The entering tone is divided into three groups, with five tones in each group.

入聲闢唱呂三之五；古甲九癸德德德德，匹匹匹匹●●●●；一音：□□近揆德德德德，五音：匹匹匹匹●●●●；五聲：坤巧丘棄德德德德，九聲：匹匹匹匹●●●●；□□乾蚪德德德德，匹匹匹匹●●●●；黑花香血德德德德，匹匹匹匹●●●●；二音：黃華雄賢德德德德，五音：匹匹匹匹●●●●；五聲：五瓦仰□德德德德，十聲：匹匹匹匹●●●●；吾牙月堯德德德德，匹匹匹匹●●●●。

Left column begins with "入声辟唱吕三之五": the tone being sung is the fifth class of the "○○○德" line, which includes the入声 character "德". In this line, the level, rising, and departing tones have no characters marked with "○", but the入声 position has "德" available, so this diagram uses "德" as the singing character. Each line is repeated four times, with the first tone sung in four lines: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" and the second tone sung in four lines: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". Right column "闭音清和律三之五" uses the character "匹" repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, all marked "●●●●", completing the harmony. The line "○○○德" has only the入声 position filled, while the other three positions are empty, clearly showing within the same line that some positions are filled and others are empty; this diagram selects the character in the入声 position for singing, so the entire text is written with "德".

閉音清和律三之六；安亞乙一德德德德，■■■■多可個舌；三音：□爻壬寅德德德德，六音：■■■■禾火化八；五聲：母馬美米德德德德，一聲：■■■■開宰愛○；目貌眉民德德德德，■■■■回每退○；夫法□飛德德德德，■■■■良兩向○；四音：父凡□吠德德德德，六音：■■■■光廣況○；五聲：武晚□尾德德德德，二聲：■■■■丁井亙○；文萬□未德德德德，■■■■兄永瑩○；卜百丙必德德德德，■■■■千典旦○；五音：步白備鼻德德德德，六音：■■■■元犬半○；五聲：普撲品匹德德德德，三聲：■■■■臣引艮○；旁排平瓶德德德德，■■■■君允巽○。

On the right side, another section begins with "Closed Tone Clear and Harmonious Law Three of Six": the sixth tone, "earth movement," is "earth greedy heaven ■," where the closed position has no sound, hence the character "和" is written as "■." Each line consists of four repetitions. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." From this point onward, in all the other clear and harmonious law diagrams, the character "和" is left as a vacant position, merely to complete the order of the twelve tones. On the left side, it is still "Entering Tone Pronunciation Song Law Three of Five," continuing with the character "de" repeated four times for the third tone's four lines: "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." The third tone on the left is the shadow,喻, and ming mother group, the fourth tone is the light lip group, and the fifth tone is the heavy lip group, with all the examples still complete. On the right side, the position of "和" is left vacant, contrasting with the left side, which clearly shows the uneven number of tones in each category. All these vacant positions are listed by Shao Yong without being filled, merely to complete the order of the twelve tones.

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

The left column, "入声辟唱吕三之五," uses the character "德" repeated four times, singing four lines in the sixth tone: "东丹帝■, 兑大弟■, 土贪天■, 同覃田■," four lines in the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," and four lines in the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音清和律三之六," uses the character "■" repeated four times, harmonizing four lines in the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines in the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines in the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The "德" character sung in the left column corresponds exactly to the third line of the fifth tone in the right column, "○○○德," appearing within the same diagram. The left column's sixth tone has no sound, as do the seventh and eighth tones. The right column's fourth tone ends with only "玉" in the last line, the fifth tone's second line is missing the rising tone, and all four lines of the sixth tone are empty, marked with "○." The "■" in the left column and the "○" in the right column belong to the tone diagram and the sound diagram respectively, appearing together in the same section without confusion.

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

The left column, "Rush Sound of the Third Five of the Third Lu," uses the character "de" four times, singing four lines of the ninth tone: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and four lines of the eleventh tone: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Closed Sound of the Third Six of the Third Lu," uses the character "■" four times, harmonizing four lines of the seventh tone: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all "● ● ● ●." In the left column, the ninth, tenth, and eleventh tones have "□" and "■" alternating in lines: the former has phonetic positions but no characters, while the latter has no phonetic positions. In the right column, the seventh tone still has six characters readable, while the eighth and ninth tones have no characters at all, all marked as "●." The left column follows forty-eight phonetic positions, while the right column follows forty tones, with unequal number of lines, so the titles of the two columns are staggered, each marking their own sequence.

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

On the left side, "Rusheng Bi Chang Lv San Zi Wu" sings the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", completing this diagram. On the right side, "Bi Yin Qing He Lu San Zi Liu" uses the character "■" repeated four times to harmonize with the tenth tone in four lines, also completing this diagram. Both diagrams are filled at the same time, so the next line begins simultaneously on both sides. Both diagrams fill up simultaneously, with forty-eight tone positions and forty sound positions each reaching their maximum.

入聲闢唱呂三之六　閉音清和律三之七；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 continues on both sides simultaneously. On the left, it reads "Entering the level tone with the third of the sixth class of the fish mouse departure sound," and on the right, "Closing tone with the third of the seventh class of the old cold sound." The left diagram sings the entering tone position of the sixth class of the "fish mouse departure" sound, which has sound but no characters, represented by "○." The right diagram harmonizes the seventh tone of the "old cold" sound, which originally has no such tone, represented by "■." On the left, "○" is repeated four times to sing four lines of the first tone: "Ancient Jia ninth Gui, □□ near揆,坤 skill mountain discard, □□ Heaven蚪," four lines of the second tone: "Black flower fragrant blood, Yellow flower strong virtue, Five Wa look □, I tooth moon Yao," and four lines of the third tone: "An Ya Yi one, □ yao Renyin, Mother horse beauty rice, Eye appearance eyebrow people." On the right, "■" is repeated four times to harmonize four lines of the first tone: "More can individual tongue, Millet fire transform eight, Open official love ○, Return every retreat ○," four lines of the second tone: "Good two towards ○, Light broad situation ○, Ding well constant ○, Brother long bright ○," and four lines of the third tone: "Thousand classics dawn ○, Yuan dog half ○, Minister lead Gen ○, King allow Xun ○." Left sings and right harmonizes, alternating between empty and real, proceeding through forty tone positions and forty-eight sound positions again. One diagram goes through forty-eight sound positions, and the other through forty tone positions, so the titles combine and divide.

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 Singing Lu San Zi Liu," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines for the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines for the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Closed Sound Clear Harmony Lu San Zi Qi," uses the symbol "■" four times, harmonizing four lines for the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines for the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines for the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." "Yu Shu Qu ○" directly originates from the singing characters in the left column, with the missing position marked by "○." In the left column, the ending positions of the fourth tone are all "□," and the closing positions of the sixth tone are all "■." In the right column, the last line of the fourth tone only has the character "Yu" in the position, the second line of the fifth tone is missing the rising tone, and all the positions in the four lines of the sixth tone are empty, each marked by "○." The empty spaces in the left column belong to the tone chart, while those in the right column belong to the sound chart, and both sets of symbols appear in one line, each referring to different aspects.

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, "入声辟唱吕三之六," uses four repetitions of "○," singing four lines for the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," four lines for the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■," and four lines for the ninth tone: "思三星■, 寺□象■, □□□■, □□□■." The right column, "闭音清和律三之七," uses four repetitions of "■," harmonizing four lines for the seventh tone: "心审禁○, ○○○十, 男坎欠○, ○○○妾," then harmonizing the eighth and ninth tones together in eight lines, all marked as "●●●●." The third line of the seventh tone in the left column, "老冷吕■," corresponds to the position used for the harmonization in the right column. Since the closed tone in the left column has no sound, the right column can only use "■" for harmonization. All closed tones in the left column have no sound, and the eighth and ninth tones in the right column are entirely silent. Within the same section, "■" and "●" each occupy half of the space: the former indicates no sound, and the latter indicates no tone. The markings at the beginning of each line, "七音" to "九音" and "七声" to "九声," respectively record the positions reached by the left and right columns. These should be read vertically within each column, not horizontally connected.

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

On the left side, "Rusheng Bi Chang Lü San Zhi Liu" sings the tenth tone in four lines: "■ mountain hand ■, ■ scholar stone ■, ■ □ ear ■, ■ □ two ■"; on the right side, "Bi Yin Qing He Lu San Zhi Qi" uses "■" repeated four times to harmonize with the tenth tone in four lines, each line being "●●●●". This diagram is completed. Among these sixteen sections, there are no actual characters; "■" and "●" each remain in their respective positions: the former indicates no sound, and the latter indicates no tone.

閉音清和律三之八；■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○；■祟辰■○○○○，■■■■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, beginning a new section, there is the "Closed Sound Clear Harmony Law Three of Eight" with the eighth tone, "Earth movement" which is "grass harvest seven ■", where the closed position has no sound, and the character "he" is written as "■". The four characters are repeated downward. The first tone's four lines are "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○" and the second tone's four lines are "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○". On the left side, it is the conclusion of the "Entering Tone Separate Singing Lu Three of Six" with the eleventh tone, which is sung with four repetitions of "■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ sui chen ■" and the twelfth tone's four lines "■ zhuo zhong ■, ■ zhai zhi ■, ■ che chou ■, ■ cha cheng ■". The last line of the eleventh tone in the original manuscript is "■ sui chen ■", while elsewhere it is "■ chong chen ■", and the original form is preserved. Since both tones have no sound in the open and closed sections, only the middle two characters of each line can be read.

入聲闢唱呂三之七；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 Bi Chang Lü San Zhi Qi": the singing is for the seventh category of the Zhengsheng (level tone) "Xingxing 'Nan Kan Qian ○'" (celestial movement of male), which is an entry with sound but no characters, 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, "Biyan Qing He Lu San Zhi Ba", uses "■" repeated four times, and harmonizes with the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", the fourth tone's four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". The left column's singing is an entry with sound but no characters, while the right column's harmonizing is an entry without any sound. Both diagrams start with an empty position. The right column's harmonizing for the third, fourth, and fifth tones has more complete examples: the last line of each of the third tone's four lines is empty, the last line of the fourth tone's four lines only has "Yu", and the fifth tone's second line is missing the rising tone, the third line only has the entering tone, each marked with "○".

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, "Rush Sound Pronunciation of the Third Seven in the Three Laws of the Clear and Harmonious," uses the symbol "○" four times, singing four lines in the fourth tone: "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei." The fifth tone has four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone has four lines: "Dong Dan Di Di, Du Da Di Di, Tu Tan Tian Tian, Tong Tan Tian Tian." In the fourth tone's last line, elsewhere it is written as "Wen Wan Wei," but in this text, the original uses "Wen Wan ■ Wei," employing a symbol with no sound. The character "Wei" is still pronounced using the character borrowed from the Earthly Branch. The right column, "Clear and Harmonious Law Three Eight," uses the symbol "■" four times, singing four lines in the sixth tone: "Gong Kong Zhong Zhong, Long Yong Yong Yong, Yu Shu Qu Qu, Wu Hu Tu Tu," and four lines in the seventh tone: "Xin Shen Jin Jin, ○○○ Shi, Nan Kan Qian Qian, ○○○ Jie." Then it sings four lines in the eighth tone. In the right column, the sixth tone's four lines are completely blank. In the seventh tone, the lines "○○○ Shi" and "○○○ Jie" only have characters in the position of the syllables. In the eighth tone, no characters are placed. In the left column, blanks are marked with "□" and "■," while in the right column, blanks are marked with "○" and "●," each according to the diagram they belong to.

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, "入声辟唱吕三之七," uses the symbol "○" four times, singing the seventh tone in four lines: "Nai ni nv ■, Nei nan nian ■, Lao leng lv ■, Lu luo li ■" and the eighth tone in four lines: "Zou zai zu ■, Zi zai jiang ■, Cao cao qi ■, Cao cai quan ■." The right column, "闭音清和律三之八," uses the symbol "■" four times, harmonizing the ninth and tenth tones in eight lines, all marked as "●●●●," indicating the end of this section. There are still eight lines of phonetic characters readable in the left column, while the right column has no sound for the ninth and tenth tones. Among the ten categories of proper tones, seven are applicable; among the twelve categories of proper sounds, five are applicable. The statement at the beginning, "辰星声七" (seven tones of the planet辰星) and "石土音五" (five sounds of stone and soil), becomes most evident in these instances.

閉音清和律三之九；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○。

The right column begins with "Closed Sound Clear Harmony Law Three Nine": The ninth tone, "earth movement," is "□□□■." The first three positions have sound positions but no characters, while the closed position has no sound, so the character for harmony remains "■." It continues with four repetitions, and the first tone's four lines are "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone's four lines are "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone's four lines are "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." The left column remains "Entering Tone Singing Law Three Seven," continuing with four repetitions of "○" for the ninth tone's four lines "si san xing ■, si □ xiang ■, □□□■, □□□■," the tenth tone's four lines "■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■," and the eleventh tone's four lines "■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■." The ninth tone "earth movement" "□□□■" has sound positions in the first three characters but no characters, and the closed position has no sound, so the character for harmony can only be "■." The ninth, tenth, and eleventh tones on the left column are also the section with the most empty positions. Although both columns are left blank, one belongs to sound and the other to tone, and when reading, one must distinguish which belongs to which.

■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 of the Third Section of the Third Lu," uses "○" four times, singing the twelfth tone in four lines: "■Zhuo Zhong ■, ■Zhai Zhi ■, ■Che Chou ■, ■Cha Cheng ■," and the diagram is completed. The right column, "Clear and Harmonious Law of the Third Section of the Ninth Lu," uses "■" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The last line of the fourth tone in the right column, "○○○ Yu," only has the character placed in the position, while the previous three positions are left empty.

入聲闢唱呂三之八；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 "The Eighth Category of the Ingressive Tone 'Rusheng' in the Third of the Three Laws." The eighth category is entirely silent, with the position of the star representing a pure void. The character for "sing" is written as "●", repeated four times per line. The first tone consists of four lines: "Ancient Jia ninth Gui, □□ near揆, Kūn skill Qiu discard, □□ Heaven蚪." The second tone consists of four lines: "Black flower fragrant blood, Yellow flower strong virtue, Five wa upward □, I tooth moon Yao." The third tone consists of four lines: "An Ya Yi one, □ yao Renyin, Mother horse beautiful rice, Eye face eyebrow people." The entire forty-eight tones are sung through the void position, though the characters are not formed, the positions cannot be missing. This is a fixed rule established by Shao Yong in his calculation of "the number of sound and tone." The right column, "The Ninth of the Third of the Three Laws of Closed Tone 'Qinghe' " uses "■" repeated four times. The fifth tone consists of four lines: "Spouse child four days, Decline ○ general bone, ○○○ virtue, Turtle water noble north." The sixth tone consists of four lines: "Palace Kong crowd ○, Dragon Yong use ○, Fish rat go ○, Crow tiger rabbit ○." The seventh tone consists of four lines: "Heart review prohibition ○, ○○○ ten, Male Kan lack ○, ○○○ concubine." Among the three tones in the right column, the fifth tone "Decline ○ general bone" lacks the rising tone, "○○○ virtue" only retains the ingressive tone, the sixth tone's four lines have all positions empty, and the seventh tone also has many empty spaces, which are all filled with "○." The full line of "●" in the left column represents the absence of sound, while the "■" at the end of the tone characters in the right column represents the absence of tone. The two symbols belong to the two diagrams respectively.

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 Lv San Zhi Ba," uses the symbol "●" 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 San Zhi Jiu," uses the symbol "■" four times, harmonizing with the eighth, ninth, and tenth tones, totaling twelve lines, all marked with "●●●●." This diagram is completed. Within this passage, the left column still contains characters for lip sounds and tongue sounds, while the right column has neither sound nor tone. In the left column, the ending of the fourth tone is all marked with "□," and the closure of the sixth tone is all marked with "■." In the right column, the eighth, ninth, and thirteenth tones, which are the standard tones, are entirely silent, with all twelve lines marked with "●." Four types of symbols appear in this passage at the same time: "○" indicates sound without characters, "●" indicates no sound, "□" indicates sound without characters, and "■" indicates no sound. The first two belong to sound diagrams, and the last two belong to tone diagrams, and they are not connected to each other.

閉音清和律三之十；乃你女■●●●●，■■■■多可個舌；七音：內南年■●●●●，十音：■■■■禾火化八；八聲：老冷呂■●●●●，一聲：■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音：自在匠■●●●●，十音：■■■■光廣況○；八聲：草采七■●●●●，二聲：■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音：寺□象■●●●●，十音：■■■■元犬半○；八聲：□□□■●●●●，三聲：■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

On the right side, another entry begins with "Closed Sound Clear Harmony Law Three Tenth": The tenth tone, "earth movement," is "□□ear■," where the closed position has no sound, and the character "he" is written as "■." It is repeated four times downward. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." On the left side, it remains "Entering Tone Pronunciation Singing Law Three Eighth," continuing with the character "●" repeated four times for the seventh tone's four lines: "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■," the eighth tone's four lines: "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and the ninth tone's four lines: "si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The tenth tone "earth movement" "□□ear■" has no sound in the closed position, so the character "he" is written as "■." The seventh tone on the left is the "ni lai" group, the eighth tone is the "chǐ tóu" group, and the ninth tone's examples are scattered. The closed positions of the three tones also have no sound. The left side records the order of tones, while the right side records the order of sounds. The headings "seven tones," "eight tones," "nine tones" on the left and "first tone," "second tone," "third tone" on the right belong to two separate charts and should not be read together.

■山手■●●●●，■■■■刀早孝嶽；十音：■士石■●●●●，十音：■■■■毛寶報霍；八聲：■□耳■●●●●，四聲：■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音：■乍□■●●●●，十音：■■■■衰○帥骨；八聲：■叉赤■●●●●，五聲：■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音：■宅直■●●●●，十音：■■■■龍甬用○；八聲：■拆丑■●●●●，六聲：■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

The left column, "Rush Sound of the Third of the Three Laws of the Eighth," uses "●" four times, singing four lines for the tenth tone: "■ Mountain hand ■, ■ Man stone ■, ■ Ear ■, ■ Two ■," four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Just ■, ■ Fork red ■, ■ Sheng Chen ■," and four lines for the twelfth tone: "■ Zhuo Zhong ■, ■ Residence straight ■, ■ Split Chou ■, ■ Tea present ■," completing the singing of this section. The right column, "Closed Sound of the Third of the Ten Laws," uses "■" four times, harmonizing four lines for the fourth tone: "Knife early filial mountain, Hair treasure report Huo, Ox star music six, ○○○ Jade," four lines for the fifth tone: "Spouse four day, Decline ○ general bone, ○○○ virtue, Turtle water noble north," and four lines for the sixth tone: "Palace Kong crowd ○, Dragon Yong use ○, Fish rat go ○, Crow tiger rabbit ○." From the tenth to the twelfth tones in the left column, both open and closed sections mostly have no sound, only the middle two characters can be read. The right column's examples for the three tones are more complete, but the entering tone is often missing. This diagram sings through forty-eight tone positions and harmonizes through forty tone positions, with the number of repetitions being the same: in the tone diagram, it corresponds to open, release, contraction, and closure; in the sound diagram, it corresponds to level, rising, falling, and entering tones, so each section must be repeated four times to be complete.

入聲闢唱呂三之九；古甲九癸●●●●，■■■■心審禁○；一音：□□近揆●●●●，十音：■■■■○○○十；九聲：坤巧丘棄●●●●，七聲：■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十音：■■■■●●●●；九聲：五瓦仰□●●●●，八聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音：□爻壬寅●●●●，十音：■■■■●●●●；九聲：母馬美米●●●●，九聲：■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

The left column begins with "Rush Sound Classification Three of Nine." The ninth category of the standard tone has no sound, and the star moves into position still marked as "●". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu." The second tone is sung in four lines: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The third tone is sung in four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right column, "Clear and Harmonious Law Three of Ten," uses "■" repeated four times, and harmonizes the seventh tone in four lines: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." Then it harmonizes the eighth and ninth tones together in eight lines, all marked as "●●●●." The fourth tone and subsequent lines continue in the same pattern. Since the ninth category of the standard tone has no sound position, what is sung is a virtual grid, yet the forty-eight tones must still be covered. The right column's seventh tone still includes the characters Xin, Shen, Jin, Nan, Kan, and Qian, while the eighth and ninth tones have no characters at all. The left column's "●" indicates the absence of sound, and the "■" at the end of the tone lines indicates the absence of a character. The right column's "●" also indicates the absence of sound, and although both are black marks, they belong to two different diagrams and columns. Readers should look at them according to the columns to avoid confusion.

夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 十音 ■■■■●●●● 九聲 武晚□尾●●●● 十聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●●

The left half of the four lines belongs to the fourth tone of "Rusheng Pichang Lv San Zhi Jiū," while the right half belongs to the tenth tone of "Biyin Qing He Lv San Zhi Shí." The left half lists four representative characters for the fourth tone: Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei. Each line's four characters are taken according to the "open, release, gather, close" four positions for tone, paired with the elements "water, fire, earth, stone." The third position is marked with "□," indicating that this tone position exists, but there is no suitable character to represent it. On the right side, each of the four lines is marked with "●●●●," which represents the ninth tone's value in the "Rusheng Pichang" section: "●" indicates that there is no sound at this position, so all four positions are empty. On the right half, "■■■■" leads the way, where "■" indicates that the tenth tone's "Biyin Qing" position has no sound to stand. The tenth tone, which corresponds to it, also has all four lines marked with "●." Both sides are empty, but Shao Yong filled in the grid again to ensure that the number of tones and sounds does not miss any position.

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

The left half follows "Entering the Rises of the Third and Ninth of the Three Sounds," singing out the fifth, sixth, seventh, and eighth tones in sequence; the right half is "Clear and Harmonious Law of the Third and Eleventh," using the eleventh tone to harmonize with the first to fourth tones. The fifth tone on the left is for heavy lip sounds: Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. The sixth tone is for tongue sounds: Dong Dan Di ?, Dui Da Di ?, Tu Tan Tian ?, Tong Tan Tian ?. The seventh tone is for nasal and laryngeal sounds: Nai Ni Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?. The eighth tone is for dental sounds: Zou Zai Zu ?, Zi Zai Jiang ?, Cao Cai Qi ?, Cao Cai Quan ?. The last characters of the sixth, seventh, and eighth tones are all ?, indicating that these three categories of sounds have no "closed" position to establish. Under each of the four tones, the same pattern "●●●●" is used, meaning that the ninth tone's "entering sound" has no corresponding sound to take. On the right, "?????" represents the eleventh tone's "closed and clear" position, which also has no sound; the four tones that harmonize with it have corresponding characters: the first tone includes Duo Ke Ge She, He Hu Hua Ba, Kai Zai Ai ?, Hui Mei Tui ?; the second tone includes Liang Liang Xiang ?, Guang Guang Kuang ?, Ding Jing Gen ?, Xiong Yong Ying ?; the third tone includes Qian Dian Dan ?, Yuan Quan Ban ?, Chen Yin Gen ?, Jun Yun Xun ?; the fourth tone includes Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ??? Yu. Each line of four characters is arranged in the order of level, rising, falling, and entering tones, with ? indicating that the tone position exists but has no corresponding character. The two columns are presented side by side, clearly showing Shao Yong's intention: sounds have their missing tones, tones have their missing sounds, and only by marking all three situations—characters with positions, positions without characters, and positions that never existed—can the total number of harmonized sounds be accurately counted.

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

The left half continues with "Rush Sound Pinyin Lu San Zhi Jiú," singing from the ninth tone to the twelfth tone; the right half remains with "Closed Sound Clear Harmony Law San Zhi Shiyi," transitioning from the fifth tone to the eighth tone. The ninth tone is composed of "Si San Xing," "Si Shi Xiang," "□□□," and "□□□," with the last two lines unable to produce characters for "Kai, Fa, Shou," so three "□" are written consecutively; the tenth tone is "■ Shan Shou," "■ Shi Shi," "■ □ Er," and "■ □ Er," the eleventh tone is "■ Zhuang Zhen," "■ Zha □," "■ Cha Chi," and "■ Chong Chen," and the twelfth tone is "■ Zhuo Zhong," "■ Zhai Zhi," "■ Che Chou," and "■ Cha Cheng." In these three tones, the first and last characters are all "■," indicating that the correct teeth and tongue positions can only be established at the "Fa" and "Shou" positions. Below them, the same "●●●●" appears, still showing the absence of the ninth tone in the Rush Sound position. The fifth tone on the right is "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," and "Gui Shui Gui Bei," the sixth tone is "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," and "Wu Hu Tu ○," the seventh tone is "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," and "○○○ Jie," and by the eighth tone, all four lines are "●●●●," because the eighth, ninth, and tenth tones were originally empty positions with no sound in Shao Yong's tone chart, used only to complete the count of ten tones.

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

A new diagram begins with "The Tenth Tone's 'Entering Tone' Position" as the starting point, using the tenth tone's "entering tone" position to sing the twelve tones. The first two lines are the first and second tones. The four lines of the first tone are ancient Jia and ninth Gui, blank lines near揆,坤 and巧丘 and弃, and blank lines again for Qian and蚪. The four lines of the second tone are black flower, fragrant blood, yellow flower, strong virtue, five tiles,仰 and blank, and I's tooth, moon, and Yao. Among the four lines, the first and third lines belong to the clear category, while the second and fourth lines belong to the turbid category. The "□" positions still have tone positions but no characters can be provided. However, they are all paired with "●●●●". Since the tenth tone originally has no entering tone position, the leading chant is empty. On the right side, the ending of "The Closed Tone Clear Harmony Law Three of Eleven" is simultaneously presented: the eleventh tone's closed clear position is "■", used to harmonize with the ninth and tenth tones, and the four lines of these two tones are also all "●". This section is the most empty part of the entire diagram, filled with circles and blocks but with few characters. Shao Yong lists them all without any omission.

安亞乙一●●●● ■■■■多可個舌 三音 □爻壬寅●●●● 十二音 ■■■■禾火化八 十聲 母馬美米●●●● 一聲 ■■■■開宰愛○ 目貌眉民●●●● ■■■■回每退○ 夫法□飛●●●● ■■■■良兩向○ 四音 父凡□吠●●●● 十二音 ■■■■光廣況○ 十聲 武晚□尾●●●● 二聲 ■■■■丁井亙○ 文萬□未●●●● ■■■■兄永瑩○ 卜百丙必●●●● ■■■■千典旦○ 五音 步白備鼻●●●● 十二音 ■■■■元犬半○ 十聲 普撲品匹●●●● 三聲 ■■■■臣引艮○ 旁排平瓶●●●● ■■■■君允巽○ 東丹帝■●●●● ■■■■刀早孝嶽 六音 兌大弟■●●●● 十二音 ■■■■毛寶報霍 十聲 土貪天■●●●● 四聲 ■■■■牛斗奏六 同覃田■●●●● ■■■■○○○玉

Left half: "Rushantong" continues from the third tone to the sixth tone. The third tone is Anya Yi Yi, □ yao Renyin, mu ma mei mi, mu mao mei min (shadow analogy of brightness type). The fourth tone is Fu fa □ fei, fu fan □ fei, Wu wan □ wei, Wen wan □ wei (light lip type). The fifth tone is Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, pang pai ping ping (heavy lip type). The sixth tone is Dong dan Di ■, Dui da Di ■, Tu tan Tian ■, Tong tan Tian ■ (tongue type). The matching remains "●●●●", and the tenth tone of the entering tone has no sound to sing. Right half is led by "Biyin Qinghe Law Three Twelve": the twelfth tone's "Biyin Qing" position is "■", with no sound to establish, yet it still needs to harmonize with the ten tones of heaven. Here, it first harmonizes with the first tone (duo ke ge she, he huohua 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 four lines of tones follow the pattern of "Bi, Xi, Bi, Xi" alternately, meaning opening and closing mouth alternately; each line of four characters follows the order of level, rising, falling, and entering tones.

乃你女■●●●● ■■■■妻子四日 七音 內南年■●●●● 十二音 ■■■■衰○帥骨 十聲 老冷呂■●●●● 五聲 ■■■■○○○德 鹿犖離■●●●● ■■■■龜水貴北 走哉足■●●●● ■■■■宮孔眾○ 八音 自在匠■●●●● 十二音 ■■■■龍甬用○ 十聲 草采七■●●●● 六聲 ■■■■魚鼠去○ 曹才全■●●●● ■■■■烏虎兔○ 思三星■●●●● ■■■■心審禁○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■○○○妾

The left half sings up to the seventh, eighth, and ninth tones. The seventh tone is "Nai ni nv", "Nei nan nian", "Lao leng lv", "Lu luo li"; the eighth tone is "Zou zai zu", "Zi zai jiang", "Cao cao qi", "Cao cai quan"; the ninth tone is "Si san xing", "Si xiang xiang", "□□□", "□□□". The last character of each of the three tones is "■". The last two lines of the ninth tone are "□□□", and even the characters for opening, issuing, and closing cannot be found. These lines are still marked with "●●●●" because the tenth tone is silent in the入声 (entering tone) position. The right half is from "The Closed Sound Clear and Harmonious Law Three of Twelve," using "■" to harmonize with the fifth, sixth, and seventh tones. The fifth tone is "Zi qi si ri", "Shuai ○ shuai gu", "○○○ de", "Gui shui gui bei"; the sixth tone is "Gong kong zhong ○", "Long yong yong ○", "Yu shu qu ○", "Wu hu tu ○"; the seventh tone is "Xin shen jin ○", "○○○ shi", "Nan kan qian ○", "○○○ jie". In these three tones, the character "○" appears frequently, indicating that although the rhyme positions are complete, there were no characters available at that time to refer to. Shao Yong preferred to leave the spaces blank rather than invent characters to fill them.

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

The left half concludes with 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■), completing the "入声辟唱吕三之十" (Tenth of the Three in the Third of the Entering Tone Singing). These twelve tones are sung in full, still matching the empty position of the tenth tone "●●●●". The right half, "闭音清和律三之十二" (Twelfth of the Three in the Third of the Closed Tone Harmonious Law), also reaches the eighth, ninth, and tenth tones, and these three tones have four lines each marked "●". Thus, the entire passage is left with a black and white array of "■■■■●●●●". At this point, the two diagrams from "观物篇四十九" (Section 49 of the Observing Things Essay), "辰辰声入之三辟" (Three Exclusions of the Entering Tone in the Three of the Sounds) and "石石音闭之三清" (Three Clear Sounds in the Three of the Closed Tone), are fully listed: where there are characters, they are marked with the characters; where there is a position but no character, it is marked "○" or "□"; where there is no position, it is marked "●" or "■", with each square being clear and definite. Shao Yong did this because he was not calculating how a few characters were pronounced, but rather the total number of grids matching sound and tone in the universe; if the grid numbers were confused, the subsequent deduction of "声音之数" (the number of sounds and tones) would be completely ruined.

辰辰聲入翕 石石音閉濁 ○○○玉北 蚪堯民未瓶■ ○妾●●○ ■■■■■■

This is the heading and content of the first section of the "Observing Things" chapter fifty, with two columns read vertically. The left column is marked "Chen Chen Sheng Ru Xi," indicating the fourth line of the "Chen sound" within the heavenly sounds, which is placed in the entering tone category (Xi meaning closing the mouth). Below it, "O O O Yu Bei" and "O Qie · · O" represent the actual contents for the first to tenth tones in this category—the first, second, third, sixth, and tenth tones have positions but no characters, so they are marked with "O," the fourth tone has "Yu," the fifth tone has "Bei," and the seventh tone has "Qie," while the eighth and ninth tones have no tone positions, so they are marked with "·." The right column is marked "Shi Shi Yin Bi Zhu," indicating the fourth line of the "Shi sound" within the earthly sounds, which is placed in the closed tone category (Zhu meaning dull). "Yao Yao Min Wei Ping ·" and "· · · · · · ·" represent the contents for the first to twelfth tones in this category—the first tone has "Yao," the second tone has "Yao," the third tone has "Min," the fourth tone has "Wei," the fifth tone has "Ping," and the tones from the sixth to the twelfth have no tone positions, so they are marked with seven "·."

辰辰聲七，下唱地之 石石音五，上和天之 用音一百五十二，是 用聲一百一十二，是 謂入聲翕音。入聲翕 謂閉音濁聲。閉音濁 音一千六十四。 聲五百六十。

The original diagram is divided into two columns read vertically, while the source text is recorded horizontally by lines, so the two sentences are interwoven. Reading the left column continuously gives "Chen Chen Sheng Qi, Xia Chang Di Zhi Yong Yin Bai Wu Er, Shi Wei Ru Sheng Xi Yin. Ru Sheng Xi Yin Yi Qian Liu Shi Si." This means that there are seven usable heavenly sounds in the "Ru Sheng Xi" category, which are used to sing the 152 earthly sounds below, resulting in 7 multiplied by 152, which equals 1064, the total number of "Ru Sheng Xi Yin." Reading the right column continuously gives "Shi Shi Yin Wu, Shang He Tian Zhi Yong Sheng Bai Yi Er, Shi Wei Bi Yin Zhu Sheng. Bi Yin Zhu Sheng Wu Bai Wu Shi." This means that there are five usable earthly sounds in the "Bi Yin Zhu" category, which are used to harmonize with the 112 heavenly sounds above, resulting in 5 multiplied by 112, which equals 560, the total number of "Bi Yin Zhu Sheng." The 112 heavenly sounds are derived from the fact that among ten sounds, only the first seven are valid, and each of the seven sounds has four rows and four positions. The 152 earthly sounds are derived from the fact that each of the twelve sounds has four rows and four positions, totaling 192, minus the forty positions marked as "■" which are silent. All of Shao Yong's deductions are based on these two numbers.

辰辰聲入之四翕 石石音閉之四濁

This is the formal title for the following two diagrams: the left diagram takes the entry "Chen Chen Sheng" from the入声 (entering tone), fourth row, and the "Xi" (converging mouth) section; the right diagram takes the entry "Shi Shi Yin" from the闭音 (closed sound), fourth row, and the "Zhu" (muddy sound) section. Sound is divided into four rows, with the first and third rows being "Bi" (opening mouth), and the second and fourth rows being "Xi" (converging mouth). Sound is also divided into four rows, with the first and third rows being "Qing" (clear), and the second and fourth rows being "Zhu" (muddy). Therefore, "Ru Zi Si Xi" (entering tone's four converging mouths) and "Bi Zi Si Zhu" (closed sound's four muddy tones) refer specifically to the intersection point at the last row of each respective array.

古甲九癸○○○○ 蚪蚪蚪蚪多可個舌 一音 □□近揆○○○○ 一音 蚪蚪蚪蚪禾火化八 一聲 坤巧丘棄○○○○ 一聲 蚪蚪蚪蚪開宰愛○ □□乾蚪○○○○ 蚪蚪蚪蚪回每退○ 黑花香血○○○○ 蚪蚪蚪蚪良兩向○ 二音 黃華雄賢○○○○ 一音 蚪蚪蚪蚪光廣況○ 一聲 五瓦仰□○○○○ 二聲 蚪蚪蚪蚪丁井亙○ 吾牙月堯○○○○ 蚪蚪蚪蚪兄永瑩○ 安亞乙一○○○○ 蚪蚪蚪蚪千典旦○ 三音 □爻壬寅○○○○ 一音 蚪蚪蚪蚪元犬半○ 一聲 母馬美米○○○○ 三聲 蚪蚪蚪蚪臣引艮○ 目貌眉民○○○○ 蚪蚪蚪蚪君允巽○ 夫法□飛○○○○ 蚪蚪蚪蚪刀早孝嶽 四音 父凡□吠○○○○ 一音 蚪蚪蚪蚪毛寶報霍 一聲 武晚□尾○○○○ 四聲 蚪蚪蚪蚪牛斗奏六 文萬□未○○○○ 蚪蚪蚪蚪○○○玉

From here begins the main text of the "Observing Things Chapter Fifty." The left half is "First of the Four in the Rùshēng Xī Chàng Lǚ," which uses the "Rùshēng Xī" position of the first tone to sing the twelve tones; this position has sound but no characters, so the entire passage is written as "○○○○," with four circles corresponding to the four stages of sound: opening, developing, closing, and closing. First, the first tone is sung (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu), the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo), the third tone (Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín), and the fourth tone (Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi, Wén Wàn □ Wèi). The right half is "First of the Four in the Bìyīn Zhú Hé Lǜ," which uses the "Bìyīn Zhú" position of the first tone to harmonize with ten tones; this position has characters, namely "tóu," so the four stages are written as "tóu tóu tóu tóu." First, the first tone is harmonized (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 Gèn ○, Xióng Yǒng Yíng ○), the third tone (Qiān Diǎn Dàn ○, Yuán Quǎn Bàn ○, Chén Yǐn Gèn ○, Jūn Yǔn Xùn ○), and the fourth tone (Dāo Zǎo Xiào Yuè, Máo Bǎo Bào Huò, Niú Dòu Zòu Liù, ○○○ Yù). The singer on the left is empty, and the harmonizer on the right has characters; one empty and one full side by side, precisely forming the pattern of "sound sings its tune, tone harmonizes its law."

卜百丙必○○○○ 蚪蚪蚪蚪妻子四日 五音 步白備鼻○○○○ 一音 蚪蚪蚪蚪衰○帥骨 一聲 普撲品匹○○○○ 五聲 蚪蚪蚪蚪○○○德 旁排平瓶○○○○ 蚪蚪蚪蚪龜水貴北 東丹帝■○○○○ 蚪蚪蚪蚪宮孔眾○ 六音 兌大弟■○○○○ 一音 蚪蚪蚪蚪龍甬用○ 一聲 土貪天■○○○○ 六聲 蚪蚪蚪蚪魚鼠去○ 同覃田■○○○○ 蚪蚪蚪蚪烏虎兔○ 乃你女■○○○○ 蚪蚪蚪蚪心審禁○ 七音 內南年■○○○○ 一音 蚪蚪蚪蚪○○○十 一聲 老冷呂■○○○○ 七聲 蚪蚪蚪蚪男坎欠○ 鹿犖離■○○○○ 蚪蚪蚪蚪○○○妾

The left half continues with the fifth tone (Bubai 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 Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?), all still singing the first tone's unmarked entering tone pattern "○○○○". The right half continues using the first tone's closed and浊 (obscure) position "蚪" to match 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 ?, ? ? ? Qie). In the second line of the fifth tone, "Shuai ? Shuai Gu" lacks a rising tone character; in the third line, " ? ? ? De" only retains one entering tone character. Similarly, in the second line of the seventh tone, " ? ? ? Shi" and the fourth line, " ? ? ? Qie," only have characters in the entering tone. All these missing characters are recorded with "○" without being filled in with other characters, ensuring that the number of available tones does not become artificially inflated.

走哉足■○○○○ 蚪蚪蚪蚪●●●● 八音 自在匠■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 草采七■○○○○ 八聲 蚪蚪蚪蚪●●●● 曹才全■○○○○ 蚪蚪蚪蚪●●●● 思三星■○○○○ 蚪蚪蚪蚪●●●● 九音 寺□象■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 □□□■○○○○ 九聲 蚪蚪蚪蚪●●●● □□□■○○○○ 蚪蚪蚪蚪●●●● 翻山手■○○○○ 蚪蚪蚪蚪●●●● 十音 ■士石■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 ■□耳■○○○○ 十聲 蚪蚪蚪蚪●●●● ■□二■○○○○ 蚪蚪蚪蚪●●●●

The left half sings the eighth tone (Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan), the ninth tone (Si San Xing, Si Xiang Xiang, empty, empty), and the tenth tone (Shan Shou, Shi Shi Shi, Er Er Er, Er Er Er), and what is sung remains the empty position of the first tone "○○○○". The right half uses the character "蚪" from the first tone to harmonize with the eighth, ninth, and thirteenth tones, but these three tones and four lines are all silent, so they are all written as "蚪蚪蚪蚪●●●●"—there is sound but no voice, yet the grid is still listed. The first line of the tenth tone's original print reads "Fan Shan Shou", and "Fan" clearly is a homonym for "■" due to similar characters. Now, the original character is still recorded without any changes. This passage most clearly shows Shao Yong's method in creating the diagram: regardless of whether the sung sound has a character or the harmonized sound has a position, all four lines and four grids are not omitted, and different symbols are used to distinguish between "having a position but no character" and "originally having no position." Only in this way does the number mentioned earlier—"using sounds of 112 and using tones of 152"—match up.

■莊震■○○○○ 堯堯堯堯多可個舌 十一音 ■乍□■○○○○ 二音 堯堯堯堯禾火化八 一聲 ■叉赤■○○○○ 一聲 堯堯堯堯開宰愛○ ■崇辰■○○○○ 堯堯堯堯回每退○ ■卓中■○○○○ 堯堯堯堯良兩向○ 十二音 ■宅直■○○○○ 二音 堯堯堯堯光廣況○ 一聲 ■拆丑■○○○○ 二聲 堯堯堯堯丁井亙○ ■茶呈■○○○○ 堯堯堯堯兄永瑩。

The left half completes the singing of "入声翕唱吕四之一" with the eleventh tone (庄震, 乍□, 叉赤, 崇辰) and the twelfth tone (卓中, 宅直, 拆丑, 茶呈), totaling twelve tones in four lines with forty-eight grids, and the corresponding position throughout is the empty "入声翕" position of the first tone "○○○○". The right half begins with "闭音浊和律四之二": the "闭音浊" position of the second tone has a character, "尧", so it is written as "尧尧尧尧". It first harmonizes with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○) and the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○). The last line "尧尧尧尧兄永莹." ends with a dot, which is an error in the original text. Following the common practice in the preceding diagrams, this position should be "○", indicating that the "入声" position of the fourth line of the second tone has sound but no character. However, following the original text, readers should interpret it as "○".

古甲九癸○○○○ 堯堯堯堯千典旦○ 一音 □□近揆○○○○ 二音 堯堯堯堯元犬半○ 二聲 坤巧丘棄○○○○ 三聲 堯堯堯堯臣引艮○ □□乾蚪○○○○ 堯堯堯堯君允巽○ 黑花香血○○○○ 堯堯堯堯刀早孝嶽 二音 黃華雄賢○○○○ 二音 堯堯堯堯毛寶報霍 二聲 五瓦仰□○○○○ 四聲 堯堯堯堯牛斗奏六 吾牙月堯○○○○ 堯堯堯堯○○○玉 安亞乙一○○○○ 堯堯堯堯妻子四日 三音 □爻王寅○○○○ 二音 堯堯堯堯衰○帥骨 二聲 母馬美米○○○○ 五聲 堯堯堯堯○○○德 目貌眉民○○○○ 堯堯堯堯龜水貴北 夫法□飛○○○○ 堯堯堯堯宮孔眾○ 四音 父凡□吠○○○○ 二音 堯堯堯堯龍甬用○ 二聲 武晚□尾○○○○ 六聲 堯堯堯堯魚鼠去○ 文萬□未○○○○ 堯堯堯堯烏虎兔○

The left half is led by "Rusheng Xi Chang Lü Si Zhi Er" with the singing of the second tone's rusheng position, which has sound but no characters, marked as "○○○○". It is sung in sequence as the first tone (Gujia Jiu Gui, □□Jin 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 Wang Yin, Mu Ma Mei Mi, Mu Mao Mei Min), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). In the phrase "Wang" in "□ Yao Wang Yin", it is usually written as "Ren" in other diagrams, but here it is a form error in the original text, and it is still recorded as is. The right half, "Biyan Zhu He Lu Si Zhi Er", continues with "Yao" to harmonize the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), and the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The left column is sung without characters, while the right column is harmonized with characters, creating a contrast between empty and filled spaces within a single diagram. Shao Yong created this diagram not to examine pronunciation and distinguish characters, but to determine the number of positions where sounds correspond to the heavens and the earth. Therefore, positions with characters are listed with characters, positions with a place but no characters are listed with circles, and positions without a place are listed with blocks; these three should never be mixed.

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

Critical: The output must be English prose. Do NOT rewrite the text in Chinese. Do NOT paraphrase it in Chinese. Every sentence you write must be in English. Heavenly Stems: Jia = Jia, Yi = Yi, Bing = Bing, Ding = Ding, Wu = Wu, Ji = Ji, Geng = Geng, Xin = Xin, Ren = Ren, Gui = Gui Earthly Branches: Zi = Zi, Chou = Chou, Yin = Yin, Mao = Mao, Chen = Chen, Si = Si, Wu = Wu, Wei = Wei, Shen = Shen, You = You, Xu = Xu, Hai = Hai Trigrams: Qian = Qian (Heaven), Dui = Dui (Lake), Li = Li (Fire), Zhen = Zhen (Thunder), Xun = Xun (Wind), Kan = Kan (Water), Gen = Gen (Mountain), Kun = Kun (Earth) Glossary: Shao Yong = Shao Yong Left half continues with the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■), eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■). The leading tone still remains on the second tone, which is the empty entry for the entering tone. The last positions of the sixth, seventh, and eighth tones are all marked as ■, indicating that the tongue, nasal, and dental sounds cannot sustain sound at the "closed" position. On the right half, "Closed Sound浊和律四之二" first harmonizes with the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie), where the second and fourth lines only have characters in the entering tone, while the level and rising tones are empty; then it proceeds to harmonize with the eighth, ninth, and thirteenth tones, but all four lines of these three tones are completely empty, hence written as "Yao Yao Yao Yao ●●●●". Even if there is a sound but no corresponding tone to harmonize with, it must still be listed, which is exactly where Shao Yong differs from ordinary rhyme charts: rhyme charts only record actual existing sounds, while Shao Yong distinguishes between two types of missing entries, allowing each of the ten tones and twelve sounds to have four lines and four positions, ensuring the total number remains consistent. When combining both columns, the left side is one tone singing twelve sounds, while the right side is one sound harmonizing with ten tones, one vertical and one horizontal, interweaving to form a complete chart of the harmonious relationship between heaven and earth's sounds.

思三星■○○○○ 民民民民多可個舌 九音 寺□象■○○○○ 三音 民民民民禾火化八 二聲 □□□■○○○○ 一聲 民民民民開宰愛○ □□□■○○○○ 民民民民回每退○ ■山手■○○○○ 民民民民良兩向○ 十音 ■士石■○○○○ 三音 民民民民光廣況○ 二聲 ■□耳■○○○○ 二聲 民民民民丁井亙○ ■□二■○○○○ 民民民民兄永瑩○ ■莊震■○○○○ 民民民民千典旦○ 十一音 ■乍□■○○○○ 三音 民民民民元犬半○ 二聲 ■叉赤■○○○○ 三聲 民民民民臣引艮○ ■崇辰■○○○○ 民民民民君允巽○ ■卓中■○○○○ 民民民民刀早孝嶽 十二音 ■宅直■○○○○ 三音 民民民民毛寶報霍 二聲 ■拆丑■○○○○ 四聲 民民民民牛斗奏六 ■茶呈■○○○○ 民民民民○○○玉

The left half of "入声翕唱吕四之二" sings the ninth tone (思三星■, 寺□象■, □□□■, □□□■), the tenth tone (■山手■, ■士石■, ■□耳■, ■□二■), the eleventh tone (■庄震■, ■乍□■, ■叉赤■, ■崇辰■), and the twelfth tone (■卓中■, ■宅直■, ■拆丑■, ■茶呈■). After singing these twelve tones, the leader always sings the second tone, which is a tone without a character, the "入声翕格" "○○○○". Among these sixteen grids, the character "■" occupies ten grids, showing that as one approaches the correct teeth and the palate, the number of distinct phonetic positions decreases. The right half begins with "闭音浊和律四之三": the third tone has a character in the closed and浊 position, which is "民", so it is repeated as "民民民民" to harmonize with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○), the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○), the third tone (千典旦○, 元犬半○, 臣引艮○, 君允巽○), and the fourth tone (刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉). Each line of the tones consists of four characters, taking the level, rising, falling, and entering tones, which correspond to the sky's day, moon, stars, and constellations. Each line of the sounds consists of four characters, taking the open, initial, closing, and closed sounds, which correspond to the earth's water, fire, earth, and stone. Shao Yong assigns tones to the sky and sounds to the earth. The singer is the "律" and the harmonizer is the "吕". The principle of matching sound and tone lies in these two groups of four positions.

古甲九癸○○○○ 民民民民妻子四日 一音 □□近揆○○○○ 三音 民民民民衰○帥骨 三聲 坤巧丘棄○○○○ 五聲 民民民民○○○德 □□乾蚪○○○○ 民民民民龜水貴北 黑花香血○○○○ 民民民民宮孔眾○ 二音 黃華雄賢○○○○ 三音 民民民民龍甬用○ 三聲 五瓦仰□○○○○ 六聲 民民民民魚鼠去○ 吾牙月堯○○○○ 民民民民烏虎兔○ 安亞乙一○○○○ 民民民民心審禁○ 三音 □爻壬寅○○○○ 三音 民民民民○○○十 三聲 母馬美米○○○○ 七聲 民民民民男坎欠○ 目貌眉民○○○○ 民民民民○○○妾

The left half is now led by "Rusheng Xi Chang Lv Si Zhi San": the third tone's rusheng position still has sound without characters, marked as "○○○○". First, the first tone is sung: (Ancient Jia Jiu Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu), second tone: (Black flower fragrance blood, Yellow flower strong virtuous, Wu Wa Yang □, Wu Ya Yue Yao), third tone: (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min). Among the four lines of the first tone, "Ancient Jia Jiu Gui" and "Kun Qiao Qiu Qi" belong to the clear category, while "□□ near揆" and "□□ Qian Tu" belong to the turbid category. Since there are no characters for the turbid lines at the opening and development positions, they are both written as "□□". The right half remains "Biyin Zhu He Lv Si Zhi San", using "Min" to harmonize with the fifth tone (wife son four days, decline ○ general bone, ○○○ virtue, turtle water noble north), sixth tone (palace hole crowd ○, dragon yong use ○, fish rat go ○, bird tiger rabbit ○), seventh tone (heart review prohibition ○, ○○○ ten, male Kan Qian ○, ○○○妾). The seventh tone is the last of the ten tones that actually have sound. Beyond these three tones, all positions become empty.

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

The left half continues with the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), all still matching the third tone's empty circle. The fourth tone belongs to the light lip sounds, and the third character in each of the four lines is marked as □, meaning that there are positions beneath "Fa," "Fan," "Wan," and "Wan" but no characters can be cited. The sixth tone belongs to the tongue sounds, and the last character in each of the four lines is marked as ■, indicating that there are no phonetic positions at all. The right half of "Closed Tone Heavy Harmony Law Four, Part Three" harmonizes up to the eighth, ninth, and thirteenth tones. These three tones have no sounds in all four lines, so they are all written as "Min Min Min Min ● ● ● ●." By this point, the third tone's "Min" has harmonized through ten tones and forty positions, of which only the first seven tones and twenty-eight positions actually have sounds that can be harmonized, while the remaining twelve positions are empty—this is the origin of "Heaven's use of sound is one hundred and twelve": among ten tones, only the first seven are selected, and each of the seven tones has four lines with four positions, totaling exactly one hundred and twelve.

乃你女■○○○○ 未未未未多可個舌 七音 內南年■○○○○ 四音 未未未未禾火化八 三聲 老冷呂■○○○○ 一聲 未未未未開宰愛○ 鹿犖離■○○○○ 未未未未回每退○ 走哉足■○○○○ 未未未未良兩向○ 八音 自在匠■○○○○ 四音 未未未未光廣況○ 三聲 草采七■○○○○ 二聲 未未未未丁井亙○ 曹才全■○○○○ 未未未未兄永瑩○ 思三星■○○○○ 未未未未千典旦○ 九音 寺□象■○○○○ 四音 未未未未元犬半○ 三聲 □□□■○○○○ 三聲 未未未未臣引艮○ □□□■○○○○ 未未未未君允巽○

The left half sings the seventh tone (you female, inner southern year, old cold Lü, deer Luo Li), the eighth tone (walk zai foot, free self craftsman, grass collection seven, Cao Cai Quan), and the ninth tone (think three stars, temple image, blank blank blank, blank blank blank). The leader still sings the third tone with an empty circle. The last two lines of the ninth tone, "blank blank blank," indicate that these tones have no characters in the open, development, and closure positions, and even the closure position has no sound. The right half starts with "Closed Tones and Heavy Harmony Law Four of Four": the fourth tone has characters in the closed heavy position, which is "wei," "wei wei wei wei" first tone (multi possible individual tongue, millet fire transformation eight, open slaughter love circle, return every retreat circle), second tone (good two direction circle, light broad condition circle, Ding well constant circle, elder Yong Ying circle), third tone (thousand classic dawn circle, yuan dog half circle, minister lead mountain circle, king allow wind circle). In each line of these three tones, the fourth character is mostly "circle," indicating that the entering tone position exists but has no character; only the first tone's first line "multi possible individual tongue" has all four characters complete, which can be regarded as a model for the entire diagram.

■山手■○○○○ 未未未未刀早孝嶽 十音 ■士石■○○○○ 四音 未未未未毛寶報霍 三聲 ■□耳■○○○○ 四聲 未未未未牛斗奏六 ■□二■○○○○ 未未未未○○○玉 ■莊震■○○○○ 未未未未妻子四日 十一音 ■乍□■○○○○ 四音 未未未未衰○帥骨 三聲 ■叉赤■○○○○ 五聲 未未未未○○○德 ■崇辰■○○○○ 未未未未龜水貴北 ■卓中■○○○○ 未未未未宮孔眾○ 十二音 ■宅直■○○○○ 四音 未未未未龍甬用○ 三聲 ■拆丑■○○○○ 六聲 未未未未魚鼠去○ ■茶呈■○○○○ 未未未未烏虎兔○

The left half completes the singing of "Rushang Xi Chang Lü Si Zhi San" with the tenth tone (mountain hand, scholar stone, empty ear, empty two), the eleventh tone (zhang zhen, zha empty, cha red, chong chen), and the twelfth tone (zhuo zhong, zhai zhi, che chou, cha cheng). Each line of these three tones begins and ends with "■", but only the "fa" and "shou" positions have characters, such as "shanshou", "shishi", "zhangzhen", "zhuozhong", which accurately reflect the actual sounds of the correct dental and retroflex sounds in the Song dynasty. The right half, "Biyin Zhu He Lu Si Zhi Si", uses "wei" to harmonize with the fourth tone (dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu), the fifth tone (zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei), and the sixth tone (gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○). In the fourth tone's fourth line, "○○○ yu" contains only the entering tone character "yu," which is exactly the character selected for the fourth tone in the section "Chen Chen Sheng Ru Xi." This shows that the value table at the beginning of the chart and the main chart are interdependent.