mezzo piano

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mezzo pi·a·no

adv. & adj. Abbr. mp Music
Moderately soft. Used chiefly as a direction.

[Italian : mezzo, half + piano, soft.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

mez′zo pia′no

(piˈɑ noʊ)
adj., adv.
Music. louder than piano but softer than forte; moderately soft.
[1805–15; < Italian: literally, half soft]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.

mezzo piano

moderately soft
Dictionary of Unfamiliar Words by Diagram Group Copyright © 2008 by Diagram Visual Information Limited
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Like most American tenors, he shows reluctance to drop below mezzo piano, but the spinto is genuine and he persuasively suggested that greater refinement would not benefit the role.
In such a situation, methodological choices are obbligato, and, thankfully, McGowan delivers them smartly and mezzo piano so as not to detract from her artful recreation of what dance meant and entailed in sixteenth-century Europe, especially France.
This is a very quiet piece, the dynamic level remaining at piano, pianissimo, or mezzo piano most of the time, rising only once to forte before subsiding to a luminous pianissimo ending.
When it says Mezzoforte in both parts, it often means that the pianist should be Mezzo piano and the violinist, for example, should be Mezzo forte-plus.
a couple years ago, it was the first time since eighth grade band class that I had actually thought about "dynamics." You know, terms like staccato, crescendo, diminuendo, fortissimo to legato mezzo piano andante?
In the C minor slow movement the first solo is marked forte; but that dynamic level surely holds only for two bars: the lyrical melody that follows, accompanied by the strings, whose parts are marked Soli p, suggests a dynamic level of mezzo forte or mezzo piano (ex.3).
Themelodic and dynamic ranges for the singer are less demanding than the more emotional first two songs of the cycle, extending only to G4 and dynamically from mezzo piano to forte.
We correct mechanics like hand position, fingering creativity or mezzo pianos that are too loud.