Ku nuurpaar viiäs lavva taadõ kaasitõh,
kuis tuu ka olĺ?
Ütleq sa iist!
Kaśke, kańke,
velekeseq, noorõkõsõq, kaśke, kańke!
Lääme-ks mi aulavva taadõ, kaśke, kańke!
Lääme aulavva taadõ, kaśke, kańke!
Astu-ks mi leemelivva mano.
Velekene-ks, noorõkõnõ,
läät sa-ks aulavva taadõ,
liigut sa leemelivva mano,
kaeq sa silmil selgillä,
kaeq silmakolmal korgilla.
Läät sa sinnä näio kodo,
ommaq-ks kui ohtjaq ussõ all,
ommaq-ks takjaq tarõ läve all,
saa-i sis illos elämine,
saa-i kallis kasumine.
Omma-ks sääl siidiq ussõ all,
saasõ-ks sis illos elämine,
saa sis kallis kasuminõ.
Velekene, noorõkõnõ.
The relatives of the groom instruct him to observe, on his first day of wedding, the signs indicative of later blissful marriage in the bride’s home. When the doorway is overgrown with weeds, there is no hope for a happy marriage. The song was sung when the bridal couple was taken to the ritual wedding feast, the ‘table of honour’ (aulaud). Because of the refrain kaske-kanke, the tune was called ‘kaske-refrain tune’, kaaskõlõmine or kaasiguääl.
ERA, FAM 636 A (8, 10) < Haida k – Igor Tõnurist, Õie Sarv 1988 < Olga Freiland, Maria Bogdanova, Natalja Bogdanova, Anna Jefimova, Darja Markova, Natalja Mironova.
The yearly cycle
Family traditions
Improvisations and Lyroepic songs
Circle Game Song