In 1959, the young artistic producer and composer Zacarias Mourão, who was living in São Paulo, returned to his hometown of Coxim, a charming city located in the northern part of what is now the state of Mato Grosso do Sul. He went back to visit his family.

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Upon his arrival, he was surprised to see a tall cedar tree that he himself had planted during his childhood, when he used to play on the streets and along the streams of the large river to which the city owes its name.

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It was then that Mourão wrote the lyrics to the famous rasqueado Pé de Cedro (translated as Cedar's Tree Seedling). Shortly after, the composer Goiá (Gerson Coutinho da Silva), originally from Minas Gerais, turned it into music. This story, although contested by some memorialists, transformed the song into a symbol of a time when caipira music—referring to the rural folk music and the people of Brazil's countryside—evolved into sertaneja, a modernized form of country music. The song incorporated urban references and found its place in the national phonographic industry.

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In 1963, the duo Ninico & Senim made the first recording of the song, accompanied by guitar and accordion. A few months later, the duo Tibagi & Miltinho, under a different record label, released their own version, which incorporated brass instruments and electric bass. This recording boosted Tibagi & Miltinho's career and became the definitive version of Pé de Cedro.

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In both recordings, the duos maintain the tradition of singing in third intervals, a characteristic feature of caipira music duos. However, what's particularly interesting is that while Ninico & Senim use falsetto in the high notes with caution, Tibagi & Miltinho incorporate a more pronounced falsetto, enhanced by the brass instruments. This fusion draws on Mexican musical patterns, aiming to connect with a generation that would later identify with the Jovem Guarda movement.