The lip place and pressure, shaping of the vocal tract, choice of reed and mouthpiece, amount of air force created, and evenness of the airflow account for many of the clarinetist's ability to handle the tone of a clarinet. A highly experienced clarinetist will deliver the ideal lip and air force for every frequency note being produced. They will have an embouchure which places a good force around the reed by cautiously controlling their lip muscle mass. The airflow will also be cautiously managed through the use of the strong abdomen muscle mass as antagonistic to the weaker and erratic chest muscle mass and they're going to use the diaphragm to oppose the stomach muscular tissues to achieve a tone softer than a forte rather than weakening the abdomen muscle tension to lower air pressure. Their vocal tract will be shaped to resonate at frequencies linked to the tone being produced. Most instruments overblow at two times the rate of the basic frequency the octave, but as the clarinet acts as a closed pipe system, the reed cannot vibrate at twice its fashioned speed as it would be making a 'puff' of air at the time the outdated 'puff' is returning as a rarefaction. This means it can't be reinforced and so would die away. The chalumeau register plays fundamentals, whereas the clarion sign in, aided by the sign up key, plays third harmonics an ideal 12th higher than the fundamentals. The first several notes of the altissimo range, aided by the check in key and venting with the first left hand hole, play fifth harmonics a massive seventeenth, a perfect twelfth plus a huge sixth, above the fundamentals. The clarinet is therefore said to overblow at the 12th and, when moving to the altissimo check in, 17th. By evaluation, nearly all other woodwind instruments overblow at the octave or just like the ocarina and tonette do not overblow at all.