In this article, I aim to analyze the ten Ponteios that integrate the Fifth Book of Ponteios composed by the Brazilian musician Camargo Guarnieri. I intend to reflect on some features observed in Guarnieri compositional technique, which gives coherence and unity to those Ponteios when considered individually and in the whole set of Fifth Book. In this sense, I will consider some procedures such as pitch-centricity, suspended tonality, and parsimony as a way to understand how Guarnieri operates a sort of tonal deconstruction. I expect to provide additional material to a group of analytical works dedicated to comprehend Guarnieri's compositional thought.
