Cuius subito adventu repressus Hannibal receptui cecinit, palam confessus ab se Minucium, se a Fabio victum esse. Hairpins are usually written under the stem (or between the two sticks of music in a large stick), but are sometimes found at the top, especially in music for singers or in music with multiple melodic lines played by a single performer. They are generally used for dynamic changes over a relatively short period of time (at most a few measurements), while Cresc., Decresc. and Sun. can usually be used for changes over a longer period of time. Word directions can be expanded with hyphens to indicate the time the event is expected to occur, which can take up to several pages. The word morendo (“to die”) is also sometimes used for a gradual reduction of dynamics (and tempo). Of course, the composer is cordially invited to write all the notes she wishes. In this case, it would be enough to explain it in the score, because the brand does not exist and is unknown to other musicians.
And so you shouldn`t expect Dorico to support it natively. In music, the dynamics of a piece is the volume variation between notes or phrases. The dynamics are indicated by a specific musical notation, often in certain details. However, dynamic markings always require interpretation by the performer, depending on the musical context: for example, a piano marker in one part of a room may have a completely different objective volume in another room, or even a different section of the same room. The execution of the dynamic also goes beyond the volume and includes changes in timbre and sometimes tempubato. The introduction of modern recording techniques has opened up alternative ways to control the dynamics of music. Dynamic range compression is used to control the dynamic range of a recording or a single instrument. This can affect fluctuations in loudness, both on the micro  and macro scales.  In many contexts, therefore, the meaning of the term dynamic is not immediately clear. To distinguish the different aspects of dynamics, the term performed dynamics can be used to refer to those aspects of musical dynamics that are exclusively controlled by the performer.  Renaissance composer Giovanni Gabrieli was one of the first to emphasize dynamics in musical notation, but dynamics were used sparingly by composers until the late 18th century. J.
Bach used some dynamic terms, including forte, piano, piano più and pianissimo (although written as complete words), and in some cases ppp may have been considered pianissimo during this period. Two lines of writing were partially legible: “Giorne che venite – subito l`urgenza”. In qua, subito a lictoribus quos regina non procul absconderat, rex innocens suffocatus expirauit. The fact that the harpsichord could only play “terraced” dynamics (either loudly or gently, but not in between), and the fact that composers of the time did not mark gradations of dynamics in their scores, led to “the somewhat misleading assertion that Baroque dynamics is a `terraced dynamic`”, writes Robert Donington.  In fact, Baroque musicians constantly varied the dynamics: in 1752, Johann Joachim Quantz wrote: “Light and shadow must be constantly introduced. by the incessant exchange of noise and silence.  In addition, depending on the thickness of the musical texture, the harpsichord becomes stronger or softer (four notes are stronger than two). This allowed composers like J.S. Bach to incorporate dynamics directly into their compositions without the need for notation. “SP” doesn`t exist because it`s not “like” SF.
SF is an abbreviation of Sforzando or Sforzato, not Subito Forte (although this is often misunderstood, and SP appears in printed music). For these reasons, many composers use innovative notation only when absolutely necessary, thus avoiding reinventing the wheel. I think they are right. Composers already have enough trouble playing their music and playing well. Detached to the Subito piano. Spent 13 years playing the wind orchestra and only saw p sub in a transcript. I then went to Google. I searched for “sf dynamic” (without the quotation marks). Seven of the eight results on the first page concerned musical dynamics.
I then searched for “sp dynamic” without the quotation marks. One result on the first 10 pages (yes, that`s what I really mean) was about dynamics, and it was en.wikipedia.org/wiki/Dynamics_ (music) that “sp” doesn`t mention anywhere. I would be confused if I saw “sp” in a score, and I wouldn`t interpret that mark as “piano subito”. So be careful! And that brings me to another disagreement I would have with your composer. Suddenly becoming noisy is really not like suddenly becoming silent. It`s easy to get musicians to hit hard, and there are many different ways to indicate this (accents, ffff, sf, szf, etc.). I don`t remember any music that has ever been subito ff. I guess there are examples. Any musician would understand this, but it`s just not necessary.
The musicians are happy to make their voices heard without much encouragement. They have four experienced musicians in this thread who say they don`t understand “sp” because there is no precedent in (traditional) literature. In Holst`s The Planets, ffff appears twice in “Mars” and once in “Uranus”, often interrupted by organs.  Tchaikovsky scores a pppppp for bassoon solo (6 ps) in his Symphonie pathétique and uses ffff in passages from his 1812 Overture, and his Fifth Symphony.  The baritone passage “Era la notte” from Verdi`s opera Otello uses pppp, although the same passage from the score is marked ppp.  Igor Stravinsky used ffff at the end of the finale of the 1919 Firebird Suite.  Sergei Rachmaninoff uses sffff in his Prelude in C♯, Op. 3 No. 2.  Gustav Mahler gives the cellos and basses in the third movement of his Seventh Symphony a fffff mark (5 fs) and a footnote that “plucks so hard that the strings meet the wood.” [a]  On the other hand, Carl Nielsen marked a passage for woodwinds a diminuendo at dppp (5 ps), and F.`s original piano version in the second movement of his Fifth Symphony.