It was complex to play in tune. Therefore it was uninterestingfor most composers and serious musicians, and was hardly ever utilized in compositions apart from some shepherd scenes. The problem coming up instruments akin to clarinets like the Chalumeau turns into clear should you think about whathappens if you play an upward scale on an tool just like the recorder: There are seven or eight tone holes for the lower octaveas you have got 10 palms and there is an octave hole. "Overblowing" or commencing an octave hole makes woodwind gadgets sound exactly one octave higher than the note would sound without overblowing aside from the clarinet, as I will show below. Using a similar fingering one time with and one with out an overblowing hole makes the tool sound in various hights; in this contents you speak of lower and upper sign up. So you in fact need seven tone holes and an overblowing hole. Learning how to play higher registers on woodwinds like a recorder is hence rather simple, and it makes things easy for the tool maker: The tone holes and their distances for the higher octave are precisely a similar as for the lower octave. Now overblowing works on clarinets, too, but the effect is different: The clarinet overblows not to the eighth tone on thescale an octave that's precisely double the frequency but to the twelfth tone. The Italian word for here's duodecime,and so we call the overblowing key the duodecime key. A amateur must learn this and get used to it. Furthermore this has implications on the building of the tool: First it needs more tone holes than octavating instruments, because if you want to play scales up, note 9, 10 and 11 need their very own tone hole.