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This work proposes an analysis of the pieceSalut für Caudwell, for two guitarists, and aims to understand the piece from two pillars: the bodily devices for the production/modulation of sound and the way they relate to the form, as well as the processuality of the materials and the dialectical procedures that affect the discourse. The analysis revealed a kind of music impregnated with relations of opposition, in which contradiction is realized in several ways, as well as the operation of constant actualization of bodily devices that realize modes of production/modulation of sound. These features affect the form of a work that refuses habits of European musical tradition, displacing the typical sonorities of the instruments, meanwhile, communicating and incorporating elements of this tradition in its discourse.