The first of the great accompanists in the choro style, Tute was the introducer of the seventh string (in C) in the violão (Brazilian acoustic guitar), giving birth to the violão sete cordas. He was also stylistically important, defining the role of the accompanist with the baixarias (basslines) classic in the choro style, now adapted to the violão thanks to the seventh string. Dino Sete Cordas, a living legend of the choro, only adopted the seven-string violão after Tute's retiring and became a keeper and developer of the style initiated by the pioneer.
When still very young, Tute became a member of the Bombers Corporation Band (Banda do Corpo de Bombeiros) under the conductor Anacleto de Medeiros, playing cymbals and bass drum. As a violonista, he was a member of the orchestra of the sophisticated Cine-Teatro Rio Branco, conducted by Paulino Sacramento. In one of the absences of the renowned flutist Antônio Maria Passos, he introduced the then-15-year-old Pixinguinha to the theater owners and to the conductor. Pixinguinha grabbed the gig due to his extraordinary sight-reading and improvisational skills. As a member of Grupo Chiquinha Gonzaga with Antônio Maria Passos, Nelson dos Santos Alves (cavaquinho), and sometimes the legendary Chiquinha at the piano, Tuto and the group recorded several albums for Columbia and Odeon in the early decades of the 20th century. An accomplished accompanist, Tute was often requested in early recordings, the polka "Rato-Rato" (1907) for example. As a banjoist, he was a member of Orquestra Copacabana. As a violonista, Tute was a member of the renowned groups Grupo da Guarda Velha, Os Cinco Companheiros, Gente Boa, and Orquestra da Victor. Tute worked actively in two important radio venues of Rio, Rádio Mayrink Veiga and Rádio Nacional, from 1929 to 1945, being the permanent accompanist of the mandolinist Luperce Miranda. With Miranda, Tute accompanied Francisco Alves, Mário Reis, Carmen Miranda, and a dancing couple in a 1932 tour of Buenos Aires, Argentina.