○○○德；□□乾蚪●●●●，■■■■龜水貴北；黑花香血●●●●，■■■■宮孔眾○；二音：黃華雄賢●●●●，九音：■■■■龍甬用○；八聲：五瓦仰□●●●●，六聲：■■■■魚鼠去○；吾牙月堯●●●●，■■■■烏虎兔○；安亞乙一●●●●，■■■■心審禁○；三音：□爻壬寅●●●●，九音：■■■■○○○十；八聲：母馬美米●●●●，七聲：■■■■男坎欠○；目貌眉民●●●●，■■■■○○○妾。

The left column begins with "Rusheng Bi Chang Lü Yi Zhi Ba." The eighth category of the correct tone includes four lines below "Rixing" which are all silent. Since the position for the entering tone is not only silent but completely void, the character used for singing can only be written as "●", repeated four times per line. Using this purely empty position to sing the first tone's four lines "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone's four lines "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone's four lines "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," is exactly how Shao Yong arranged them with his method of "having a position must list it, and without a character, leave it blank." The right column, "Biyin Qing He Lu Yi Zhi Jiu," still uses "■" repeated four times, along with the fifth tone's four lines "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," the sixth tone's four lines "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," and the seventh tone's four lines "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." The eighth, ninth, and thirteenth categories of the correct tone are entirely silent, yet Shao Yong still established diagrams and positions for them, writing each section as "●." This is exactly his approach to "the number of sounds," striving for completeness—numbers must fill all positions, while characters are left to their natural state.

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 column, "Rusheng Bi Chang Lü Yi Zhi Ba," uses the silent symbol "●" repeated four times, singing four lines of the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines of the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines of the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Bi Yin Qing He Lu Yi Zhi Jiu," uses the silent symbol "■" repeated four times, harmonizing with the eighth, ninth, and tenth tones, totaling twelve lines. Since all these lines have no sound positions, each line is marked as "●●●●." The left half still contains readable characters, while the right half has both sound and meaning empty, making it the most abstract section of the entire text. Although symbols are everywhere, each has a definite meaning: "●" is silent, "■" is voiceless, "○" is sound without character, and "□" is sound without character. The four symbols belong to the sound and tone charts, and readers can distinguish them by column, thus avoiding confusion.