邵子曰∶律感吕而声生，吕感律而音生。故声为律，律为阳，律有辟翕；音为吕，吕为
阴，吕有唱和。律随天而变，吕随地而化。辟随阳而出，翕随阴而入；唱随刚而上，和随柔
而下。然后律吕随声音，宫征羽角之道，各得其正矣。伊芳川先生曰∶一辟一翕而平上去入
备，一唱一和而开发收闭备；平上去入备而万声生，开发收闭备而万音生。故康节以二百
六十四字母，总括律吕声音之数，其内用一百五十二字括音，一百十二字括声，音与声互
相翻切，各得一万七千二十四音声。音为母，声为韵；音分唇舌牙齿喉，声分平上去入；
音辨开发收闭，声别内外八转，而音声之道尽之矣。
候气之说，古之所无，埋管飞灰以候十二月之气，不经之谈也，学人感之久矣，自宋元
以来，诸儒皆未尝辨论，近赖本朝二三儒臣，渐得辨明，今采其略，以解后世之疑，或有不无
少补者。按王氏家藏集曰∶天地之气，有升有降。天气降，地气升，则达而为阳；天气升，地
气降，则闭而为阴。时之寒暑，其气也，日之进退，其机也，气无微不入者也，达即不可御
矣，岂拘拘于九寸之间哉？岂胶固留滞于方寸之差而月余始达以应耶？若曰夏至以前阳
律应，冬至以前阴律应，是一岁之中，阴阳皆上升而不下降矣，天下古今，安有是理？故曰
谬幽之说也。又按刘氏乐经元义曰∶六律为阳，阳数九而始于子，故黄钟象阳，以次而短，
至无射而极；六吕为阴，阴数六而始于未，故林钟象阴，以次而短，至仲吕而极。此十二律
取象取义于十二月之微旨也。后世既不识月令肇造之原，又不识圣王造律简易之心，遂以
十二律为神物，真可以通天地而合神明。及考其法，皆极为不通，然后知其非圣人之制也。
夫一岁之气，有升有降，天气上升，地气下降，闭塞而为阴。秋冬之事也，升者上，降者下，埋
管于地，将谁候乎？天气下降，地气上升，畅达而为阳，春夏之事也，氤氲两间，发育万物，
地下无气不可候矣，气无微而不入者也，十二管飞则皆飞，不飞则皆不飞。若曰冬至动黄
钟，夏至动蕤宾，其余皆以辰位应动不爽，是气为有知，择管而入，管为有知，择气而施，
天下古今有是理乎？其说始于张苍定律，推五胜之法，京房刘歆又傅会以五行幽谬之术，
大叛于先王之教也。又按何氏乐律管见曰∶律吕本为正五音而设，候气其用之一端耳。或
问∶古有十二律管候气之法，其理何如？曰∶此相传之讹也。候气止用黄钟之管，候子月冬
至之气，余月则否。何以知之？盖古法占候，恒在岁始，冬至盖阳生之始也，气在地中，且
无形可见，故以黄钟之管候之。当冬至之日，气至灰飞，则气节相应，是为和平；若气至灰
飞在冬至之前，或在其后，则为太过不及，于是乎有占，与冬至登台望云物以占吉凶，盖同
一意也。若谓余月皆候，则丑月阳气未出地中，候之犹可；寅月以后，阳月已出地上，又何
候乎？况午月以后，阳气皆自上降下，又安有飞灰之理？然则谓十二月皆以律管候气者非
也，其为相传之谬无疑矣。
郑世子曰∶候气之说，六经不载，即邹衍吹律生黍，京房吹律知姓，亦无吹灰之说。或
谓始于蔡邕，然邕月令章句，但云律，率也，率公之管也，截竹为管谓之律。律者，清浊之率
法也。声之清浊，以律长短为制，亦为按月奏乐言也。前汉志言律甚详，但云律吕唱和，以育
生成化，歌奏用焉而已，初无吹灰之说。吹灰之说，其始于后汉乎？光武以 兴，命解经从
，汉儒遵时制，不得不然也。隋唐以后，疏家递相祖述，而遂为定论矣。按后汉、晋、隋志
所载候气之法，各有异同。既云以木为案，加律其上；又云埋之，上与地平；又云置于案
上而以土埋之，上平于地。此置律有浅深高下，其说不一也。既云以葭莩灰抑其内端，气
至者灰去；又云以竹莩灰实律中，以罗KT 复律口，气至吹灰动KT ，而有小动、大动、不动三
说；又云灰飞冲素散出于外，而气应有早晚，灰飞有多少。其说又不一也。总似道听途说，
而未尝试验耳。又如后齐信都芳，埋轮扇以测二十四气，尤为虚诞。孟子曰∶尽信书，则不
如无书。儒家以格物穷理为要务，乃被无稽之辞欺惑千载而未能觉，则格物致知之学安在
哉？（率音律，率之正体，约数也。）
邵雍说：律管感应吕管而发出声音，吕管感应律管而产生音。所以“声”对应于律，“律”属于阳，律管有开启（辟）和闭合（翕）的变化；“音”对应于吕，“吕”属于阴，吕管有主唱（唱）和应和（和）的关系。律随天象变化而变化，吕随地势演化而转化。开启随阳气而出，闭合随阴气而入；主唱随刚健而上扬，应和随柔顺而下沉。这样，律和吕随着声音的规律，宫、徵、羽、角五音之道，各自得到其正位了。伊芳川先生说：一次开启一次闭合，平、上、去、入四声就完备了；一次主唱一次应和，开、发、收、闭四种发音状态就完备了。平上去入四声完备则万种声音产生，开发收闭四种状态完备则万种音调产生。所以康节先生（邵雍）用二百六十四个字母，总括律、吕、声、音的数量，其中用一百五十二个字概括“音”，用一百一十二个字概括“声”，音与声互相翻切（反切注音法），各得出一万七千零二十四种音声组合。音作为母音，声作为韵母；音分为唇、舌、齿、牙、喉五类，声分为平、上、去、入四类；音辨别开、发、收、闭，声辨别内、外八转，这样音声的道理就穷尽了。
关于候气（通过观察节气变化来验证律管共振）的说法，古代是没有的。埋置律管并观察葭莩灰飞扬以探测十二月节气的方法，是不合常理的言论，学者们对此感到困惑已久。自宋元以来，各位儒家学者都没有加以辨析论证，近来依靠本朝几位儒臣的努力，逐渐得以辨明。现在摘录其中的要点，以解除后世的疑惑，或许会有少许补益。查阅王氏家藏集记载：天地之气，有上升也有下降。天气下降，地气上升，则通达而为阳；天气上升，地气下降，则闭塞而为阴。时令的寒暑，是气的表现；日行的进退，是气的机理。气没有细微到不能进入的地方，通达之时是不可阻挡的，难道会拘泥于九寸长的律管之间吗？难道会胶着固滞于方寸之差，而要经过一个多月才到达以应验节气吗？如果说夏至以前阳律应验，冬至以前阴律应验，那么一年之中，阴阳都只上升而不下降了，天下古今，哪有这种道理？所以说这是荒谬幽暗的说法。又查阅刘氏《乐经元义》记载：六律为阳，阳数为九且始于子月，所以黄钟象征阳，依次变短，直到无射达到极致；六吕为阴，阴数为六且始于未月，所以林钟象征阴，依次变短，直到仲吕达到极致。这十二律取象取义于十二个月的微妙旨意。后世既不了解月令创制的本源，又不了解圣王制定律吕简易的心意，于是把十二律当作神物，认为真可以沟通天地、契合神明。等到考察其方法，都极为不通，然后才知道这不是圣人的制度。一年的气，有升有降，天气上升，地气下降，闭塞而为阴，这是秋冬的事。上升者向上，下降者向下，把管子埋在地下，将用来候测什么气呢？天气下降，地气上升，通畅达而为阳，这是春夏的事，氤氲弥漫于天地之间，发育万物，地下没有气可候了，气没有细微到不进入的地方，十二根管子如果飞动则全都飞动，不飞动则全都不飞动。如果说冬至时黄钟律管动，夏至时蕤宾律管动，其余月份都按地支时辰位置相应而动，不差毫厘，那是气有知觉，选择管子进入；管子有知觉，选择气而施加反应，天下古今有这样的道理吗？这种说法始于张苍制定律吕，推演五行相胜之法，京房、刘歆又附会于五行幽暗荒谬之术，大大违背了先王的教化。又查阅何氏《乐律管见》记载：律吕本来是为了校正五音而设立的，候气只是其用途的一个方面罢了。有人问：古代有十二律管候气的方法，其原理是什么？回答说：这是相传的错误。候气只用黄钟之管，候测子月冬至的气，其他月份则不然。怎么知道的呢？因为古法占卜候测，常在岁首进行，冬至是阳气初生的开始，气在地中，而且无形可见，所以用黄钟之管来候测。在冬至那天，气至而灰飞，则气节相应，这是和平的状态；如果气至灰飞在冬至之前或之后，则是太过或不及，于是有了占断，这与冬至登台观察云物以占吉凶，大概是一样的用意。如果说其他月份都候测，那么丑月阳气尚未出地中，候测还可以；寅月以后，阳月已出地上，还候测什么呢？况且午月以后，阳气皆自上而降下，又哪里有飞灰的道理？然而说十二月都用律管候气的人是不对的，这无疑是相传的谬误。
郑世子说：候气的说法，六经中没有记载，即使是邹衍吹律生黍、京房吹律知姓，也没有吹灰的说法。有人说始于蔡邕，然而蔡邕在《月令章句》中只说“律”是“率”（标准/法则），“率”是公用的管子，截竹为管叫做律。“律”，是清浊的标准法则。声音的清浊，由律管的长短来制约，这也是按月演奏音乐而言的。前汉志对律的记载很详细，只说律吕唱和，用以孕育生成化育，用于歌唱演奏罢了，起初并没有吹灰的说法。吹灰的说法，大概始于后汉吧？光武帝中兴，命令解缙等人参与，汉代儒者遵循当时的制度，不得不如此。隋唐以后，注疏家代代沿袭，于是成为定论了。查阅后汉、晋、隋志所载的候气方法，各有异同。有的说用木案，把律管加在上面；有的说埋起来，上面与地平齐；有的说置于案上而以土掩埋，上面与地平齐。这放置律管有浅深高下不同，说法不一。有的说用葭莩灰堵塞管内端，气至则灰去；有的说用竹莩灰充实律管中，用罗纱覆盖律口，气至吹动灰和罗纱，而有小动、大动、不动三种说法；有的说灰飞冲散素色散布于外，而气应有早晚，灰飞有多少。这些说法又不一。总之像是道听途说，而没有曾经试验过。又如后齐的信都芳，埋置车轮扇叶以测二十四气，尤为虚妄荒诞。孟子说：完全相信书，那还不如没有书。儒家以格物穷理为要务，却被无根据的言辞欺骗千年而不能觉悟，那么格物致知的学问在哪里呢？（“率”音同“律”，是“率”的正体字，意为约数/准则。）
Shao Yong said: The Lu (lyre/pitch-pipe) induces the Lv (pitch-pipe) to produce Sheng (sound), and the Lv induces the Lu to produce Yin (tone). Therefore, Sheng corresponds to Lv; Lv belongs to Yang, characterized by opening (Bi) and closing (Xi); Yin corresponds to Lu; Lu belongs to Yin, characterized by leading (Chang) and responding (He). Lv changes with Heaven, while Lu transforms with Earth. Opening follows Yang to emerge, closing follows Yin to enter; leading follows Rigidity to ascend, responding follows Softness to descend. In this way, Lv and Lu follow the patterns of sound, and the principles of Gong, Zhi, Yu, and Jue (pentatonic notes) each attain their proper position. Mr. Yifangchuan stated: One opening and one closing complete the four tones (Ping, Shang, Qu, Ru); one leading and one responding complete the four articulatory states (Kai, Fa, Shou, Bi). With the four tones complete, ten thousand sounds arise; with the four articulatory states complete, ten thousand tones arise. Thus, Kongjie (Shao Yong) used 264 letters to summarize the numbers of Lv, Lu, Sheng, and Yin. Among them, 152 characters encompass Yin, and 112 characters encompass Sheng. Yin and Sheng mutually undergo Fanqie (a method of spelling Chinese characters), yielding 17,024 combinations of sound and tone. Yin serves as the initial consonant (mother), and Sheng serves as the final vowel (rhyme); Yin is divided into Labial, Dental, Lingual, Palatal, and Guttural categories; Sheng is divided into Level, Rising, Departing, and Entering categories; Yin distinguishes between Opening, Expanding, Closing, and Retaining; Sheng distinguishes between Internal and External eight transformations. Thus, the principles of sound and tone are fully exhausted.
The theory of Houqi (waiting for Qi to verify pitch-pipes) did not exist in ancient times. The practice of burying pitch-pipes and observing the flying ash of reed membranes to detect the Qi of the twelve months is an unorthodox claim that has long puzzled scholars. Since the Song and Yuan dynasties, various Confucian scholars have not debated or clarified it. Recently, thanks to a few Confucian ministers of our dynasty, it has gradually been clarified. I now excerpt the essentials to resolve doubts for later generations, hoping it may offer some minor benefit. According to Wang's Family Collection: The Qi of Heaven and Earth ascends and descends. When Heavenly Qi descends and Earthly Qi ascends, they communicate and become Yang; when Heavenly Qi ascends and Earthly Qi descends, they close and become Yin. Seasonal cold and heat are manifestations of Qi; the advancement and retreat of the sun are the mechanisms of Qi. Qi penetrates even the minutest spaces; when communicating, it cannot be resisted. How could it be confined within nine-cun pitch-pipes? How could it be stuck in square-inch differences, taking over a month to arrive and correspond to solar terms? If one says that Yang Lv responds before Summer Solstice and Yin Lv responds before Winter Solstice, then throughout the year, Yin and Yang only ascend and never descend. Is there any such logic in heaven and earth throughout history? Thus, it is called a absurd and obscure theory. Furthermore, Liu's *Yuan Yi of Music Classic* states: The Six Lv are Yang, with the number nine starting from Zi month; thus, Huangzhong symbolizes Yang, shortening sequentially until Wuyi reaches the extreme. The Six Lu are Yin, with the number six starting from Wei month; thus, Linzhong symbolizes Yin, shortening sequentially until Zhonglv reaches the extreme. This is the subtle meaning behind the Twelve Pitch-Pipes corresponding to the Twelve Months. Later generations, failing to understand the origin of the Monthly Ordinances and the simple intent of Sage Kings in creating pitch-pipes, treated the Twelve Pitch-Pipes as divine objects capable of connecting Heaven and Earth and harmonizing with Spirits. However, upon examining their methods, they are extremely illogical, revealing they were not the creations of Sages. The Qi of a year ascends and descends. When Heavenly Qi ascends and Earthly Qi descends, closing becomes Yin—this is Autumn and Winter. Ascending goes up, descending goes down; if pipes are buried underground, what Qi can be awaited? When Heavenly Qi descends and Earthly Qi ascends, communicating becomes Yang—this is Spring and Summer. Misty and humid, nurturing all things, there is no Qi underground to await. Qi penetrates everything; if twelve pipes fly, they all fly; if not, none fly. If one claims that at Winter Solstice Huangzhong moves, and at Summer Solstice Ruibin moves, and others move according to earthly branches without error, it implies Qi has consciousness to choose pipes, and pipes have consciousness to choose Qi. Is there such logic in history? This theory began with Zhang Cang establishing pitch-pipes and deducing the Five Elements overcoming cycle; Jing Fang and Liu Xin further attached it to the obscure and erroneous arts of Five Elements, greatly betraying the teachings of former Kings. He's *Glimpse of Music and Pitch-Pipes* states: Lv and Lu were originally established to correct the Five Tones; Houqi is merely one application. Question: What is the principle of the ancient method of using twelve pitch-pipes for Houqi? Answer: This is a transmitted error. Houqi uses only the Huangzhong pipe to await the Qi of Zi month (Winter Solstice); other months do not. Why? Ancient divination was always done at the year's start. Winter Solstice is the beginning of Yang generation. Qi is underground and invisible, so Huangzhong is used. On Winter Solstice day, if Qi arrives and ash flies, the solar term corresponds, indicating harmony; if ash flies before or after Winter Solstice, it indicates excess or deficiency, allowing for divination, similar to observing clouds on the terrace at Winter Solstice to predict fortune. If other months were also awaited, Qi in Chou month had not yet emerged from the ground, so awaiting was possible; but after Yin month, Yang Qi is already above ground, what is there to await? Moreover, after Wu month, Yang Qi descends from above, so how could ash fly? Therefore, claiming all twelve months use pitch-pipes for Houqi is incorrect; it is undoubtedly a transmitted fallacy.
Crown Prince Zheng stated: The theory of Houqi is not recorded in the Six Classics. Even stories of Zou Yan blowing pitch-pipes to grow millet or Jing Fang blowing pitch-pipes to know surnames contain no mention of blowing ash. Some say it started with Cai Yong, but in his *Commentary on Monthly Ordinances*, he only said "Lv" means "Lu" (standard/rule), which refers to public pipes made by cutting bamboo. "Lv" is the standard for clear and muddy tones. The clarity and muddiness of sound are regulated by the length of Lv pipes, referring to playing music by month. The *Book of Han* details Lv extensively, stating only that Lv and Lu lead and respond to nurture creation, used in singing and performance, with no initial mention of blowing ash. Did blowing ash begin in the Later Han? Emperor Guangwu restored the dynasty, ordering scholars like Xie Jing to participate; Han Confucians followed contemporary systems, inevitably doing so. After Sui and Tang, commentators successively inherited these views, making them dogma. Records in the histories of Later Han, Jin, and Sui regarding Houqi methods vary. Some say placing pipes on wooden tables; some say burying them level with the ground; some say placing them on tables and burying them level with the ground. These descriptions of depth and height differ. Some say blocking the inner end with reed membrane ash, which disappears when Qi arrives; some say filling pipes with bamboo membrane ash, covering the mouth with gauze, where Qi causes movement of ash and gauze, with three theories: slight movement, great movement, or no movement; some say ash flies out scattering white dust, with Qi arriving early or late and varying amounts of ash. These accounts are inconsistent. They seem like hearsay, never tested. For instance, Xindu Fang of Northern Qi buried wheel fans to measure twenty-four solar terms, which is particularly absurd. Mencius said: To believe books completely is better than having no books. Confucians prioritize investigating things to exhaust principles, yet being deceived by baseless words for a millennium without awakening, where is the study of investigating things and extending knowledge? ("Lu" sounds like "Lv", the original character for "Lu", meaning ratio/standard.)