Anibal Troilo’s bandoneon, already considered one of the most expressive, pianist Orlando Goñi and singer Francisco Fiorentino were the foundations upon which this orchestra was built, with the structure of a Typical Sextet. Phrasings, variations and ornaments of its peculiar manufacturing, put Troilo’s bandoneon in the first place. But the most remarkable characteristic of the orchestra was given by pianist Orlando Goñi, who was the creator of a distinctive conduction way, more elastic and with pre-eminence of low notes, and his unmistakable “loose notes” in the grave ones, defining a tango concept which would be followed by many artists after him. It was the antithesis of the piano pattern used by Rodolfo Biaggi in Juan D’Arienzo’s orchestra: acute, accelerated, nervous, strident and cutting. With Francisco Fiorentino as one of the orchestra’s leaders, Troilo  revolutionized the typical orchestras’s traditions. The vocalist’s participation singing the whole song, with introduction, bridge and “finale” in charge of the orchestra, gave singers of the orchestra a new and important role, which would be imitated by all directors. Some time later, singer Alberto Marino joined Troilo’s group, inaugurating the practice of including two singers in typical orchestras. The initiative that had been Francisco Canaro’s many years before, when he included in his orchestra singers Ernesto Famá and Francisco Amor, was resuscitated by Troilo and followed by almost all orchestra directors after him. Pichuco implemented renewing conceptions referring to ways of expression and the instrumental combination in his orchestra. He added to his group a violoncello and a viola, and completed the string section with four violins, while he formed the bandoneon section with five musicians. Aníbal Troilo not only perfected tango interpretation in a gradual way, but contributed with new criteria about instrumental combination in orchestras, maintaining his personal style. As regards singers, Troilo’s orchestra selected great vocalists, most of them would have a brilliant soloist career later on: Francisco Fiorentino, Amadeo Mandarino, Alberto Marino, Floreal Ruiz, Edmundo Rivero, Aldo Calderón, Jorge Casal, Raúl Berón, Carlos Olmedo, Pablo Lozano, Roberto Goyeneche, Angel Cárdenas, Elba Berón, Roberto Rufino, Nelly Vázquez, Tito Reyes and Roberto Achaval.