Di Sarli’s style, since his beginning in 1926, is essencially related to Osvaldo Fresedo’s primitive orchestral modality. The versions of Di Sarli’s orchestras didn’t show great harmonic worries, and they were adjusted to an established scheme, of which sonic interest is achieved by very precise and still very subtle shadows, alternating in contrasts the “staccato” with the chained sounds, and the “crescendo” with the “pianissimo” sounds. The use of unison strings, without bandoneons being the leading voice; the work of Di Sarli himself, thanks to his inimitable piano conduction; and the countersinging of the first violin Roberto Guisado, give the group their characteristic personality. However, in the orchestra’s great instrumental structure, it was Di Sarli who, undoubtedly, gave the group the greatest instrumental contribution, since he marked, with his fabulous left hand, a tango rhythm of simple texture and complex emotionality. Carlos Di Sarli’s orchestra played a classic model of tango, revitalised by musical conceptions of interesting content. This group always had the passion of legions of admirers, who still don’t admit another instrumental modality from that of Di Sarli. Some of the singers the orchestra had were Roberto Rufino, Santiago Devin, Ernesto Famá, Fernando Díaz, Antonio Rodríguez Lesende, Roberto Arrieta, Agustín Volpe, Carlos Acuña, Alberto Podestá, Osvaldo Cabrera, Jorge Durán, Raúl Posadas, Osvaldo Cordó, Oscar Serpa, Mario Pomar, Rodolfo Galé, Roberto Florio and Horacio Casares.