Overblowing a pipe jumps its pitch to the next resonator-supported harmonic

Evidence

If a pipe is overblown, its f0 jumps to the next higher mode that the resonator can support: up one octave to the second harmonic for an open pipe, and up an octave and a fifth to the third harmonic for the stopped pipe. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1211

In open and stopped pipes, the pipe’s resonator acts as the sound modifier, and the sound source is the air reed. The nature of the spectrum of the air reed source depends on the detailed shape of the pulses launched into the pipe, which in turn depends on the pipe’s voicing, summarized above. If a pipe is overblown, its f0 jumps to the next higher mode that the resonator can support: up one octave to the second harmonic for an open pipe and up an octave and a fifth to the third harmonic for the stopped pipe. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1181

Categorization

• DEFINE: Clarifies what ‘overblowing’ does mechanically: the f0 jumps to the next resonator-supported mode.
• QUESTION: Could chase the psychoacoustic difference: why does the stopped-pipe overblown third harmonic sound like a twelfth rather than a third?
• corroborated: 4 independent passages support this claim — David Howard, Jamie Angus, coustics and Psychoacoustics, 1211; David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1181
• XREF: connects to: Register holes force a jump to a higher mode by removing harmonic support.; Upward note bending fails because airflow cannot reinforce both resonances at once; Trapped compressible air and moving air form a mass-spring acoustic resonator (+9 more)

Broader Connections

• Open and stopped organ pipes audibly start on different overblown harmonics #expands (0.82) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1471
• Pipe organ stops can reinforce non-octave harmonics to reshape timbre #expands (0.75)