谱子上面mf,f,p是什么意思？

The two basic dynamic indications in music are

p or piano, meaning "soft." 
f or forte, meaning "loud" or "strong" also it can mean "deep". 
More subtle degrees of loudness or softness are indicated by

mp, standing for mezzo-piano, meaning "moderately soft" and 
mf, standing for mezzo-forte, meaning "moderately loud". 
Beyond f and p, there are also

ff, standing for "fortissimo", and meaning "very loud", 
pp, standing for "pianissimo", and meaning "very soft", 
To indicate an even softer dynamic than pianissimo, ppp is marked, with the 
reading pianississimo ("very, very soft") or pianissimo possibile ("softest 
possible"). Each additional "p" adds another "iss" to the word. The same is 
done on the loud side of the scale, with fff being "fortississimo" ("very, 
very loud").

Note Velocity in terms of Dynamic's relative to Logic Pro 8 and other 
digital music software.Few pieces contain dynamic designations with more 
than three fs (sometimes called "fortondoando") or ps. The Norman Dello Joio 
Suite for Piano ends with a crescendo to a ffff, and Tchaikovsky indicated a 
bassoon solo pppppp in his Pathétique symphony and ffff in passages of his 
1812 Overture and the 2nd movement of his 5th symphony. ffff is also found 
in a prelude by Rachmaninoff, op.3-2. Shostakovich even went as loud as 
fffff in his fourth symphony. Gustav Mahler, in the third movement of his 
Seventh Symphony, gives the celli and basses a marking of fffff, along with 
a footnote directing 'pluck so hard that the strings hit the wood.' On 
another extreme, Carl Nielsen, in the second movement of his Symphony No. 5, 
marked a passage for woodwinds a diminuendo to ppppp. Another more extreme 
dynamic is in György Ligeti's Devil's Staircase Etude, which has at one 
point a ffffff and progresses to a fffffff.

In music for marching band, passages louder than fff are sometimes 
colloquially referred to by descriptive terms such as "blastissimo".

Dynamic indications are relative, not absolute. mp does not indicate an 
exact level of volume, it merely indicates that music in a passage so marked 
should be a little louder than p and a little quieter than mf. 
Interpretations of dynamic levels are left mostly to the performer; in the 
Barber Piano Nocturne, a phrase beginning pp is followed by a diminuendo 
leading to a mp marking. Another instance of performer's discretion in this 
piece occurs when the left hand is shown to crescendo to a f, and then 
immediately after marked p while the right hand plays the melody f. It has 
been speculated that this is used simply to remind the performer to keep the 
melody louder than the harmonic line in the left hand. In some music 
notation programs, there are default MIDI key velocity values associated 
with these indications, but more sophisticated programs allow users to 
change these as needed.

Sudden changes
 
Sforzando notationSforzando (or sforzato), indicates a strong, sudden accent 
and is abbreviated as sf, sfz or fz. The notation fp (or sfp) indicates a 
sforzando followed immediately by piano. One particularly noteworthy use of 
this dynamic is in the second movement of Joseph Haydn's Surprise Symphony. 
Rinforzando, rfz (literally "reinforcing") indicates that several notes, or 
a short phrase, are to be emphasized.

Gradual changes
In addition, there are words used to indicate gradual changes in volume. The 
two most common are crescendo, sometimes abbreviated to cresc., meaning "get 
gradually louder"; and decrescendo or diminuendo, sometimes abbreviated to 
decresc. and dim. respectively, meaning "get gradually softer". Signs 
sometimes referred to as "hairpins"[citation needed] are also used to stand 
for these words (See image). If the lines are joined at the left, then the 
indication is to get louder; if they join at the right, the indication is to 
get softer.

Hairpins are usually written below the staff, but are sometimes found above, 
especially in music for singers or in music with multiple melody lines being 
played by a single performer. They tend to be used for dynamic changes over 
a relatively short space of time, while cresc., decresc. and dim. are 
generally used for dynamic changes over a longer period. For long stretches, 
dashes are used to extend the words so that it is clear over what time the 
event should occur. It is not necessary to draw dynamic marks over more than 
a few bars, whereas word directions can remain in force for pages if 
necessary.

For quicker changes in dynamics, molto cresc. and molto dim. are often used, 
where the molto means a lot. Similarly, for slow changes poco a poco cresc. 
or cresc. poco a poco and poco a poco dim. or dim. poco a poco are used, 
where poco a poco translates as bit by bit.

Words/phrases indicating changes of dynamics
(In Italian unless otherwise indicated)

al nienteto nothing; fade to silence 
calandobecoming smaller 
crescendobecoming louder 
da nientefrom nothing; out of silence 
decrescendo or diminuendobecoming softer 
in rilievoin relief (French en dehorsoutwards); indicates that a 
particular instrument or part is to play louder than the others so as to 
stand out over the ensemble. In the circle of Arnold Schoenberg, this 
expression had been replaced by the letter "H" (for German, "Hauptstimme"), 
with an added horizontal line at the letter's top, pointing to the right, 
the end of this passage to be marked by the symbol " ┐ ". 
perdendo or perdendosilosing volume, fading into nothing, dying away 
morendodying away (may also indicate a tempo change) 
marcatostressed, pronounced 
sotto vocesoft, subtle 


History
The Renaissance composer Giovanni Gabrieli was one of the first to indicate 
dynamics in music notation, but dynamics were used sparingly by composers 
until the late 18th century. Bach used the terms piano, più piano, and 
pianissimo (written out as words), and in some cases it may be that ppp was 
considered to mean pianissimo in this period.

During the Baroque period, the use of terraced dynamics was common. This 
meant a sudden change from full to soft, with no crescendo or decrescendo. 
The terraced dynamic was used for musical effect, to create an echo effect
a passage is played forte, then repeated piano as an echo. However, a major 
reason for the use of terraced dynamics is that the harpsichord, which was 
the principal keyboard instrument of the period, was incapable of gradations 
of volume. The harpsichord can be played either loud or soft, but not in 
between.

The fact that the harpsichord could play only terraced dynamics, and the 
fact that composers of the period did not mark gradations of dynamics in 
their scores, has led to the "somewhat misleading suggestion that baroque 
dynamics are 'terraced dynamics'," writes Robert Donington (Donington, p. 
33). In fact, baroque musicians constantly varied dynamics. "Light and shade 
must be constantly introduced... by the incessant interchange of loud and 
soft," wrote Johann Joachim Quantz in 1752 (quoted in Donington, p. 32).[1]

In the Romantic period, composers greatly expanded the vocabulary for 
describing dynamic changes in their scores. Where Haydn and Mozart specified 
six levels (pp to ff), Beethoven used also ppp and fff (the latter less 
frequently), and Brahms used a range of terms to describe the dynamics he 
wanted. In the slow movement of the trio for violin, waldhorn and piano 
(Opus 40), he uses the expressions ppp, molto piano, and quasi niente to 
express different qualities of quiet.

赞专业~