If you're looking for a simpler introduction to handpan minor tunings, here's an easy-to-understand overview: Simple blog about handpan minor tunings
Handpans are known for their warm, meditative sounds—and much of this magic comes from the chosen tuning (scale). Minor tunings (scales in the minor key) are particularly popular with handpans, as they often convey a mystical, dreamy, or melancholic character. . It is estimated that around 70% of all handpans are tuned in D minor Minor scales like Kurd , Amara (Celtic Minor), and Pygmy are classics for beginners and advanced players alike. In this blog post, you'll learn everything you need to know about minor tunings for handpans: from the theoretical basics (natural, harmonic, and melodic minor) to special features like missing scale tones or octave doublings, to a comprehensive list of common handpan minor scales and their notation. Both beginners and advanced players will find understandable explanations and in-depth information here.
Basics of minor scales
Before we delve into the details of handpan tunings, let's briefly look at the basics of minor scales . In Western music, there are three important variations of the minor scale:
• Natural minor (Aeolian scale) : The "ordinary" minor scale, also called Aeolian , corresponds to the degrees of the parallel major key. Semitones are characteristic between the 2nd and 3rd degrees, as well as between the 5th and 6th degrees. Example: A natural minor (A minor) has the notes A–B–C–D–E–F–G (semitones between B–C and E–F). Natural minor sounds soft and sad; it is noticeable that the 7th note is not a leading note to the tonic (it lies a whole tone below). This means that the tension that occurs in major scales just before they resolve is missing.
• Harmonic minor : To obtain a leading tone in a minor scale, the 7th degree is raised . In the example of A minor, G becomes G#. This creates an unusual distance of three semitones (an augmented second ) between the 6th and 7th degrees, giving the scale an exotic, oriental sound. . A harmonic minor: A–B–C–D–E–F–G#–A. This scale is important in European music, for example, for dominant seventh chords, since the leading tone (G#) clearly draws towards A. Its tonal origins lie, among other things, in Middle Eastern musical traditions. .
• Melodic minor : Melodic minor is a compromise to avoid the large gap in harmonic minor. Here, the 6th and 7th degrees are raised on the ascent , and natural minor is played again on the descent. Example: ascending A minor melodic: A–B–C–D–E–F#–G#–A, descending A–G–F–E–D–C–B–A. With F# and G#, the upward scale sounds softer (almost like major in the upper part) and avoids the 1.5 tone step between F and G#; when playing downwards, you return to natural minor in order to use the notes typical of minor (with b6 and b7). However, with a handpan that has fixed notes, you have to choose between one variant and the other – a handpan maker usually uses either the natural or harmonic form (melodic minor, as an ascending and descending scale, cannot be reproduced on a fixed-tuned instrument).
Major or minor? – The difference lies primarily in the third : major has a major third from the root note, minor a minor third (b3). Minor has always been perceived as "sad" or "soft," major as "happy" or "hard." This emotional coloring makes minor keys so appealing for the handpan, as they are often described as tragic, mystical, dreamy, or hopeful and tender . .
Minor scales on the handpan
Handpans are usually tuned diatonically , meaning they encompass a selection of notes within a specific scale (rather than chromatically like a piano) For minor handpans, this means the instrument is tuned to the notes of a minor scale (or a variant thereof). Many of the most popular handpan scales are based on the natural minor (Aeolian) or slightly modified forms of it. Some examples of well-known minor tunings are:
• Kurd – stands for a complete natural minor scale (Aeolian). For example, a Kurd in D minor contains all the notes of the D minor scale: D–E–F–G–A–B♭–C–D (on the pan often with repeated D and A in different octaves). . Kurd is often called Annaziska (especially in C# minor) and provides many harmonic possibilities and chords due to the completeness of all degrees This diatonic minor tuning is considered very beginner-friendly, as no note sounds “wrong” and you can find melodies and chords intuitively.
• Amara (Celtic Minor) – a hexatonic minor variation that lacks a degree of the natural minor scale. For example , D Amara (also called D Celtic Minor ) lacks the 6th degree (B♭) of the D minor scale. . This leaves the notes D–E–F–G–A–C–D , i.e., 6 different notes instead of 7. Omitting one note eliminates the semitones within the scale , resulting in a very harmonious, "floating" sound. D Amara sounds peaceful and warm and is often recommended as ideal for beginners. (Fun fact: D Celtic Minor is sometimes jokingly called "the beginner's scale" because it almost always sounds beautiful and hardly results in any dissonant intervals.) Compared to D Kurd, only the note B♭ is missing; instead, the Celtic Minor tuning often has an additional high note (e.g., a high C in D Amara) in place of the missing degree, so both variants have a total of 8–9 notes. .
• Integral (Mystic) – also a minor hexatonic scale , but here the 4th degree of the natural minor scale is omitted. A classic example is the integral tuning in D minor , where the note G is missing. The scale then includes notes such as D–E–F–A–B♭–C–D . In the PANTAM community, D Integral is considered one of the earliest handpan scales (PanArt Hang Integral), which captivated many in the 2000s. By omitting the fourth G, a unique character is created – D Integral sounds somewhat more open, almost "spherical," as the typical minor fourth is missing. This tuning was very common in the past; today, Kurd and Amara are more common. Some manufacturers call similar scales “Mystic” , which usually also means a natural minor scale without a fourth (analogous to integral tuning) .
• Pygmy – a pentatonic minor variation , meaning it uses only 5 different scale degrees. The Pygmy scale originally originates from the name of a particular Hang variation by PanArt (2001–2005) and has no direct connection to traditional Pygmy music, except that it has a similar meditative character. Pygmy can be thought of as a minor pentatonic scale in which two notes have been omitted from the natural minor scale: often the 4th and 6th degrees For example, F# Pygmy contains the notes F#–G#–A–C#–E–(F#…) – here the 4th note (B) and the 6th note (D) of the F# minor scale are missing, resulting in exactly five different notes. This scale sounds gentle, introspective, and "earthy," and, due to the lack of semitones between the notes, has a very open sound space. Pygmy is one of the most popular handpan pentatonic scales ever . Variants are, for example, Low Pygmy , where the lowest note of the scale is on the D (see next section), or G Pygmy with D as the basic D (D Minor/G Pygmy) – so there are different layouts under the name Pygmy.
• Magic Voyage – also often listed as a pentatonic minor scale , which is similar to the Pygmy . It is often tuned in D ( D Magic Voyage ), for example, and produces a mystical, dreamy sound – the name itself suggests that one is embarking on a "magical journey." What is interesting about Magic Voyage is the combination of major and minor intervals: D Magic Voyage contains the notes D–E–F#–G–A–C–D . One recognizes elements of both major (F# as a major third to D) and minor (C as a minor seventh to D). This blend of major and minor character results in a uniquely shimmering sound – simultaneously playful and melancholic. Magic Voyage and Pygmy are sonically close; in fact, Magic Voyage is often described as a kind of Pygmy with the fundamental tone on the thing Both scales do not have the 4th and 6th degrees of the natural minor scale, but differ slightly in the arrangement of the notes.
• Other minor variations : The above are by no means all of them. There are countless named tunings, many of which are based on minor or have a minor-like character. For example:
• La Sirena (Dorian) – a hexatonic Dorian variation , i.e., minor with a major sixth. The 4th degree (subdominant) is often missing. The result is a sound that is both typical of the minor scale (b3, b7) and surprisingly hopeful thanks to the major 6. La Sirena (Spanish for "mermaid") was originally popularized in E Dorian, contains, for example, E–F#–G–B–C#–D–E (A is missing as a fourth) and sounds romantic, dreamy and versatile. .
• Hijaz – a scale based on the harmonic minor , which produces a strongly oriental sound. Hijaz essentially corresponds to the Phrygian dominant key (5th mode of harmonic minor). Example: D Hijaz would have the pitch sequence D–Eb–F#–G–A–Bb–C–D , which includes the typical sound with a semitone step followed by an augmented second (Eb to F#). This tuning is ideal for Arabic-oriental melodies and percussive playing . (Variations such as Romanian Hijaz – starting from the 4th note of the harmonic minor scale – can also be found, which sound similarly exotic .)
• Annaziska – this name is often used for minor scales in C# (e.g. C# Annaziska corresponds to C# Kurd) The name probably originates from an early Hang model. It essentially refers to a complete natural minor scale (similar to Kurd) in a specific key.
• Equinox – a minor hexatonic scale that has both major and minor characteristics . Its name is intended to convey balance and equilibrium, similar to the equinox. Typically, for example, the G equinox is tuned as G–B–C–D–E–F#–G. This unusual mixture (with a major third B and a minor seventh F# relative to G) creates a sound that is both joyful and contemplative .
• Akebono – originally not a minor scale in Western music, but a Japanese pentatonic scale , which many consider to be minor. It contains characteristic minor seconds (e.g., D–Eb) and fourths and produces a deeply hypnotic, Far Eastern sound. Example: C Akebono – C–D–Eb–G–Ab–C – sounds melancholic and gentle, without a clear major/minor assignment, and is often used for meditative handpan pieces .
This list could go on, but this already shows: Minor tunings on the handpan come in numerous variations. Every small change—such as omitting a single note or raising or lowering a note —can give the tuning a new character. Therefore, it's worth playing different scales and comparing them with your own perception. Manufacturers' sound descriptions (such as "mystical," "hopeful," "tragic," etc.) are subjective—ultimately, your ear decides which minor tuning appeals to you most. .
Missing pitches and octave shifts – why?
If you look at the scales mentioned, you'll probably notice that some scales are incomplete . Handpan tunings like Amara or Integral deliberately omit one degree of the diatonic scale (hexatonic), while Pygmy and Magic Voyage even omit two (pentatonic). But why are some degrees missing? And why do some notes reappear in other octaves ?
The main reasons for this are sound aesthetics, instrument design and playability :
• Avoiding dissonant intervals: Minor scales naturally contain a few critical intervals—for example, the semitone between the 2nd and b3 (in D minor, E–F) or between the 5th and b6 (A–B♭). When all the notes are present (as in Kurd), you can play in a wide variety of ways, but you also have small intervals between seconds, which can sound tense or off-key in certain combinations (for example, when playing A and B♭ together). Many minor variations deliberately omit a note to avoid such tension. In Amara, for example, the 6th degree (b6) is deleted, which means that the critical note B♭ is missing – there is no minor second with A anymore, and the scale sounds “cleaner” and more harmonious in itself Similarly, Integral omits the 4th degree to avoid disturbing the fourth/fifth relationship and to make chords sound clearer. Omitting individual notes makes the handpan scale even more intuitive to play , because "all the notes fit together." This also avoids diminished chords or tension chords that would occur in the full minor scale. .
• Limited number of sound fields: A practical reason: Most handpans have 8-9 notes on the upper shell (sometimes plus a few on the bottom). However, a diatonic minor scale comprises 7 different notes plus the octave - that would be the minimum 8 notes needed to play the entire scale once. Many instruments, however, have the root note (ding) + 7 sound fields, i.e. only 7 different pitches in total. Therefore, a pitch often has to be omitted, otherwise it doesn't work. Example: A handpan with ding + 7 notes can either play a complete heptatonic scale (root note repeated as the top note), or it chooses a hexatonic scale without a scale note so that the root note can appear again at the top. In D Amara (ding D, 7 additional fields), B♭ is omitted in order to accommodate a D or C at the top. In general, instrument makers often decide which note of a scale to omit in order to achieve the desired tuning with the available number of fields.
• Expanding the tonal range: Instead of simply mapping all degrees, many scales utilize the possibility of repeating important notes —e.g., the root note in the high register, the fifth, or the third. This provides a wider tonal range and more melodic options without having to add "alien" notes. The D Kurd 10 (a 10-note D-Kurd handpan), for example, adds a high C note (C5) to the standard D minor scale, so the note C is present in two octaves. Similarly, D Integral often has the note C twice (lower than b7 and again higher as an additional note) These octave doublings create a fuller sound and offer the player additional possibilities for playing melodies in different registers. Especially in pentatonic scales, several notes are repeated across two octaves to create a "broad" harmonic carpet. In the Low Pygmy tuning, for example, four of the five tones are arranged in two octaves, which results in the characteristic full-sounding, floating sound .
• Physical Limitations & Construction: The physical properties of the handpan ultimately dictate which tones can be produced. The lowest note of a handpan is almost always the one in the center—this field is the largest and can produce the lowest frequency. Even lower notes than the D would be almost impossible to fit on the top because the fields would be too large. This is why handpan scales often lack notes below the fundamental. For example: in a D minor handpan you will hardly find a low G (the 4th below D) - the D is D, and the other fields are tuned higher. If a manufacturer wants an extra low note, they sometimes put it on the bottom (the so-called bottom note ), but this is time-consuming and rare. Likewise, very high notes only have small tone fields. To avoid extreme high notes (which have a lively sound but a shorter sustain), people often make do with choosing the highest note as a third or fifth above the octave fundamental . This means that a minor scale on the handpan is often not arranged exactly linearly from fundamental to fundamental in an octave , but rather intermittently or with jumps.
In summary: Handpan minor tunings often deliberately "truncate" the scale or distribute it differently across the octaves to achieve a beautiful sound and good playability. What may look incomplete on paper usually sounds harmonious and full on the handpan because our ears easily fill in small gaps. Furthermore, the absence of a note can leave room for interpretation in the music—it's up to the player to fill the gap mentally or simply enjoy the open sound.
Physical and technical reasons for the tone arrangement
In addition to the selection of notes themselves, their arrangement on the handpan also plays a major role. If you've ever played or seen a handpan, you'll know that the notes aren't arranged in a circular order (as is sometimes the case with a steel tongue drum, for example), but rather in a specific sequence. Why are handpan notes arranged the way they are? Here are the most important physical and technical reasons:
• Central bass and ring-shaped arrangement: A handpan consists of two metal half-shells; the sound fields (tone fields) are incorporated at the top, and usually only the resonance hole at the bottom . In the top center sits the Ding , the lowest note. Around the Ding, in the chorus circle, there are a number of other fields, usually 7 to 9 These lateral tones are arranged ascending around the thing – alternating right and left in increasing pitch This means that when you go from the lowest to the highest note of a tuning, you alternately "jump" from one side of the handpan to the other. This alternating arrangement is technically ingenious: You can scale alternately with your right and left hands without getting in the way. For example, you play one note alternately on the right, the next on the left, and so on, and the scale continuously ascends. This is ideal for smooth runs and patterns.
• Intervals between the ding and the first string: Typically, the first note to the right of the ding is not the second, but the fifth or fourth of the root. For example, in many D minor pans, the ding is D3, and the lowest string is A3 (the fifth to D) or sometimes G3 (the fourth). A direct second step (e.g., D to E) is often avoided. Why? Firstly, because the Ding is meant to stand out as a fundamental note – it "grounds" the tonality. If the second is right next to it, it could pull the sound too far away from the fundamental note. Starting with a fifth instead gives the sound a solid framework (the fifth and root note form the open fourth chord, which is very resonant). Secondly, there are acoustic reasons : The Ding vibrates not only at its fundamental frequency, but also in overtones (often in the fifth and octave). If the nearest pitch field were also close in pitch, the resonances could interfere. A fifth's distance is less critical in this case. Many handpans therefore "skip" at least one note of the scale between the middle and the first pitch field. – sometimes even a whole octave.
• Integrating harmonic resonances into tuning: Each handpan tone is constructed in such a way that, in addition to the fundamental tone, it also carries its octave and usually the fifth as overtones These resonating frequencies are intentional - they give the tone color and stability. It is important to note that since the handpan only has notes from one scale , these overtones are usually also on (or close to) other tonal fields. For example, one field is tuned to A, and its fifth (E) and octave (A') also sound in the background. If E and A' are also correct notes from the scale, they harmonize perfectly. If the pan were chromatic, some of the overtones would not fit with the rest. This is why builders choose diatonic scales , where the fields tune each other - the natural minor scale is ideal because fifths/octaves always lie within the key. This is another physical reason why an individual "out of the ordinary" note is rarely included: it could dissonate with the overtone fields of its neighbors.
• Proportions of the sound fields: Low notes need larger vibration areas, high notes smaller ones. On the limited surface of the handpan this means: the lower a note, the more centrally or lower it must be placed , where more sheet metal surface is available. The higher, the further out it can be. This explains why extremely low scale notes are often missing (no space) and very high notes cannot be exploited to the maximum (the field would be tiny and quiet). Instead, sensible distributions are chosen - for example, it is better to forgo the lowest note of the theoretical scale (in D minor, for example, the low G) than to squeeze it onto the sheet metal and lose sound quality.
• Playful ergonomics: We've already mentioned the alternating arrangement of the tonal fields (ascending from right to left). Manufacturers also ensure that intervals frequently played together are easily accessible . Thirds or fifths of a chord are often not directly adjacent (due to interference), but positioned so that they can be played comfortably with two hands (e.g., one note on the right, the corresponding third diagonally opposite on the left). Notes that together form a chord are also sometimes positioned opposite each other as "mirror notes." This allows for intuitive fingering of duos and triads . Some manufacturers provide diagrams showing which fields on their pans form a chord – often, this is a deliberate geometric arrangement. In short: While the tuning determines which notes sound, the arrangement determines how easily and comfortably musical structures can be implemented on it.
All of these factors— sound design, physics, and ergonomics —contribute to the art of creating a handpan tuning. Each minor tuning is therefore not just a scale, but also a specific layout on the instrument that shapes its character and playing style. For us players, it's exciting to discover the secrets hidden in the arrangement: Why does a riff feel different on a D Kurd than on a D Amara? Often, it's precisely these subtle differences in the layout that explain it.
Overview: Important Handpan minor scales and their notes
Finally, we've compiled a table showing some of the common handpan minor tunings and their note ranges. We provide an example for each in a specific key (often D or E, since minor handpans are frequently built in these tunings) and list the typical notes from lowest to highest. The notation follows the ding/tone circle convention: The central ding (fundamental note of the tuning) precedes the slash, followed by the surrounding notes in ascending order. (Note: Depending on the instrument, individual notes may be an octave higher/lower or may be present as additional notes—the table is primarily intended to clarify the scale concept.)
Mood (scale name) Notes (things / sound fields) Features & Type
D Kurd (D minor) D3 / A3 B♭3 C4 D4 E4 F4 G4 A4 Natural minor (Aeolian) – complete minor scale All 7 steps are available, very versatile. Beginner-friendly (diatonic).
C# Kurd (C# minor) C#3 / G#3 A3 B3 C#4 D#4 E4 F#4 G#4 Natural minor in C# – also called "Annaziska." Corresponds to C# Aeolian (C# D# EF# G# AB). Full minor scale with corresponding accidentals.
D Amara (Celtic Minor) D3 / A3 C4 D4 E4 F4 G4 A4 (C5) Hexatonic minor (Aeolian without 6th degree) . Missing B♭, instead often high C as an additional note. Sound: peaceful, "Celtic," floating.
E Amara (E Celtic) E3 / B3 D4 E4 F#4 G4 A4 B4 Hexatonic minor (E minor without 6th degree C) . C is missing, otherwise E is naturally minor. Very intuitive, as there is no semitone between A–B (relaxed sound).
D Integral (Mystic) D3 / A3 B♭3 C4 D4 E4 F4 A4 C5 Hexatonic minor (Aeolian without 4th degree G) D minor without G, but doubled high C. Early Hang tuning, open, minor sound, hardly any dissonance.
F# Pygmy (F# minor pent.) F#2 / G#2 A2 C#3 E3 F#3 G#3 A3 C#4 Pentatonic minor – minor pentatonic scale (without 4th and 6th degrees). E.g., F# Aeolian without B(4) and D(6) . Sounds earthy, gentle, meditative. Notes repeat over two octaves (e.g., F#, G#, A, C#).
D Magic Voyage D3 / A3 C4 D4 E4 F#4 G4 A4 C5 Pentatonic (variants) – Similar to Pygmy, but with major third F# instead of F. Mixture of minor and major intervals , creates a mystical-melancholic mood. Often structured like Low Pygmy (fundamental note on thing).
D Hijaz (oriental) D3 / A3 B♭3 C4 C#4 D4 F#4 G4 A4 Harmonic minor variant – contains the raised 7th degree (C#) in addition to the minor degrees. Example: D-Hijaz similar scale: D–Eb–F#–G–A–B♭–C#–D. Characteristic oriental sound with b2 (Eb) and maj7 (C#). . (Implementation on Pan varies by manufacturer.)
And the Siren (Dorian) E3 / B3 C#4 D4 E4 F#4 G4 B4 Hexatonic Dorian – minor with major 6, without 4th degree Example E-Dorian without A: Notes E–F#–G–B–C#–D. Sounds simultaneously minor (b3, b7) and slightly major due to the major 6th. Versatile for major and minor chords. .
Others: Equinox , Sabye , Klezmer and many more – Equinox (hexaminor with a major/minor mix), Sabye (a major-like scale), Klezmer (minor with typical Jewish scale sequences), and many others exist. The above list shows the most common minor tunings—besides, players and builders experiment with countless other scales.
Note: The table above contains numbers for the rough octave range (e.g., D3 = D in a small octave, A4 = A in a 1-lined octave). The exact tuning can be 440 Hz or 432 Hz, but this makes no difference in the note naming. Some scales may be interpreted slightly differently by different manufacturers—when in doubt, the specific note list of the instrument counts more than the name. .
Conclusion
Minor tunings give the handpan its typically soulful sound. Natural minor scales like Kurd/Annaziska offer all the notes for maximum variety, while hexatonics like Amara or Integral deliberately omit a note to create a particularly pure, harmonious sound space. Pentatonics like Pygmy or Magic Voyage reduce the scale even further, leaving plenty of room for rhythm and atmosphere. Each tuning – be it D minor Kurd, F# Pygmy, E Amara, C# Kurd or one of the many others – has its own nuances and playing finesse. Handpan players should feel free to try out different scales: some sound more tragic and minor, others shimmer hopeful or exotic . All of this falls under the broad term “minor tuning,” but shows how diverse minor can be on the handpan.
In conclusion, there is no "best" minor tuning , only the one that suits you best . Let yourself be inspired by sound examples and pay attention to the emotions that the scale evokes in you. Whether for meditative sound journeys, melodic songwriting, or virtuoso playing – the world of handpan minor scales is open to you. With the knowledge gained from this article, you can better understand what the names of the tunings mean and why the handpan is tuned the way it is. Have fun discovering your personal favorite minor tuning!