A tessitura/range violation must be checked in the correct pitch space — written for a player, sounding for the audience — and the two are never interchangeable

Every range or tessitura judgment (comfortable range, extreme range, 'this is unsingable/unplayable') is properly a statement about either WRITTEN pitch (what the player must read and, for a wind player, finger — the player's physical/reading comfort) or SOUNDING pitch (what the audience hears — relevant for balance, register clash between instruments, and doubling checks), and a rule must be explicit about which space it operates in. For a transposing instrument, comparing a WRITTEN-pitch range table against a SOUNDING note (or vice versa) produces a wrong-by-exactly-the-transposition-interval result — silently plausible-looking but incorrect.

An audit rule that checks a Bb clarinet's WRITTEN notes against the tessitura table's clarinet range (which, per the tessitura-range-table-data rule below, is stated in SOUNDING/concert terms, the conventional way instrument range tables are usually published) without first converting — every note would appear a whole step higher than it 'really' sits in the player's comfort range, silently over- or under-flagging range violations by exactly 2 semitones for every Bb-clarinet note.

This is a direct consequence of the transposition convention documented in Adler, The Study of Orchestration, and is implicit throughout Gould's transposition discussion in Behind Bars.

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