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When you play (or sing) too loudly, it's impossible to keep that same timbre to the sound -- it just doesn't project very well.

I believe this is sort of the concept behind microphones as well. They are sensitive devices that take care of the "loud" aspect of things, while allowing the sound source (instrument, voice, singing) to produce sound at any level. The recordings then include quiet sounds, played loudly.

It's not always appropriate to play softly in an ensemble, but you are right, it doesn't happen enough. I think volume (and more generally dynamics) is one of the biggest things that makes so many amateur bands unenjoyable to listen to.

^, not a sousaphone major but I can chip in on the loudness and low notes.

First off, it's true, you don't have to force it in order to be heard. They say even if you're playing PP you're still contributing to the ensembles sound.

In marching band however, when we have low notes that have to to be played loud(forte-fortetissmo). You gonna have to blow. You don't have any mics there to help your sound carry. It's all on you and your chop.

Tuboss2 wrote:In marching band however, when we have low notes that have to to be played loud (forte-fortetissmo).

fortetissmo

In most ensembles, since we occupy the lowest octave in the ensemble, it makes it easier to be heard, due to the lack of competition in that frequency range.

In orchestra, if we are playing with the basses, it may not be desirable to be too prominent.

In marching band we do have competition from the bass drum, making it more challenging.

goodgigs wrote:

Z-Tuba Dude wrote:In marching band we do have competition from the bass drum, making it more challenging.

Actually no, the bass drum is your ally. He makes each accent for you ! Also I ask you this: Have you ever heard a B.D. play a melody ?

Not a very inspiring one!