This article proposes a methodology for differentiating between scribal hands in square chant notation. Drawing on several Dominican chant books copied in thirteenth-century Paris, the methodology outlined here may also prove a useful starting point for approaching square chant notations from various other origins. Specifically, this approach highlights eight parameters that may be useful for identifying and distinguishing scribal hands in square chant notation, namely, by examining the forms of F-clefs, custodes, liquescent neume shapes, general neume shapes and/or note groupings, C-clefs, accidentals, hairline extensions and the general appearance of the notation. This methodology is used to identify the notators working within the chant books of the Dominican exemplar manuscript Rome, Santa Sabina, XIV L 1, demonstrating the presence of one main notator, an ‘overseer’ or corrector intervening across several parts of the manuscript to supply missing material, and a second corrector or user of the manuscript adding missing material on one folio only. Through such palaeographical study, it was possible to reveal the different roles of the scribes notating this manuscript, to hypothesise about the process by which the liturgical material within the manuscript was compiled and to identify a potential network of notators working in Dominican manuscripts in Paris in the third quarter of the thirteenth century.