32.1. This is a method in which intervals are replaced by the actual notes that they represent. These notes are written as eighths in the lower part of the cell and are therefore described as "subnotes". In the following example, (a) shows a chord written with intervals, (b) the same chord written with subnotes.
Example 32.1-1.

The following rules and directions are adapted from Par. 8.2-8.8.4 since in general they apply to the "Note-for-Note" method.

32.2. The direction in which subnotes are read (upward or downward) depends very much on the instrument for which the music is written and on the disposition of the score. Where clef signs are used, the treble clef implies a downward reading and the bass clef an upward reading.
Example 32.2-1.
>/L.?6 W8[7\5\4 [4W7?6<K
>#L_?8 $8]4\0$4 ]9:7?8<K

32.3. When the main note is dotted, it is not necessary to place dots after subnotes.
Example 32.3-1.
>/L.?'6E8F'4=5F'4Z8 ?''6"(6\6V<K

32.4. When the distance between a subnote and the main note is greater than an octave, the subnote must have an octave mark.
Example 32.4-1.
>/L.\_0\_9]_0 P'"4<K

32.5. The octave rules for chords of more than two notes are as follows:

32.5.1. If more than one subnote follows the main note, no octave mark is needed so long as any two adjacent subnotes are less than an octave apart.
Example 32.5.1-1.
>/L.\80\89]80 P'84<K

Example 32.5.1-2.
>/L.\850\469]580 P'484<K

32.5.2. If any two adjacent subnotes are an octave or more apart, the second subnote must have its proper octave mark.
Example 32.5.2-1.
>/L.\5_0\4_9]5_0 P'4"4<K

32.5.3. If a subnote forms a unison with the main note, it must have its proper octave mark.
Example 32.5.3-1.
>/L.\.8_0\4_9]5_0 P'.6"4<K

32.5.4. If two adjacent subnotes form a unison, the second must have its proper octave mark.

(N.B. In the last two chords of the following example, the inner parts form an octave in the one case and a unison in the other.)
Example 32.5.4-1.
>/L.\80_0\6"49]5"50 P'8"84<K

32.6. When two parts represented by subnotes cross one another in a chord, the notes that are, so to speak, "out of place" must each have its proper octave mark, the written order of the parts remaining unchanged.
Example 32.6-1.
>/L.\850\"4"69]"5"80 P'84"4<K

32.7. The principle of doubling used with intervals is not employed in the "Note for Note" method except in passages of octaves. Here the doubling is shown by the repetition of the subnote after the first main note of the passage and its re-marking after the last.
Example 32.7-1.

32.8. In such a passage the doubling need not be interrupted by the occurrence of accidentals that would normally be marked for the subnote as well as for the main note.
Example 32.8-1.
>/L'<^\<88$ <:'<D J<H*^DI9<K

32.9. The moving-note sign may be used in "Note-for-Note" for very obvious cases.
Example 32.9-1.
(a) >/L"(6,4 R'6,5,4V<K

(b) >/L"P4',0Q9',0 &4<K

32.10. The double moving-note sign, however, must not be used in this method.

32.11. If the moving-note sign is extensively used, the octave rules for subnotes are those that apply to written notes (Par. 2.1.1-2.1.4), a reversal of the rule given in Par. 8.8.3.
Example 32.11-1.

32.12. It will be seen that "Note-for-Note" involves a change of meaning in the following signs:

4 the turn, in its various forms
5 ,5 "5 @5 25 notes in small or large type,
and various ornaments
6 "6 the trill, mordent, etc.
7 _7' the repeat, and irregular grouping
8 ,8 "8 ;8 .8 _8 see Table 18(A)

32.13. This difficulty can be met in either of the following ways:

(1) These signs may be separated from the preceding music text by the sign - (not otherwise used in "Note-for-Note" except (a) at the beginning of a measure or of a braille line, (b) after a rest, piano pedalling, hand or foot signs, or marks of expression of the type given in Table 18 (B)).
(2) The interval signs / , + , # , - and 3 , displaced by the "Note-for-Note" method may be used as follows:

/ the acciaccatura
,/ the appoggiatura
;/ the turn between notes
_/ the turn above a note
+ the repeat, replacing 7
# the initial sign for irregular grouping, replacing _

3 "3 ;3 "3l ;3l the trill and mordents
- ,- "- ;- .- _- (staccatos, accents, etc.).

32.14. The "Note-for-Note" method can obviously be used in all music in which intervals would otherwise be needed, irrespective of the disposition of the score.

32.15. The following statement should be placed in the line below that containing the method of disposition of the score (see Par. 19.2); the numbers 1 or 2 indicating which of the alternatives given in Par. 32.12 is used:
(Note-for-Note 1)
(Note-for-Note 2)