aprája: Literally: oligotone (instrumental figuration); According to Sárosi, who translates it as diminishing (p.90) and diminution (p.113, 128), a "twin-bar interlude" played on a bagpipe; NB¹: Unfortunately, I'm unable to recognise any relation between the translation in Országh’s dictionary and Sárosi’s definition(s); The only detailed definition of Oligotony I was able to find is: "Oligotony is the simplest form of emmelic organization, characterized by the use of no more than 1-3 pitch-classes, 100-400 cents apart within a narrow ambitus that is not wider than about half-octave (Sheikin, 2002); The term "oligotonal" (Gr., oligo - 'few') was introduced in 1927 by Kvitka [i.e. Климент Васильевич Квітка (Klyment Vasylʹovych Kvitka), 1880-1953; ws] to refer to musical modes that featured fewer than 7 pitch-classes (directed against those theorists who considered such modes “incomplete” diatony)"; NB²: Bartók refers to "aprája" as being used in Nagymegyer (i.e. Veľký Meder [SE of Bratislava], Trnava region, SK [!]) as the term for "an interlude- or postlude-like, slightly more lively part, after the melody fades out...".