Therefore it was uninterestingfor most
composers and extreme musicians, and was rarely utilized in compositions other than some shepherd scenes. The problem developing instruments similar to clarinets just like the Chalumeau becomes clear when you concentrate on whathappens if you play an upward scale on an instrument just like the recorder: There are seven or eight tone holes for the lower octave
as you have gotten 10 hands and there's an octave hole. "Overblowing" or establishing an octave hole makes woodwind contraptions sound precisely one octave higher than the note would sound without overblowing except for the clarinet, as I will show below. Using the same fingering one time with and one with no an overblowing hole makes the device sound in different hights; during this contents you speak of lower and upper register. So you actually need seven tone holes and an overblowing hole. Learning how to play higher registers on woodwinds like a recorder is therefore rather simple, and it makes things easy for the device maker: The tone holes and their distances for the higher octave are precisely the same as for the lower octave.