As explained in the Introduction, spoken C-1 is not intended as a substitute for ordinary speech. Its various dialects are intended primarily for artistic applications, in much the same way that Homeric Greek, Shakespearean English, liturgical Latin, or Sanskrit were developed for specific literary or hieratic usages.

Recitations in C-1 are called lections or readings, and when presented by large ensembles usually have to be meticulously scored in advance using standard music notation to ensure unity and coherence. In the case of just one speaker or several collaborating performers with a good working knowledge of C-1, the original text alone or a simple score may be all that is required.

Texts selected for C-1 lections should generally be short to moderate in length, and rich in imagery amenable to musical representation.

The instrument chosen for solo recitations should have a range of at least several full octaves, each divided into twelve semitones. The imagery of the text itself may suggest specific instrumentation.

The basic technique of transforming a written text into standard spoken C-1 calls for assigning a specific ascending or descending melodic interval to each letter of the Roman alphabet. The unison and ascending or descending octaves are not, however, assigned letters because they primarily serve as a means of articulation between words.

Exceptions to the one-interval-per-letter rule are the letters i, j, and y on the one hand, and the letters u, v, and w on the other. These two groups of letters are each equated with single intervals. The letter w is pronounced as two successive us or ws.

The following chart represents what is called "Standard C-1," showing which melodic intervals correspond to each letter of the alphabet. A practical conversion matrix is given in Appendix 2.

According to the above chart, the letter a is pronounced as an ascending minor second, while the letter m is the descending form of the same interval. I, j, and y are all pronounced as ascending major sixths. W is produced by interlocking two descending major sixths, i.e., by sounding two us in succession. All octave compounds of these simple intervals can be substituted when the imagery of the text or euphony seems to require it: for example, the letter a might be pronounced as an ascending minor ninth.

It is readily apparent that many variations (in mathematical terms, 22!) of the above chart are theoretically possible simply by changing the interval/letter equivalencies. Such changes produce distinctive, albeit nonstandard Chromatic dialects which may be preferred by some composers for certain applications. For example, it is possible to borrow a word or phrase from a nonstandard dialect whose melodic shape is more illustrative of the denotative or connotative meaning of a given word than the equivalent in standard C-1. This practice, however, should not be followed indiscriminately, particularly if literal intelligibility on the part of the listener is critical. Most listeners, if they are trained at all to recognize words in C-1, will have mastered only the standard dialect.

All musical tones in C-1 are referred to as vowels. Thus, all letters are individually heard as diphthongs--combinations of two successive vowel sounds. Words are pronounced by interlocking their component diphthongs. Unless (s)he is performing a particular setting of a poem, the speaker may choose any pitch in any appropriate octave to begin the recitation. Once chosen, however, the initial pitch determines the intervallic relationships and thus the actual pitches of all succeeding tones. If, for example, a text begins with the word Love, should the speaker choose d' as the initial pitch, (s)he must proceed as follows: d'--c-sharp"--a-sharp'--c-sharp'--f-sharp'. Enharmonic equivalents of each pitch and appropriately ascending or descending octave compounds are also permissible, e.g,. d'--c-sharp'''--b-flat'--D-flat--g-flat''''. For actual examples using this very word, see my String Trio No. I, second movement:

Any word in spoken C-1 must begin by repeating the last pitch of the word which immediately precedes it. This is necessary to define clearly the ending of one word and the beginning of the next. The unison, ascending octave, and descending octave (or any compounds thereof), used in this capacity, are collectively referred to as articulatory expletives, since they have no literal meaning of their own (although their creative use may, indeed, enhance meaning). Their function is clear in the musical example shown in Appendix 1.

The octave expletives and their compounds enable the speaker to begin--or in certain cases, to continue--a word within a convenient register, thus precluding the possibility of "running out" of notes as one approaches the extreme upper or lower ranges of a given instrument during recitation. Such changes of register, however, may be chosen for purely aesthetic or poetic reasons in the interest of amplifying the expressive quality or meaning of the text. All changes of register effected by leaping up or down an octave (or by an octave compound) are referred to as mutations.

Any pitch except the first or last of a given word may be repeated a minimum of three times, with or without mutation. There is no maximum number of times the pitch in question may be reiterated. The minimum of three is required because a single repetition would erroneously suggest that a new word had been begun.

The initial pitch of the first word of a text and the terminal pitch of the last word in the same text may be repeated any number of times; this option should not be observed merely for its own sake but strictly for purposes of emphasis or semantic enhancement (See the second movement of my String Trio No. 1, mm. 7-12 et passim.)

With some practice, speaking fluent C-1 poses no difficulty. Since the only predetermined element is that of intervallic sequence, the speaker is afforded a great deal of latitude in determining the timbre, intensity, accent, rhythm, speed and even sonic textures of a poem. The success of any interpretation obviously depends less on instrumental technique per se than it does on artistic insight into a poem's meaning and the ability to discern the most appropriate means of expression. C-1 redefines virtuosity as aesthetic virtue--the intelligence to perceive which texts have significance and how that significance is best communicated.

C-1 should be practiced both orally, in the form of instrumental or vocal recitations, and aurally, to achieve comprehension of texts spoken at slow to moderate speeds. It is helpful for those learning C-1 to work in small groups, with each participant alternately speaking and listening attentively.

Speakers may write and perform their own practice texts, and will thus quickly discover that word choice and syntax are important factors in determining ultimate musical interest and quality. Tasteful repetition of key words, rhyme, alliteration, and assonance are all devices which serve to make a spoken text more vibrant and coherent, just as individual motives unify a conventional musical composition. Consequently, skilled writers and reciters of C-1 texts may find it desirable to emphasize certain intervals or pitches through various means (e.g., by consistently using a characteristic rhythmic pattern for a given syllable or word), thus imparting a distinctive "modal" character to their interpretations.

It must be emphasized that the primary task of a C-1 speaker is to bring out both the general meaning of a text as well as the nuances of individual words and phrases through the most appropriate means, while ensuring the highest musicality.