The notto opens the second act with an Intermedia Index in medium range, as if the drama was picking up where it left off at the end of the first act.

The notto begins with a lively musical introduction. The percussion parts are in strict rhythmic setting. The kotsuzumi player sets the tone by playing the steady notto uchitsume pattern characterized by a stroke on each of the honji’s eight beats. Both the kotsuzumi pattern and the non-congruent nohkan’s part are exclusively used in the notto-music.

Munechika is waiting in a kneeling position at Square 8, facing diagonally away from the audience, as if absent. About half-way through the introduction music, he stands up and walks towards the dais -representing his forge- steps on it, and kneels. Picking up a sacred wand with his right hand, he performs a purifying ritual.

The text of the notto-chant, set in sashinori, is loosely synchronized with the accompaniment. Most of its lines fit in the eight-beat span between two successive chon strokes of the ōtsuzumi. These fall on honji’s third beat, and are preceded by a slight slowdown and an extended kakegoe. Longer lines -which do not fit in the eight-beat span between two successive chon strokes- are spread over three or four honji. In this case, there is no rallentando leading to the intermediate chon stroke(s), and during the intermediate honji the ōtsuzumi performs a sequence of four, five, or six chon strokes, which maintain the momentum.

From time to time the chant slows down to emphasize selected words. This happens, for instance, when Munechika acknowledges that his craft came to him through no effort of his own with the line ‘chikara ni arazu.' Important words are also emphasized with a combination of rhythm and pitch. For example, when Munechika raises the wand and prays for divine help in completing his task, the line lasts three honji, and its syllables are spread to create a rallentando on the words: “...I make my petition.” The stress on the keyword ‘sasage’ is emphasized when Munechika changes his steady tone by raising his pitch, followed by a descending glissando. In this case, the effect could indicate an expression of commitment toward the fulfillment of the imperial order.