There, with the help of Alberico Spatola, the composer of the tango El trece and the director of the Buenos Aires police orchestra, he was able to join the band of Anselmo Aieta.

In early 1924, Carlos joined an orchestra directed by the violin player Juan Pedro Castillo, and later, the trio of Alejandro Scarpino (the composer of Canaro en Paris).

Thanks to a recommendation from José Pécora, a violin player, he joined Osvaldo Fresedo's orchestra in 1926 and played at the opening night of the Fénix theater in the Buenos Aires neighborhood of Flores.

In late 1927 he started to set up his own sextet or orchestra tipica (José Pécora and David Abramsky on violin, César Ginzo and Tito Landó on bandoneón and Adolfo Kraus on bass), directing it from behind the piano that he himself played.

by Edgardo Donato, Maldita by Antonio Rodio and Celedonio Flores, and the Eduardo Arolas compositions La guitarrita and Una noche de garufa.

On December 11, 1939, they recorded for RCA Victor the tangos Corazón (composed by di Sarli, with Hector Marco's lyrics) and Retirao by Carlos Posadas.

Since 1958, in addition to Di Sarli on the piano, the orchestra included the violinists Roberto Guisado, Elvino Vardaro, A. Rouco, Szymsia Bajour, Carlos Arnaiz, Juan Schiaffino, C. González and A. Rossi; the bandoneón players F. Verdi, José Libertella, Julián Plaza, A. Marcucci y D. Sánchez; A. Sciarretta on bass and the singers Horacio Casares and Jorge Durán.

During the sextet years, his singers (in chronological order) were Santiago Devin (cenzi), Ernesto Famá, Fernando Díaz, Antonio Rodríguez Lesende, Roberto Arrieta and Ignacio Murillo.

In the beginning, his music had a simple structure, but over time it matured into a more lyrical, richer, playful and more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat.

Di Sarli's creativity was mostly limited to the left hand piano part, filling in, modulating and accenting his delicate and elegant dancing beat.