According to Finnish linguist Eino Nieminen, the name of the instrument, along with the names of most of its neighbouring counterparts, possibly comes from the proto-Baltic form *kantlīs/*kantlēs, which originally meant 'the singing tree', most likely deriving from the Proto-Indo-European root*qan- -, meaning 'a vessel; a haft ', suggesting that it may be related to the Russian word gusli''.
Construction
Although kanklės vary both regionally and individually, there are some common characteristics in their construction. Kanklės belong to the zither family, which means that their strings are parallel to the soundboard and do not extend beyond it. The body of the kanklės is made from one trapezoidal piece of linden tree, ash tree, oak, maple or black alder, which is hollowed out to create a cavity. A thin sheet of softwood is used to make a soundboard, which covers the body. Soundholes, which traditionally take the shape of a stylized flower or star, are cut into the soundboard, allowing sound to project outward. At the narrowest side of the body, a metal bar is attached to which the strings made of wire or gut are anchored. The opposite ends of the strings are attached to a row of tuning pegs inserted into holes at the opposite side of the body. Kanklės is usually rested on the player's lap and played with the fingers or a pick made of bone or quill.
Apanavičius classifies the kanklės into three basic traditional types, although there are variations within each type and some overlap of areas. Each type has its own playing technique.
Kanklės of Northeastern Aukštaitians: the simplest and most ancient form. Carved out of a single piece of wood into a boat or coffin shape.
Kanklės of Western Aukštaitians and Samogitians: somewhat larger than those of Northeastern Aukštaitija, usually having between eight and twelve strings. They have a flat bottom, and in some cases, the shortest end is carved with the stylized figure of a bird's or fish's tail.
Kanklės of Northwestern Samogitians and Suvalkians: usually the most decorated type, and kanklės used in concert performance are most often based on this variety. The most prominent identifying feature is the addition of a carved spiral figure to the point of the instrument's body and sometimes, the rounding of the narrow end of the body. Typically these instruments have between nine and thirteen strings.
Concert kanklės, with an expanded range of more than four octaves and added chromaticism, provided by means of metal levers at the side of the instrument, similar to the ones used in a Celtic or lever harp, were constructed in 1964 by P. Kupčikas following the design of P. Stepulis and D. Mataitienė. They followed the lead of Latvian concert kokles constructed in 1951.
