Experiments with output from the Lorenz attractor acting as a basis for rhythmic material all yielded music that either didn't make sense, or was technically impossible to play. After much trial and error with various systems imposed on the simulation, I made the decision that the note durations would remain constant for the piece, with the exception of the bridge section of the song.
In the bridge, I attempted to convey an almost bebop-sounding style. Following the original alto melody, as described on the graph, whenever a repeated note occurs, I inserted a rest of length enough to create distinct phrases from the output. What results is a somewhat `antiphonal' section that helped lend a more human feel to the music.
In the C section, I switched the time signature to 3/4 time to reflect some of the three note repetitive phrases that seemed to crop up in both players' parts. In addition, the transition to 3/4 helped to accentuate the growing sense of disorder found in the melodic lines towards the end.