Cicero Nunes was an effective composer who also, in his best period, had popular each year. Nunes was documented by eminent performers such as for example Castro Barbosa, Carmen Miranda, Dircinha Batista, Barbosa Júnior, Patrício Teixeira, Araci de Almeida, Orlando Silva, Francisco Alves, Nelson Gonçalves, Isaurinha Garcia, Anísio Silva, Isaurinha Garcia, Jamelão, and Moreira da Silva. Nunes discovered to try out the violão (classical guitar) while he was an ambulance drivers for Pedro Ernesto Medical center, one in some humble careers he held. Quickly he published “Não Chora,” that was copied inside a documenting. Writing other tunes that continued to be unpublished, in 1935 he demonstrated these to the composer Buci Moreira, who influenced him. With Moreira, he published “Boa Win overão,” performed by Dalila de Almeida in the display Samba e Outras Coisas. In 1936 he published “Oh, José” with Portelo Juno, documented by Castro Barbosa. Within the next 12 months, Carmen Miranda documented with achievement “Me Dá, Me Dá” (with Juno). In 1938 Dircinha Batista and Barbosa Júnior documented “Ele Não Dorme Sem Apanhar.” The next 12 months Patrício Teixeira documented “Ao Voltar da Batucada” (with Maximum Bulhõsera). Araci de Almeida documented “Pão com Banana” in 1940. Many of these tunes are funny choros. In 1944 Nunes honored the samba-canção, composing “Tudo é Possível” (with Aldo Cabral), documented by Orlando Silva; “Apogeu” (with Herivelto Martins), documented by Francisco Alves; “Aquela Mulher,” by Nelson Gonçalves; “Mensagem,” by Isaurinha Garcia, as well as others. Nunes also became a accompanist, playing the violão. His tunes stayed documented with achievement — as lately as 1961, his music was documented by Anísio Silva, Isaurinha Garcia, Jamelão, and Moreira da Silva.