![]() ![]() Species of chromaticism, of both smaller and larger scales, are then scrutinized. I begin with a more thorough inspection of the “black-key” argument, and the types of pentatonicism that would result from such an approach. However, the principal aim of the article is to interpret the expressive and structural uses of a vital component of Berlin’s songs, as well as of the Tin Pan Alley repertory in general: chromaticism. In doing so, I explode the myth that a transposing lever motivated his musical choices, and propose instead the opposite: that it was a very musical ear that guided any lever-twisting that might have occurred. Because exaggerated references to the piano lever have been so prominent in the Berlin literature, I occasionally return to such a possibility in order to expose its logical inconsistencies vis-à-vis the particular type of chromaticism under discussion. Annotated appendices provide information on many more. In the main text, 70 songs are cited, spanning a half century, from 1908 to 1957 many are examined in detail, and occasionally in more than one context. My goal is to delimit the various types of expressive chromaticism that enrich so many of his melodies to consider the ways in which they function, and how they impinge upon a listener’s interpretation. In this article, I set aside received hyperbole and meticulously examine the musical results of Berlin’s labors. Over the years, journalistic writers of minimal musical knowledge have succeeded in greatly exaggerating both circumstances-especially through their claims about the compositional benefits that supposedly accrue from using a transposing piano. There’s an art to getting your point across in an appropriate manner without discouraging an employee.Those who have written about songwriter Irving Berlin (1888–1989) have frequently fixated on two facts, both related to his lack of proficiency on the piano: first, that he preferred to play on the black keys and second, that he used a “transposing piano”-i.e., one fitted with a lever that shifted the position of the strings vis-à-vis the hammers, allowing any selected key to be heard while the notes of another key are being fingered. Perhaps they struggle to deliver negative appraisal comments, even when they know it’s necessary. Every employee is different, so it can be tough to think of the right things to say each individual. Maybe it’s for the simple reason that performance appraisals can be quite difficult. Manager’s may dislike conducting performance appraisals for a variety of other reasons. While a manager should certainly be open t o feedback on their own performance, they are far less on the spot than the employee that they are speaking to. Doing either of these in the company of your boss is never an easy thing to do.įrom a manager’s perspective, things are a little different. Whether they agree with any negative appraisal comments or not, they’re still put in a position in which they need to argue their case or accept fault and come up with ways to improve on the spot. Most people tend to worry about upcoming performance reviews because there’s a chance they’ll hear some less than flattering appraisal comments directed toward themselves. But why is this the case?įrom the perspective of an employee, it’s fairly obvious. ![]() Let’s be honest, performance appraisals aren’t typically something that an employee, or even their manager look forward to. ![]()
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