Fresedo was one of the innovators of tango in the early 1920s, along with such other young musicians of the time as Julio de Caro and Juan Carlos Cobián.

All of them brought a high level of musicianship and were thus able to bring about the more refined musical style that characterized the what later became known as the tango of the Guardia Nueva ("New Guard").

Having left Odeón, and fronting a larger orchestra (which he had already started to form in the early 1930s), he began what we might call his second era as maestro, with a new orchestral style and, above all, with the vocal participation of Roberto Ray (perhaps the most emblematic of Fresedo's singers).

The 1940s brought forward a new generation of musicians—Aníbal Troilo, Osvaldo Pugliese, Miguel Caló, Alfredo de Ángelis, Ricardo Tanturi, Ángel D'Agostino, etc.—and a new characteristic style.

From this time forward, his orchestrations become slower and he chooses mellifluous singers who even, in some cases, give a certain boleristic air to their versions of his tangos.