This paper goes behind the scenes of a doctoral research dealing with some questions, concerns and technical and musical notes made by Sergio Abreu (1948-2023) at the time of the thesis redaction and when he made revision suggestions for the Concerto for Guitar and Orchestra by Francisco Mignone (1897-1986). After carrying out preliminary analyses of other works from guitar repertoire, we associated the guitarist's suggestions with the revisional tradition initiated by Andres Segovia (1893-1987), and also with the concept of a horizontal non-hierarchical relationship ("relacao horizontal [nao hierarquizada])" between performers and composers. Subsequently , in order to approach five of the thirty suggestions proposed, we divide the analyses into two groups: one representing the reconciliation between technique and music, in a local scope, and the other four clearly aligned with the second group (inventive-musical), through which we make macro-structural conjectures and contributions to the work .
