There are many obvious distinctions, in terms of theoretical thinking and ways of expression, between the prevalent level and oblique tones at the present time and the metrical patterns in the Bunkyouhifulon (文鏡秘府論) by Japanese monk Kuukai (空海) in the Tang dynasty. Therefore, the transition from the latter to the former constitutes a crucial issue in the development of metrical patterns in Tang poetry. This paper explores the critical transition by examining the writing rules of Japanese poetry of "the ten clauses" of Zuowen Dati (作文大躰). During this transition, Yuan Jing's (元兢) second-character rule in the early Tang developed into the second- and fourth-character rules as well as the level and oblique tone manuals in the early modern period. From the outset, we explicate how "the ten clauses" in Zuowen Dati inherited from Yuan Jing's "four regulations" and expanded on his methods of "the alteration of tonal prosody," which explains the hereditary relationship between the two. We also analyze the developmental process of "the Nian Dui between the second and the fourth places" in five-character verses and of "the Nian Dui among the second, the fourth and the sixth places" in seven-character verses through the mnemonic phrases - "the second and the fourth places differ while the second and the ninth places complement each other" and "the second and the fourth places differ while the second and the sixth places complement each other." In addition, the poets must strike a balance between "the avoidance of mistakes" and "the alteration of tonal prosody" in order to fit into the framework of the binary division of pronunciation into the level and the oblique, possibly resulting in the tendency towards simplification. At last, we discuss the forms and significance of the level and oblique tone manuals in their early development so as to compare them with their early modern counterpart, and to reflect on the issues derived from the transition from the metrical patterns to the level and oblique tones