Example 1  

The example includes two versions of the same technique. 

In the first version, press the midpoint of the string lightly with the tip of your 2nd finger, and pluck with your thumb.

• Release the 2nd finger from the string immediately when the thumb plucks diagonally upwards. 
• The other fingers should be gently curved.
• Let your hand be as relaxed as possible. 

In the second version, touch the midpoint of the string with the first joint of your 2nd finger, and pluck diagonally upwards with your thumb. 

• Keep the 2nd finger relaxed and gently curved and place it diagonally on the string. 
• When the thumb plucks, let the 2nd finger roll from the string, supporting the joint on the string. 
• You can create more powerful flageolets by directing some of the weight of your arm onto the working fingers. 
• Making use of the flexibility of the strings may help to produce flageolets. 
• When plucking, keep the whole arm, elbow joint, and wrist as free and flexible as possible. 
• This is a good general technique: it can be used in different octaves. It is also suitable for the left hand. 
  • Try different plucking angles (directions) with the thumb and vary the distance to the finger touching the string.  
  • Feel the flexibility of the string. 
  • Observe:
    • when is it easiest to produce a sound? 
    • how does the position of your hand change? 
    • what happens to the sound when the distance between your fingers changes? 

Example 2  

In the example, the thumb is plucking on the right side of the 2nd finger.

• The thumb is plucking towards the palm. The thumb should be supported but flexible.  
• The playing position may feel uncomfortable at first.
• Try making the technique easier by leaning your body to the right and moving your elbow further. The arm should be flexible. 
• Support from the shoulder-blade anchor and cupped hand helps you to control the technique. 
• With this technique, you can create flageolets with clear tones. 
  • Try different plucking directions and plucking with the very tip of the thumb. 

Example 3  

This technique is especially suitable for the left hand (cf. Example 2).

• The thumb plucks towards the palm. 
• The flageolet may be produced most easily if the thumb plucks sharply and diagonally upwards and outwards from under the string. 
• Keep your hand relaxed and your fingers naturally curved when you bring the hand to the strings. 
• Support from the shoulder-blade anchor and cupped hand helps you to control the technique. 
• It is important to maintain arm and hand flexibility when plucking. 

Example 4 a  

In this example, the index finger is plucking, and the edge of the thumb touches the nodal point of the string.

• Lean your hand heavily towards and over the thumb. 
• Use the inner edge of your index finger for plucking. The finger movement towards the palm should be swift but as relaxed as possible. 
• Lift your upper arm slightly upwards, keeping your shoulder in a relaxed position. 
• Find a comfortable supported position for the upper arm.
• Let the arm remain free and flexible. 
• With this technique, the timbre can be varied quite widely. 

Example 4 b  

In this example, you see one string plucked so that the distance between the plucking finger and the finger touching the nodal point increases with each pluck.

• The fingernail may also touch the string. 
  • Observe how the sound changes as the distance between the fingers changes. 
  • Try to find out how many different techniques can be used to produce flageolets and how many nuances you can bring out from your kantele.

Example 5  

In this example, you see flageolets plucked with the fingernail in a three-line octave.

• In the upper register, especially in the three-line octave, the easiest way to produce flageolets is to use a fingernail. It creates a very clear tone. 
• Either the edge of the thumbnail or index fingernail is best suited to plucking, depending on the situation and the musician’s hand.
• Because of the shortness of the strings, keep the distance between the plucking finger and the finger touching the string short, approximately 2 cm.
• By experimenting, you will find an appropriate distance between the fingers: when does the sound become clear? 
• Keep your hand and fingers relaxed.
• Plucking movement should be light and narrow.

When playing flageolets with two hands, the suitable fingers for touching the nodal point of the string are usually either the index finger or the little finger. You can create a clear sound if you touch the string with a very narrow area of the fingertip – the outer edge is well suited to this.

You can change the tone of flageolets in many ways:

• You can freely vary the distance between the plucking finger and the finger touching the string. 
• You can use different fingers for plucking.  
• You can smoothly modify the ways of plucking and touching. 

Example 1 (upward plucking)   

In this example, you see a few flageolets created by using upward plucking.

• Try plucking with different fingers. 
  • What kind of timbral differences do you notice?
  • Is it easier to produce flageolets when plucking with a certain finger? 

Example 2 (upward plucking): Matti Kontio: Mitä soivat kirkonkellot?, bars 55-61   

In this fragment, flageolets are plucked both with one hand and with two-hand upward plucking techniques.

• For the one-hand flageolets, you can choose the technique that makes them sound the way you want. 
  • Try playing third flageolets with different fingerings. 

Example 3 (sliding): Harri Wessman: Aino kultakutri (Aino the Golden-curled), bars 1–9 

In this example, the melody is formed with flageolets.

• The composer wants the melody line to be clearly outlined with finger mutings. 
  • Pay attention to the sound of your kantele and find the best plucking point in relation to the midpoints of the strings. 
  • Notice how far the hands are from each other. 
  • Be precise in touching the nodal points.