Small kantele instruments with more than five strings typically range from six to about twenty strings. The largest hollow kantele in Finnish museums is probably the 21‑string kantele (PKMPKE1742:1) in the North Karelian Museum (Museum Eliel), purchased in 1926 from Aleksanteri Patronen of Korpiselkä. Photographs of museum kanteles of various sizes can be found, for example, on the SKVR & KANTELE website.

The fingerings for the old plucking technique on the five‑string kantele become more widely spaced as the number of strings increases. In this technique, the index, middle and ring fingers of the right hand play notes on strings below string 1 (see the string numbering on the tab Tuning), while the thumb plays notes on the strings above string 5. The left thumb may also be used on higher strings if needed.

As the instrument becomes larger, the support point in the hands moves from the palms to the wrists or forearms, depending on the relative size of the instrument and the hands. Aim to find a comfortable position that allows your fingers to locate the desired strings without relying on sight as well.

Small kanteles with more than five strings

Pattern 1. 

• Support your hand: Support your right hand on the side of the ponsi to give stability.
• Basic pluck: Use your right index finger to pluck string 1 and your right thumb on string 5.
• Explore rhythm: Try different rhythmic patterns or play along to a pulse you enjoy.
• Shape the sound: Pluck the strings cleanly and release your fingers into the air, avoiding an early return. Aim for a long, sustained tone in which the vibration travels freely between the strings and the body of the instrument.
• Expand your reach: Extend beyond strings 1 and 5 by using your right index, middle, and ring fingers on the strings below string 1, and your right thumb on the strings above string 5 whenever you wish.

• Later, you can also experiment with using your left thumb on the highest strings to broaden your palette of sounds.

• Reflect and listen: Pay attention to the pulse on the videos and its effect. How does the music change — or does it change — if you start the pattern from string 5?

Pattern 2.

• Anchor your left hand: Rest your left hand lightly on the tuning‑peg side of the instrument for stability.
• Finger placement: Position your left index, middle, and ring fingers so that they sit naturally between your right thumb and index finger
• Right‑hand initiation: Play Pattern 1 steadily on the pulse with your right hand.
• Left‑hand response:
  After the right‑hand thumb note, pluck either
  • string 4 with your left index finger,
  • string 3 with your left middle finger,
  • or string 2 with your left ring finger.
• Explore these alternatives and listen closely to the changing tonal colours.

Pattern 3.

• Combine freely: Combine the first two patterns as you like, shaping your own sequence.
• Listen actively: As you alternate between them, listen to the emerging colours and notice how the interplay of right and left hand changes the texture.
• Explore variety: Try different pulses and dynamics, and pay attention to how each choice transforms the sound.
• Reflect: Try what happens if you take string 5 as the starting note instead of string 1.

Pattern 4.

• Play as in Pattern 2, but this time add the left‑hand pluck after the note played by your right index, middle, or ring finger.
• As you combine the hands in this new order, listen closely to how the colours shift and how the resonance of the instrument transforms.

Pattern 5.

• Combine freely: Bring together the previous patterns in any order or mixture you prefer.
• Listen attentively: Pay close attention to how the tones change as you vary the combinations, noticing the emerging colours and textures.
• Try to play without looking at the strings.

Pattern 6.

• Play the note of your choice with your left hand after any right‑hand plucks.
• Change the emphasis by playing some strings louder than others.
• Notice how these dynamic shifts affect the sound, and explore the colours and textures that emerge.

Pattern 7.

• Combine freely: Bring together the patterns you have learned so far in any order you prefer.
• Vary the dynamics: Experiment with different levels of intensity in your plucking, from soft to strong.
• Listen to touch: Pay attention to the quality of your touch and how it shapes the sound.
• Seek timbres: Explore the different timbres that emerge as you vary both dynamics and touch.

Pattern 8.

• Play any two strings of your choice at the same time, then individual strings, and finally two strings of your choice together again.
• Notice emphasis: You may find that notes played simultaneously are easily more emphasized than individual notes.
• Explore timbres: Different tone combinations produce very different timbres — listen carefully to these contrasts.
• Shift placement: Place the simultaneous notes somewhere in the middle of the individual notes and listen to how the character changes.
• Expand to three: Try combining three notes instead of two and look for new tone colours. Place the simultaneous plucks between the individual notes and alternate their positions.
• Imagine more: What if you played four or even five notes at the same time? Explore how the sound expands and transforms.

Pattern 9.

• Combine everything: Bring together all the patterns you have learned so far in any order or mixture.
• Listen to tones: Pay close attention to the colours and resonance that emerge from your combinations.
• Vary your touch: Experiment with different qualities of touch, from light and delicate to firm and strong.
• Shape emphasis: Put more emphasis on some plucks than others, and notice how this affects the musical flow.

Pattern 10.

• Change timing: Do the same as in Pattern 8, but play the simultaneous notes slightly at a different time instead of exactly together.
• Listen for change: How does the sound change when the notes are not perfectly aligned?
• Vary the order: Experiment with the sequence of notes — for example, if you play strings 4 and 5 slightly apart, the resulting tone changes depending on which note you begin with.
• Explore further: Try different set of strings, shift the order, and notice how subtle timing differences create new colours and textures.

Pattern 11.

• Combine everything: Bring together all the patterns you have learned so far in any order or mixture.
• Shape expression: Vary your touch, dynamics, and timing to create contrasts and flow.
• Listen deeply: Pay attention to how tones, timbres, and emphases interact when combined.
• Explore freely: Allow yourself to improvise, discover new textures, and enjoy the richness of the instrument.

Pattern 12.

• Pay attention to phrases: Focus on shaping melodic phrases rather than isolated notes.
• Create musical verses of different lengths, letting them unfold naturally.
• Vary freely: The length of your verses can vary very freely according to your own train of thought.
• Listen closely: Notice how different phrase lengths affect the flow, character, and expressive quality of the music.

Pattern 13.

• Use everything: Bring together all the techniques and patterns you have learned so far.
• Build stories: Shape your playing into musical stories, letting phrases and textures unfold like a narrative.
• Vary expression: Experiment with dynamics, touch, timing, and timbres to create contrasts and characters.
• Listen imaginatively: Notice how your choices suggest moods, images, or journeys, and allow the music to speak beyond individual notes.

Pattern 14.

• Change position: You can shift the home tone (tonic) on the scale either between different playing sessions or during improvisation, according to your own wishes.
• How it’s done: On small kanteles larger than five strings, this is often achieved by moving both hands to a new position on the strings.
• Try it out: Lift both hands one step up, i.e. closer to yourself. Now the home tone (and your right index finger) are on string 2 of the previous scale.
• Play and reflect: Play the patterns you learned above in this new position. How do you think the music changes?
• Explore further: Try shifting the position to other strings as well and listen to the timbres brought by the new scale.

Pattern 15.

• Combine everything: Bring together all the patterns you have learnt so far in any order or mixture.
• Play as you wish: Choose freely how to combine techniques, touches, timings, and timbres.
• Enjoy the process: Let your playing be playful and exploratory — have fun with the instrument.
• Reflect while listening: Notice what feels natural, surprising, or inspiring, and let those discoveries guide your improvisation.

Pattern 16.

• Count two beats in your mind while playing.
• Repeat the improvisation, but now count four beats instead.
• Vary the speed: try slow two and fast four.
• Observe how the pulse influences phrasing, accents, and flow.

Pattern 17.

• Improvise freely on the kantele while counting three beats in your mind.
• Explore how the music feels with a slow three-beat pulse.
• Then shift to a fast six-beat pulse (two groups of three).
• Notice how phrasing, accents, and flow change between slow three and fast six.

Pattern 18.

• Improvise freely on the kantele while counting a five-beat pulse.
• Begin with a slow five, letting each beat feel spacious.
• Speed up the pulse and experiment with combinations of two and three beats (3+2 or 2+3) to shape the five-beat pattern.
• Try different tempos and listen carefully to how the pulse affects phrasing and tone.

Pattern 19.

• Improvise freely on the kantele using combinations of two and three beats.
• Create a seven-beat pulse, for example: 3 + 2 + 2.
• Try also a ten-beat pulse, for example: 3 + 3 + 2 + 2.
• Experiment with other groupings of twos and threes to discover different rhythmic shapes.

Pattern 20.

• Combine everything you have learnt.
• Try to play without looking at the strings — you can even close your eyes.
• Focus on listening to the sound and the structure of the music.
• As the old plucking technique becomes automatic, gradually let go of conscious control of your fingers.
• Allow musical ideas to arise instinctively, guided by your listening and subconscious.

• Experiment by retuning your kantele and applying everything you’ve learned to a new scale.