Bach, blues, and improv guitar are the sources in this synthesis of bone, muscle and plastic sound. Extrapolations of several studio performances by the composer provide materials for this investigation of music as a plastic art. The more lucid kernals of several spontaneous improvisations, a long familiar blues riff, and a Bach Gavotte, are atomized and reforged in the studio to explore the physicality of the composer's relationship to the guitar. Both the studio and the guitar can be found at the surface of this work. Nothing is hidden.