The importance of Satiro Bilhar resides in his being one of the first to use the violão (Brazilian acoustic guitar) as a solo instrument. After Ernani Figueiredo and Alfredo de Sousa Imenez died in 1917 and 1918 respectively, and together with Brant Horta, Joaquim Francisco dos Santos (Quincas Laranjeiras), Mozart Bicalho, Melchior Cortez, and Heitor Villa-Lobos, among others, Bilhar was a pioneering composer of pieces that contributed to establish the violão as a virtuosic and noble instrument on its own.

Among his several compositions, the polka Tira Poeira was recorded by the renowned virtuoso Jacob do Bandolim and is played in the contemporary rodas de choro (choro get-togethers). Heitor Villa-Lobos, the biggest classical composer of Brazilian music, was a self-admitted admirer of Bilhar and Laranjeiras. The inspiration for much of Villa-Lobos's violão work (considered worldwide the most important production of the acoustic guitar in the 20th century) was found in those early rodas de choro. The early chorões were paid tribute with Villa-Lobos' Suíte Popular Brasileira, written between 1908 and1912, having five movements: "Mazurka-choro," "Schottisch-choro," "Valsa-choro," "Gavota-choro," and "Chorinho."

Other compositions written by Bilhar were the lundu Gosto de Ti por Que Gosto, the modinhas O Que Vejo Em Teus Olhos and As Ondas São Anjos Que Dormem No Mar (which had lyrics by Catulo da Paixão Cearense), the choro Tira a Poeira, and Estudo de Harpa for violão. Da Paixão Cearense also dedicated Perdoa (music by Anacleto de Medeiros) and a poem to Bilhar, his longtime friend. According to commentaries of those times, he would be the best violonista (Brazilian acoustic guitar player) of his period, together with his pupil Lili São Paulo. What is known for sure is that he was a fun-loving, heavy-drinking Bohemian character and telegraphist of the Railroad Central do Brasil by profession (he was successful based on his ability to telegraph using his heels). ~ Alvaro Neder, Rovi