Therefore it was uninterestingfor most composers and severe musicians, and was rarely used in compositions aside from some shepherd scenes. The issue bobbing up gadgets comparable to clarinets like the Chalumeau becomes clear if you happen to consider whathappens if you play an upward scale on an tool like the recorder: There are seven or eight tone holes for the lower octaveas you have got 10 arms and there is an octave hole. "Overblowing" or establishing an octave hole makes woodwind contraptions sound accurately one octave higher than the note
would sound without overblowing aside from the clarinet, as I will show below. Using a matching fingering one time with and one without a an overblowing hole makes the instrument sound in different hights; during this contents you speak of lower and upper check in. So you basically 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 better octave are accurately the same as for the lower octave. Now overblowing works on clarinets, too, although the effect is distinctive: The clarinet overblows not to the eighth tone on thescale an octave that is precisely double the frequency but to the 12th tone. The Italian word for here's duodecime,and so we call the overblowing key the duodecime key. A novice must learn this and get used to it. Furthermore
this has implications on the constructing of the device: First it needs more tone holes than octavating gadgets, as a result of if you want to play scales up, note 9, 10 and 11 need their very own tone hole. This means there need to be more tone holes than we've arms.