Nomenclature is tough. As an example, I played in a Trompetenensemble, where (although speaking German) we didn’t speak the same language: Playing a Bach piece for trumpet in D on A piccolos, I would refer to concert pitch, (D) another in written pitch (C) and the third on the button he pressed (F). In the language of musicologists (Musikwissenschaflter, or “music scientist” in German) a double c (C5) would be the lowest note of a “double c major scale.” In concert pitch (in German) it is a B4. In this sense, the G below the staff would be considered a “pedal g” (G1) since our “pedal c” is C1. Weird enough? Nobody I know, however, refers to the g below the staff (below two ledger lines, fingered 13 (with 3rd valve slide on my Schilke) as a “pedal g.” Everyone I know calls it a “low g.” Going from there, an octave above “low g” would be “g,” an octave above that “high g,” an octave above that “double g” which is then an octave too low for the musicologists, but logical if we consider the g below the staff to be “low” rather than “pedal.” Of course the musicologists are correct, because they are scientists. Artists don’t count. Weird stuff.