Mário Álvares was an excellent composer, an inventor of new musical instruments and a historic body who was extremely influential for the era of pioneers like Donga and João da Baiana. His music were the automobiles for the apprenticeship from the device, by most of them, including Pixinguinha, who acquired Álvares as his cavaquinho instructor. He created the five-string as well as the 14-string cavaquinhos (the “zebróide”). He was regarded the very best cavaquinho participant of his period, soloing the melody and associated it using the harmony, at exactly the same time. Respectable by Anacleto de Medeiros, he was frequently used by him towards the Bombers’ quarters, where he utilized to give ideas for Anacleto’s orchestrations. Within a well-known meeting went to by Ernesto Nazareth, Catulo da Paixão Cearense, Quincas Laranjeiras, Donga, and various other symbols, Catulo defied Álvares to improvise over Nazareth’s “Brejeiro,” a fresh big hit after that. After Mário’s improv, Nazareth kissed him in the facial skin, crying. Álvares acquired a big posthumous strike with one of is own music (with lyrics by Heitor Catumbi), in the Carnival. Among his compositions, could be stated “Feiticeira,” “Na Aldeia,” “Julieta,” and “Entre Asas” (lyrics by Hermes Fontes).