After writing for guitar in a•mor´•phic changes (1997), I wanted to explore the instrument in a solo setting. For a time this piece carried the unofficial alternative sobriquet Swatting at the possibility of malaria, a whimsical gesture that was approximately as unconnected with this piece as it was devoid of meaning. In the end, this piece is simpler and more straightforward than that poetic gesture would imply. As in Rain at the eaves just right for sleeping . . . (1997), barlines are deemed unnecessary. In the end, the piece is a simple exploration of the flexible, intimate nature of both the instrument and the solo performance environment.