musician

D. L. Keur, flutist, pianist, musician, instrumentalist, zentao music

Conservatory trained throughout my youth on both flute and piano, I retired in my twenties from playing flute 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 other video presented here, which 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 Sound Garden fame after his untimely death this year. Last is Jethro Tull’s Living in the Past.

PERFORMANCE VIDEOS

Goodbye Brick in the Wall, zentao music is F. W. Lineberry on guitar and D. L. Keur on overdriven flute
ARVE

(The dog in our Goodbye Brick in the Wall video is Laddie, whom I have pictured elsewhere on this site.

F. W. Lineberry's arrangement of Carry On Warward Son for electrified flute and guitar
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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.)

F. W. Lineberry's arrangement of Black Hole Sun for electrified flute and guitar
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My husband Forrest’s arrangement of Black Hole Sun by Soundgarden’s Chris Cornell for electrified flute and guitar.

F. W. Lineberry's arrangement of Jethro Tull's Living in the Past for electrified flute and guitar
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My husband Forrest’s arrangement of Jethro Tull’s Living in the Past 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

Forrest’s arrangement of Metallica’s Nothing Else Matters, dedicated to us.
Forrest’s arrangement of The Allman Brother’s In Memory of Elizabeth Reed.
Our performance of Argent’s Hold Your Head Up.
Forrest’s arrangement of Frank Zappa’s The Dog Breath Variations
Forrest’s arrangement of KISS’ Beth
Forrest’s arrangement of Jethro Tull’s Living in the Past
Forrest’s arrangement and tempo choice of Bach’s Siciliano
Forrest’s arrangement of Kansas’ Carry On Wayward Son
Forrest’s arrangement of Pink Floyd’s Goodbye Blue Sky / Another Brick in the Wall Part II which we call Goodbye Brick in the Wall
Forrest’s arrangement of Santana’s Oye Como Va for plugged-in flute & acoustic guitar
Forrest’s arrangement of Soundgarden’s Chris Cornell’s Black Hole Sun for plugged-in flute & acoustic guitar

Dawn's Azumi flute

Knowing the Next Note, Not Just Reading Ahead -- Flute Technique

Dawn's Azumi flute


I haven’t seen this particular and helpful flute technique mentioned. There’s discussion about embouchure, about fingers, about breathing, about tone, but not much about something so simple and easy to do that it should go into every flutist’s (maybe even every musician’s) knowledge base. It was taught to me, so I’ll pass it along. It’s ‘knowing the next note’.

I’m not talking about reading ahead, where we are reading one, two, or more measures ahead of what we’re actually playing.  No. This technique has nothing at all to do with whether you are playing something that you are reading off a score or something you are playing from memory.

‘Knowing the next note’ means: Have the next note you are going to play after the one you are presently playing already in your head. When you do this, your brain already has set up for the transition.

A lot of players play ‘in the moment’ only, note by note. They may know the piece inside and out, they may read ahead, but they’re concentrating solely upon the note they are playing — its intonation, its quality, its dynamics…a lot of things, including quality and type of vibrato. But. They fail to ‘know the next note’, much less the entire phrase, both of which are exceedingly helpful, giving your body, via your brain’s mental preparations, a head start in preparing for the fine motor skill changes that lead to smooth, clean transitions, note-to-note, regardless of difficult fingerings or of interval jumps. Here’s how:

When playing, simply ‘know the next note’. So, if I’m playing a first register A and the next note is a third register E, I already ‘know’ that, next, I will be playing that third register E, no matter how fast or slowly that E comes after the A. And as I’m playing that third register E, I ‘know’ that the next note I will play will be a second register D. Then, as I’m playing that second register D, I ‘know’ I will be playing a first register C# after that.

The ‘know’ is an active ‘knowing’, instant by instant, note by note.

If it’s a run that comes after, then, ‘know’ the run, and, especially, ‘know’ that run’s target note while playing the previous note.

In essence, you’re focused on the note you’re playing, but, underneath, are actively aware of the note you’re going to next. And it also helps to know the entire phrase in your head in the background, behind the active ‘playing this, knowing that next is this’ technique.

This is a ‘brain technique’ that, once mastered, effortlessly does magical things to performance for smoothing out transitions between even the most difficult fingering changes and intervals one must play.

Hope this helps you.

Azumi flute


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