PAGE BOOKMARKS: Performance Videos | Audio Videos | Dawn's Instruments & Gear | Dawn's Music Bio | About Playing Flute & Performing

 

Musician

Conservatory trained throughout my youth on both flute and piano, I retired in my twenties from playing flute professionally on stage, and, other than teaching a few students privately, I didn’t play seriously for years. In fact, I didn’t play again until my husband, Forrest W. Lineberry, asked me to perform with him.

Here are Forrest and I in our first attempt at video recording, playing Goodbye Brick in the Wall, a seque of Pink Floyd’s Goodbye Blue Sky / Another Brick in the Wall Part II arranged by Forrest for plugged-in acoustic guitar and overdriven flute. Our second video attempt is the Kansas piece, Carry On Wayward Son, also arranged by Forrest for switched-on acoustic guitar and electrified flute. The third video was done as a tribute to Chris Cornell of Soundgarden fame after his untimely death this year. Last is Jethro Tull’s Living in the Past.

 

 

PERFORMANCE VIDEOS

Goodbye Brick in the Wall

Arranged by Forrest W. Lineberry and performed by him and me, the dog is our good boy, Laddie, whom I have pictured elsewhere on this site.

Kansas’ Carry On Wayward Son

The cats you catch a glimpse of here and there in our Kansas’ Carry On Wayward Son performance are one or the other of our furballs, specifically asthmatic Alecia at the end.)

Black Hole Sun

My husband Forrest's arrangement of Black Hole Sun by Soundgarden's Chris Cornell for electrified flute and guitar, our tribute to Chris Cornell performed as a memorial for his untimely death.

Living in the Past

Again, my husband Forrest's arrangement for electrified flute and guitar. Says Forrest: “You can't have a flute in the band and not play some Jethro Tull. It just wouldn’t be right. Here's one of several in our repertoire — our arrangement of Living in the Past for electrified flute and acoustic guitar. I use my POG2 for the opening bass line. The rest is just straight guitar. Dawn uses flanger and echo on the flute for the opening theme. The rest is just a lot of breath and attitude to get that Ian Anderson tone.”

 

 

AUDIO VIDEOS (All Forrest W. Lineberry arrangements)

Nothing Else Matters

In Memory of Elizabeth Reed

Hold Your Head Up

The Dog Breath Variations

Beth

Living in the Past

Siciliano

Carry On Wayward Son

Goodbye Brick in the Wall

Oye Como Va

Black Hole Sun

 

 

 

Dawn's Instruments & Gear

Dawn plays Gemeinhardt, Yamaha, an Azumi flute with an Altus headstock, and, now, since, July 1, 2017, a Haynes, historically her favored instrument.

She uses an AKG C555L headset microphone, usually plugged in with a MPAVL Micro Mic Phantom Adapter for 9-52 Volt, also from AKG, rather than with the wireless transceiver, unless they’re playing out somewhere.

Her floor units for effects was her choice of the Digitech RP1000, which Forrest then decided to use, too, and she went with Forrest’s find of the POG2.

For headphones, it’s the Forrest-recommended Sony MDR7506 Professional Large Diaphragm Headphone.


If You are a Flutist, Beginning or Advanced, I Suggest This Book

This is a very slim volume written by my teacher, the pre-eminent flutist, Professor Richard Hahn. It’s only $5, so it isn’t going cause you any pain and may, in fact, bring a good bit of ease and practical help.

 

 

Dawn's Music Bio

Dawn started playing piano at age eight, flute at age eleven.

At age thirteen, she was playing first chair flute in the Chicago Youth Symphony Orchestra and also was picked to attend the Summer Music Institute at Western Illinois University.

Also at age thirteen, she was invited to train under scholarship in both piano and flute at the American Conservatory of Music in Chicago, IL, where she was privileged to private tutelage under the conservatory’s premier instructors in both flute and in piano.

Subsequently, studying for years under Richard Hahn, the top world-ranked flutist, second only to Rampal, she was invited to play in Europe. She was also selected to sit in on a two-week stint of improv- sessions with Carlos Santana and his group.

Dawn’s played with small and medium-sized symphonies in New York and elsewhere, as well as playing in chamber groups that featured the first chair string, woodwind, and horn players from the Bangor Symphony Orchestra, the Philadelphia Philharmonic, and other notable symphonies. She was soloist at two Bach Festivals with top harpsichordists, played with a much-revered concert pianist, and was invited to play at a World Expo. She also performed with several summer groups that toured, including both woodwind and woodwind/horn ensembles, quartets, quintets, and chamber orchestras.

Throughout, Dawn taught select students, passing on the extraordinary Richard Hahn’s techniques and knowledge.

Dawn performs exclusively with her husband, Forrest, now, playing amplified, digitally-enhanced, electrified flute, often in styles that challenge her traditionally-trained boundaries.

 

 

About Playing Flute & Performing

On Being a Member of a Great Orchestra

Azumi flute

I found this quote a while back when following a conversation about the future of classical music and classical music performers.

“...Orchestral players are trained to become highly-skilled performers who can turn little black dots and lines and all kinds of mysterious indications into a free-sounding musical experience.  The exhilarating experience of playing in the middle of a group of some 90 musicians with an inner freedom and [at] the same time, perfect inter-relatedness with the others as if being a member of one large body, as a communal achievement, an experience where the dead letter of the text has been internalized so strongly that the music freely floats as one voice in a communal synthesis, is the freedom which has been struggled for by years and years of study and training, carried by love for the art form.  It is difficult to explain this if you are not an orchestral musician of a (good) orchestra yourself....”  — JOHN BORSTLAP July 28, 2017

Yet, in my opinion, Mr. Borstlap describes only the very surface reality of the experience that is playing in a good, even great, orchestra, conducted by a good, and better, great conductor.  There is absolutely no experience that I know of, save maybe that of performing in a seriously superior choir, that comes even close to it, certainly not the common experiences most players have in their performance history.  It's an immersive experience that transports the performer to heights and breadths of humble — yes, humble — awe and ecstasy.  One is humbled that one has been gifted this experience, that one is worthy of it and of contributing to it.  And when it happens again and again, time upon time, then the realization that what you have in that group of musicians, bonded together by a conductor and by the scores you play, is priceless beyond scope.  Everything else musical pales by comparison.

If there were one wish I could have for anyone who plays or yearns to play an instrument, it would be this experience.  Sadly, that's not possible.  I could plant people amidst such an orchestral experience, yet they'd never really feel it.  Oh, sure.  They'd feel themselves immersed in the power of that sea of sound, in the energy of the musicians creating that sound, but they would lack one critical element — contributing to the creating of that moving sea of symphony.  There is, in fact, nothing like it, and the proof comes at the end.

In the silence that follows the last note of the last bar played, breathing as one, the orchestra stills.  And the audience, enraptured, holds that silence, seemingly interminably, until, all at once, something breaks the spell and, as one, erupts into applause, whistles, and cheers, tears streaming from some, laughter from others, giddiness or radiance from yet still others.

Or sometimes the music hasn't even stopped when the audience breaks to its feet in wild applause, overwhelmed with the emotions stirred in them.

When it happens in rehearsal, though, and it does quite often when playing with a good orchestra, we all just sit, stunned by what we've accomplished, in a long moment of shared and humbled awe at ourselves and each other — at the fact that we just created a 'moment' in sound ...that what we did was magical.

This is why I played.  Those days are long over for me, but this is, to me, the ultimate experience in playing.  It surpasses anything else one can do as a classical performer, and I wish, I really do, that every player could experience this, even just once.

what it's like to play in a great symphony orchestra

More Essays on What It Means to be a Musician, especially a Flutist

  1. The Magnificent Musical Mind of F. W. Lineberry
  2. I've Never Been a Competitive Player ...Except With Myself
  3. Knowing the Next Note, Not Just Reading Ahead — Flute Technique
  4. For Each Note?! Really?!
  5. Music as a Career?  NO!
  6. Glass Curtain Shattered in Sandpoint Last Night
  7. On Being a Member of a Great Orchestra
  8. My Daily Flute Repertoire Practice List
  9. A Weekend of Work & Music
  10. Those Darned Holes!
  11. My Hands, and the Rewarding Follow-up
  12. Update on Me & My New Digital Grand Piano.
  13. Living in the Past Performance Video Released ...Finally.
  14. In for a Digital Grand
  15. My Morning Funny
  16. When the POG2 and the Digitech Throw Tantrums
  17. The Upbeat Man and the Downbeat Woman
  18. Latest Audio Release — Hold Your Head Up
  19. An Epic Session Despite Residual Effects
  20. A Monday Spent in Recovery
  21. Playing Tull's Living in the Past
  22. Red Light Fright
  23. The Mix-Down Session
  24. White Bread
  25. With Laughter ...at Myself!

 

 

 

 

This site participates in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.