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
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(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

Fuss, Fume, Bother

Rage, castigation, derision: Not only do we have constant contention on the main streams of social media, but we’ve got it in the groups and communities, as well, including, I’m sorry to say, the main flute group on FB. Can we concentrate on playing our flutes and discussing (with civil tongues and benevolent perspectives) the nuances of effective performance? No. Can’t seem to.

I took to lurking, then left the main flute subreddit over on Reddit.com — too much cliquishness support for questionable, even erroneous ‘expert’ advice. Then, here on FB, after one of the skirmishes that blew up over much ado about nothing, I took to mostly lurking on Flute Forum, https://www.facebook.com/groups/fluteforum/ . This isn’t because I don’t enjoy a lot of the people there, but because, again, there’s this contentiousness that creeps into any discussion, and anyone is fair game for contemptuous, derogatory treatment by cliques of a different mindset.

Then, of course, there’s the ‘show and tell’ that really should be relegated to one’s own personal FB pages and the “buy lessons/master classes from me” posts. Oh, yeah, and the “buy tickets for my performance this weekend at JackAndApes” posts.  These things I can do without.

You know, I really am on social media to interact with people, not to look at advertisements and duns for attention. I want to be part of flute discussion groups because I wanted to interact with other flutists. It doesn’t work, though. It’s become just like the present political and socio-cultural landscape — in a roil, a CONSTANT roil. It’s all fuss, fume, and bother, so, honestly, why do I bother.

Dawn's Azumi flute


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