Tunisian musicians and pedagogues teach and practice two modal systems of music: the ṭubū‘ and the Eastern Mediterranean maqāmāt. They acknowledge them as parallel to some extent. But the ṭubū‘ elicit different values, histories, and repertoires, some of which relate to the real and virtual geographies of Muslim Spain (Ar. al-Andalus), beginning in the 9th century. My fieldwork at the Higher Institute of Music in Sfax (2018-2019) reveals that Tunisians use certain melodic-rhythmic clichés in the ṭubū‘ to mark the modes with these distinctions. In other words, these musical clichés align to social and cultural differences. The reoccurrence of these clichés in performance practice, provides a media interface (pace Galloway 2012) for musicians and listeners to make specific relations to land, their own bodies, and their ecologies. Reoccurrence is of particular importance for the vitality of these musical clichés. Gilles Deleuze posits that repetition, as formulated through the senses and processes of logic, is actually composed of a “play of singularities” or, in short, difference (1968). Ethnographic events manifest this play and show how singularities bundle together to assemble social and cultural formations. Deleuzian thinking defies conventional representational logic based in claims of identity, opposition, analogy, or resemblance, by grounding knowledge in multiplicities, emergences, and intensities. Music scholars have utilized this multifarious world of Deleuze—and that with Guattari (1980)—in recent work to understand listening practices, create materialist ethnographies, and theorize social becoming (Gill 2017; Moisala et al. 2017). My paper seeks to contribute to this growing area of analysis by applying Deleuzian concepts to the performance practice of the Tunisian ṭubū‘. Some Tunisian master musicians conceptualize these practices as “fingerprinting sound,” which corresponds to territorialization – a signature philosophical concept of Deleuze and Guattari (1980; 2007). I demonstrate this process in a case study from the Tunisian Testour Festival of Malūf and Traditional Arab Music in 2019, and discuss how musicians use this interface to align music to difference and curate meaning. The outcome of this analysis productively networks the structures of music theory to processes of affect and signification.