Comfortable and extreme tessitura tables, as MIDI note numbers, for every voice type and instrument Gradus teaches

Every range/tessitura judgment in this chapter (sustained-ledger threshold interacting with clef choice, SATB voice-order sanity check, transposition range-space checks) is only mechanizable against a concrete numeric table. The tables below give MIDI note numbers (C4 = middle C = 60) for a COMFORTABLE range (the zone a passage should mostly live in without comment) and an EXTREME range (the outer bound beyond which a note is flagged as questionable for the given voice/instrument) for the six SATB choral voice types Gradus's chorale-harmony curriculum teaches, and for the instrumental families named in the brief. All figures are stated in SOUNDING/concert pitch throughout, with no exceptions (per transposition-written-vs-sounding-range-check's requirement to state the pitch space explicitly) — a written-pitch comparison for a transposing instrument must first convert via that rule's `soundingPitchOf()` helper. (The first draft of this table stated clarinet, horn, trumpet, and guitar in WRITTEN pitch while claiming 'sounding throughout' — corrected below; every row is now genuinely sounding pitch.)

Any range-check rule implemented without a shared, versioned table like this one will invent its own numbers ad hoc per rule, producing inconsistent thresholds across the audit engine (e.g. one rule's 'bass sings too low' cutoff disagreeing with another rule's) — this entry exists to be the single source every other rule's engine-config references.

SATB choral ranges: the tighter 'chorale-comfortable' bands follow the ranges long used in tonal-harmony pedagogy for four-part chorale writing (the Soprano C4-G5 / Alto G3-D5 / Tenor C3-G4 / Bass E2-C4 comfortable bands reflect the ranges standard part-writing textbooks such as Kostka & Payne's Tonal Harmony specify for chorale exercises) — chosen deliberately TIGHTER than a trained solo singer's full range, because Gradus's chorale-harmony curriculum teaches idiomatic four-PART voice leading, not solo vocal writing, and the comfortable band should reflect what reads as good part-writing, not merely what is physically singable. The wider EXTREME bands reflect general solo-voice range tables as commonly tabulated in vocal pedagogy and reproduced in Gould's Behind Bars vocal-range appendix. Instrumental ranges follow the standard ranges given in Adler, The Study of Orchestration (the standard cross-reference for orchestral instrument range/tessitura, used here as the authority for instrumental facts the four notation-authority sources do not themselves tabulate).

This rule can be decided from pitches, durations and voices — no layout required. A validator can check it before anything is drawn.