21st -century methods (and ideals) of printing – making digital vectors and laser printing them on pristine white paper – often makes perfection the expected result. The perceived sterility and aseptic nature of digital processes is the reason why many prefer to present text, graphics, and of course musical scores through a printed PDF. However, with more analog techniques, imperfections are bound to arise: a line of text that is slanted 2 degrees down, smudge marks, or simply just minute inconsistencies in font size. Methods to remedy these unintentional imprints is equally as fascinating, one of them being carefully scraping off dirt and grime off of pages using a scalpel. This piece puts this dynamic into conversation with the Prelude from J.S. Bach’s Cello Suite No. 2 and general Baroque ornamental practice at large. The mindset that a vast portion of the music is contained in these un-notated ornaments creates a tension when placed next to modern expectations of digital sterility. In this piece, the music, alongside the notation, is gradually stripped away of what many may consider “clutter” , skinning the material of its meaning and pith.