Where do the doubles start...

[LittleRusty]

And why do you think so?

On the other site there is a sticky that states the doubles start at double C, three octaves above the low C.

There was a thread on here some time back and I seem to remember the consensus was that the doubles started at G above high C.

I don't really care, but I thought we could have a lively discussion about this.

The engineer in me thinks it would be nice and neat if the octaves start at A. But SPN, Scientific Pitch Notation, defines the octaves as starting with C.

In SPN our lowest C is C4. The middle of the staff, C5. The C above the staff C6 and what I think we all agree is double C, C7.

Based on this the sticky on TM is correct.

Way say you?

[Brad361]

C, IMO, applying the adjective "double" to anything lower is sort of a way of getting into the "double C fraternity" without going through the pledge process.😎

Brad
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[RandyTX]

I think it's common to see "double G" and "double A" because they're the 2nd to appear above the staff. Ideally, everybody would just know C5, C6, etc. and get rid of the slang, but I don't think that's going to happen anytime soon.
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[JoseLindE4]

I prefer to be as unambiguous and clear to as many people as possible. That means I avoid Scientific Pitch notation (such as C5) or Helmholtz (C'') unless I'm pretty sure that my audience will understand (such as in a music theory class).

I'm also not inclined to use low, middle, high, double, etc. for anything other than C. So the B below high C is "B below high C." The G about high C is "G above high C." There's G in the staff, G on top of the staff, first ledger line A, A below low C, ect. I avoid using the term middle C as well and instead use 3rd space C, since middle C means something different to piano players. Our "low C" will often end up as "C below the staff" for me for the same reasons.

All that said, if I were forced to use the doubles language for notes other than C, I'd start the double register at double C. So G above high C would be "high G," B below double C would still be "high B," and the D above double C would be "Double D." Of course I know and respect many folks who regularly refer to the G above high C as "double G."

This is why I prefer my approach of seeking as much clarity as possible. Rather than argue over where the doubles start or complain why they don't use or know Scientific Pitch or Helmholtz notation, we all know what's being said right away.

[BedfordTrumpeter]

In my opinion, the "doubles" begin when you hit the 4th playable octave of the note on the horn (excluding pedals). So, I guess that's F#/Gb sitting on the third ledger above the staff. My reasoning is simply that, up to that point, a "low/middle/high" label is sufficient to differentiate the notes.

So, for example:

"Low G" -- Below the staff.
"Middle G" -- In the staff.
"High G" -- On top of the staff.
"Double G" -- 4th ledger above staff.

Not that I care, but my way of thinking maintains consistency with the traditional definition of "double C".
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[Craig Swartz]

Mine starts when I have to bring a flugel or pic to a symphony rehearsal...

[razeontherock]

^ ^ Exactly, Craig! I've been doubling (and tripling, or more) on many instruments for decades, and have never gotten a doubler's fee. In fact at our last rehearsal I raised the point and contrasted it to standard in the business; not thinking that anything would change, just as a point of info.

I have encountered Bedford Trumpeter's line of thinking before, and understand it. Still, I agree with Brad that calling a high G as though it were a double high G just somehow seems wrong, or cheap. I have a good, usable high G. I only dream of having a good usable double high G.

I have taken to using the nomenclature espoused by JoseLindE4, for precisely the reason(s) he states. I find his post to be well-written, too!

[Craig Swartz]