The knowledge that Zeng Houyi's chime bells could perform twelve-temperament as the tonal key- note(but may not always the modal tonic) for cyclic modulation has been widely spread both domestically and internationally,yet such knowledge remains an unproven hypothesis.The relevant research only refers to the twelve- temperament names of 23 Chu-style bells from the entire set of Zeng Houyi's chime bells, but not the content of their twelve-temperament cyclic modulation and incomplete pentatonic scales.It also avoids 32 Zeng-style bells from the Zeng Houyi's chime bells with six temperaments, especially the Long-Mei Bell,which is the core of the entire set of chime bells,the question of what the function of the numerous altered sounds is and how to modulate with six temperaments remains to be explored.Starting from the relationship between nominal and real terms of the altered sounds,the article argues that this set of bells not only has altered sounds in the twelve-sound but also possesses the name of a set of altered sounds belonging to oneself.These altered sounds are designed to replace the pentatone on the adjacent temperament,so on the surface,it only has six temperaments and their respective twelve-sound, but it actually has twelve-temperament of the“explicit six and implicit six”along with their respective pentatone and uses the method of cyclic modulation of eight notes apart in them.The disclosure of such a result is proved for the first time from the perspective of the six temperaments of the Long-Mei Bell inscriptions that China had indeed made significant musical achievements in the production of instruments for playing pentatonic music on the twelve- temperament and the theory of the twelve-temperament cyclic modulation in the 5th century BC.