It seems that putting the reed against the upper lip gives a different tone.
Putting teeth on the reed also gives extremely high harmonics — understandable, as the reed is being high-pass filtered at that point.

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This article (also this) proposes that there are two types of perfect pitch, “ability to perceptually encode” and “heightened tonal memory”. And these groups perform differently on a tonal matching test. I take the first to mean the ability to match any tone whatsoever precisely, while the second one to mean the ability to have long-term memory of certain heard tones.
(Read the article)

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I’m going to attempt to classify chords from first principles, forgetting about the restrictions imposed by existing terminology. Chords are essentially a partial harmonic series. Therefore, they can be indicated as a series of ascending integers indicating ratios of frequencies of elements in the chord, such as 1:2 (octave), 2:3 (fifth), 4:5:6 (major triad), and so on. This is for pure tone combinations. Real instruments contain overtones in each note, so the total effect is more complicated (or collapsed, depending on the view). We will just deal with pure tones for now.
(Read the article)

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Meantone and otherwise non- equal temperament tunings

A description: http://www.albany.edu/piporg-l/meantone.html

And a demonstration:

(Read the article)

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