The diameter of the bore impacts characteristics comparable to accessible harmonics, timbre, and pitch balance how far the player can bend a note in the way required in jazz and other music. The bell at the base of the clarinet flares out to improve the tone and tuning of the bottom notes. The fixed reed and fairly uniform diameter of the clarinet give the device an acoustical behavior approximating that of a cylindrical stopped pipe. Recorders use a tapered internal bore to overblow at the octave when the thumb/sign in hole is pinched open, while the clarinet, with its cylindrical bore, overblows at the twelfth. Adjusting the perspective of the bore taper controls the frequencies of the overblown notes harmonics. Changing the mouthpiece's tip opening and the length of the reed changes elements of the harmonic timbre or voice of the clarinet as a result of this adjustments the rate of reed vibrations. Generally, the goal of the clarinetist when producing a legitimate is to make as much of the reed vibrate as feasible, making the sound fuller, warmer, and potentially louder. The lip place and pressure, shaping of the vocal tract, selection of reed and mouthpiece, amount of air pressure created, and evenness of the airflow account for most of the clarinetist's capacity to manage the tone of a clarinet. A highly skilled clarinetist will supply the best lip and air pressure for each frequency note being produced. They will have an embouchure which places a good force across the reed by cautiously controlling their lip muscle groups. The airflow will also be cautiously controlled through the use of the strong stomach muscular tissues as adversarial to the weaker and erratic chest muscular tissues and they're going to use the diaphragm to oppose the abdomen muscular tissues to achieve a tone softer than a forte rather than weakening the stomach muscle anxiety to lower air force.