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.


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

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

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

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.)

Video ThumbnailF. W. Lineberry's arrangement of Black Hole Sun for electrified flute and guitar

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

Video ThumbnailF. W. Lineberry's arrangement of Jethro Tull's Living in the Past for electrified flute and guitar

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.”


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

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.



Read more about Dawn playing music:


Scroll Up