Eduardo Arolas was not a virtuous player or a bandoneon stylist. But he gave tango the foundations of a bandoneonistic concept of decisive influence in the sonic conformation of orchestras. According to Rizzuti and de Caro’s testimony, Arolas was terrified by instrumental stridencies. He successfully established chained sounds, which is one of the most difficult things to do in the instrumental mechanics of tango, and the expressive shadows in their most expressive possibilities. He wanted tango to sound sensitive and clean. Arolas vanished the spectacularity, in which every director incurred, in the way musicians played bandoneon which, invariably, distorted the nature of its sound. He introduced the “phrasings with octaves” and the “passages at two hands”. Thereby he was the great architect of tango’s interpretative musicality and the one who set the stylistic rules of an unsuspected aesthetic projection. One consequence of this, is the great interpretative contribution of Arolas, independently from his brilliant authorial inspiration. Another contribution Arolas made to tango was the inclusion of violoncello in a typical orchestra for the first time, although it was only a transitory experiment. He also wanted his musicians to sing the tangos they played. This pattern was very celebrated by the audience, and reached its highest level with a tango he dedicated to Rafael Tuegols, his dear and old friend. Eduardo Arolas disappeared prematurely, in 1924, away from his homeland. His name, through our memories and his immortal pages, evokes a Buenos Aires myth.