to Brazilian society through samba schools. This generational conflict, however, did not last for long, and Estácio's samba established itself as the rhythm par excellence of Rio's urban samba during the 1930s. Between 1931 and 1940 samba was the most recorded genre music in Brazil, with almost 1/3 of the total repertoire – 2,176 sambas songs in a universe of 6,706 compositions. Sambas and marchinhas together made up the percentages just over half of the repertoire recorded in that period. Thanks to the new electric recording technology, it was possible to capture the percussive instruments present in samba schools. The samba "Na Pavuna", performed by Bando de Tangarás, was the first recorded in studio with the percussion that would characterize the genre from there: tamborim, surdo, pandeiro, ganzá, cuíca, among others. Although there was the presence of these percussive instruments, the samba recordings in the studio were characterized by the predominance of musical arrangements of orchestrated tone with brass and string instruments. This orchestral pattern was mainly printed by European arrangers, among them Simon Bountman, Romeu Ghipsmanm, Isaac Kolman and Arnold Gluckman, conductors whose erudite formation ended up giving a European symphonic sound in the counter-metric rhythm and batucada of the samba from Estacio. Another reason for the success of the new samba in the music industry was the introduction of the "second part", which stimulated the establishment of partnerships between the composers. For example, one composer created the chorus of a samba and another composer conceived the second part, as occurred in the partnership between Ismael Silva and Noel Rosa in "Para Me Livrar do Mal". With the growing demand for new sambas by the singers, the practice of buying and selling compositions has also become common. This transaction usually took place in two different ways: the author negotiated only the sale of the samba recording – that is, he remained as the author of the composition, but he would not receive any part of the gains obtained from the sales of the records, which were divided between the buyer and the record label – or the entire composition – that is, the real author completely lost the rights to his samba, including authorship. In some cases, the sambista sold the partnership to the buyer and also received a portion of the profits from the sales of the records. Selling a samba meant the composer had a chance to