(João) - Those verses were not made by any one and who did them, he knew about what he was speaking. - He spoke about the root samba, that is going arriving with the touch of the small guitar, the tambourine of the rhythmic man, with the beat of the muffle (musical instrument), marking the compasses of the heart of the samba composer (as Master Carlos says), informing that Party is of first and he won't leave the samba to fall.

Marcelo Laranja: Origin and History of the Samba

Origin

Works and historians are contradicted when speaking of the origin of the samba. It is really difficult to say accurately when, as and where was born that rhythm. But a book thrown by the city hall of Petrolina, us back a notion on the prehistory of that old movement.
According to the writer, the prehistory of the samba it began with two tribes; Curumbás, of the interior of the Northeast, at that time of the drought of the Interior, they went to the coast with the intention of winning money, and to celebrate the crop they took "viola" (little spanisch guitar) and they danced the " semba ", as it was called. And with Amocreves, that they took spices to sell in the coast, mainly in Goiana. At night, when they finished the work, they also danced the " semba ". Exists a grammar in the language Cariri 1699, that already spoke about the samba.
The contact with the black, that it possesses a great assimilation potential, he did with that the samba become more 'beautiful', including in him the palms and the"umbigada". Every mill had a samba wheel. With the blacks, he won the conga drum, the cuíca and the gong. An important fact is that the Indians and mestizos went down for the South for the interior and the blacks diffused that rhythm for the coast.

(The group sings " he doesn't leave the samba to die ", soon after Marcelo Laranja talks about the origin of the samba).

1917 - (João) - The music " For the Telephone " of authorship of Ernestro of Santos, Donga, was the first samba engraving and registered, doing with that the samba was considered as musical gender. Later, the music was also attributed to Mauro of Almeida.

1920 - (Rosana) - And the samba asks for passage with great “Sinhô” (José Barbosa of Silva) and “Caninha” (José Luís of Morais) - And the rhythm dominates the carnival blocks appeared in the Rio de Janeiro's towns of Estácio, Oswaldo Cruz, Hills of the Mangueira and São Carlos. - they are born like this the Schools of Samba with Ismael Silva, Bid, Marçal and the great masters as Cartola (of the Mangueira), Antenor Gargalhada (of the Salgueiro) and others.

1930 - (Rosana) - The samba is assimilated by artists of the middle class as Noel Rosa, Ary Barroso and Antônio Almeida. It is there they appear the “Samba-Canção”, the “Samba-Plot” (Enredo) - (used at the Schools of Samba), the “Samba-Choro” and the “Samba of Brake”.

(Fátima sings samba-brake" for the first time that I went to the popular saloon of gafieira)

1950 - (Ivone) - Final of the fifties the “Bossa Nova” appears, that it brought for the samba harmonic elements of the American north music, modifying the rhythmic accentuation. It was the beginning of the academical presence, marginalizing the most linked composers to the roots of the samba. The samba continued to be cultivated in his traditional form in the hills (morros).

1960 (Anderson) - The Show Rose of Gold (Rosa de Ouro) revealed to the public names as the one of Clementina de Jesus, Elton Medeiros, Nelson Sargento, Jair of Cavaquinho (small guitar) and Paulinho da Viola.

(Anderson) - Other veteran ones that deserve prominence in the world of the samba they are Masters Candeia, Zé Keti and the baiano Batatinha.

1970 (Eduardo) - The samba reaches the climax with high selling in the market of the disk with Martinho da Villa, Beth Carvalho, Clara Nunes, Alcione, and composers João Nogueira, Ney Lopes, Wilson Moreira and Roberto Ribeiro.

1980 (Paulo) - On that decade they stand out the big ones you interpret as: Lecy Brandão, Zeca Pagodinho, Jovelina Pérola Negra, Bezerra of Silva and the couple Arlindo Cruz and “Sombrinha”. And starting from Cacique de Ramos Block (in Rio of January), the Group “Fundo de Quintal”, became a reference in a style called original of “Pagode”, that had as godmother Beth Carvalho and it was begun to use instruments a little common in samba groups, as the banjo, the tan-tan and the hand chiming.

1990 (Paulo) - The label “Pagode”” began to be used to denominate a type of samba-pop, inspired in the romantic ballad, that gave successes to groups as: “Raça Negra”, ”Negritude Jr.”, “Arte Popular”, ”Só pra Contrariar” and other more.

But, we cannot stop speaking of the samba of São Paulo and there we highlighted, Paulo Vanzolini, Carlinhos Vergueiro, Eduardo Godin, Geraldo Fiume and Adoniran Barbosa's great illustration with your famous "Trem das Onze" (Train of the Eleven).

And we will conclude with key of gold, speaking about the samba of the Region of Santos, with their Carnival Blocks, their Schools of Samba, their great samba-composers and applauding our São Vicente, that was honored in the Carnival of Rio de Janeiro of 2000, for Samba School "Beija Flor", with the samba-plot and participants of our city.

(The Group comes out singing the Samba Plot 2000 of the Samba Schoool Beija Flor of Rio de Janeiro, that honors the First Villa of Brazil (São Vicente).

Marcelo Laranja - Master Carlos - Diogo - João - Fátima - Rosana - Ivone - Anderson - Eduardo - Paulo - Marcelinho