Barsi Ernő: Sály : egy bükkalji falu a hagyományos gazdálkodás idején (A miskolci Herman Ottó Múzeum néprajzi kiadványai 17. Miskolc, 1965)

transition from major mode of our children songs into minor key symbolizing connection with the Turkish heritage of our folk music, the la -pentaton -lines. Archaic being of folk songs at Sály is shown by numerous old- style -melodies of four- lined verse and descending structure. Among them a lot of melodies of parlando rubato - rendering can be found. Main -caesura was 5, but also 1 appeared. In cadence they get down to fundamental tone often with quart, however cadence form bVH to la often can be observed. That, just like clear pentaton-lines occur even in folk songs of new style. Most folk-songs of this new-style can be heard in villages of today (initial and cadence lines are the same, rendering: giusto). Connection with old-style melodies is created in them by frequent occurrence of pentatony. Diatonic minims are often avoided, instead the tune is guided up with a second and the lower tone of minor third is reached with a quart. Characteristic steps of functional thinking are made disappear from acceptance of songs (by known author) as well. No sixth springing down, chromatic, diminished - augmented intervals can be noticed in their interval - application. Because of vigorous predominance of la-pentatony disproportionately more melodies of minor mode is sung than those of major mode. Down-springing quart of pentatony also in major mode is prefered (eg. Tisza ran over its banks). Population at Sály prefers fürst of all music with singing. They often played various instruments mostly self - made flute and cither - in the old days. The socialist transformation has almost completely abolished the singing opportunities which kept the folk song alive also at Sály. In order to preservation for posterity, further survival a new form lias been developed, the so-called „peacock circle" in form of folk-song-choir.