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A highly qualified and experienced teacher of recorder and early music, Rachel Begley is in demand as both teacher and ensemble coach. In addition to a studio with a wide range of amateur players, she has taught both graduate and undergraduate recorder performance majors and directed early music ensembles, at such institutions as Indiana University, Queens College (CUNY), Miami-Dade Community College, SUNY Stony Brook and SUNY Binghamton.

She gives masterclasses in both the US and Europe, and regularly travels to teach at festivals and to give workshops for chapters of the American Recorder Society. Her current teaching practice is based on Long Island and in New York City, and includes ensembles and individuals of all levels. In addition, she serves as Music Director for the Recorder Society of Long Island.

Equally at home with adult amateurs, pre-professionals, college students and aspiring teens, she brings a wide range of personal expertise to her teaching, and a rare depth of knowledge in many areas. For recorder players, she works both one-on-one and with groups of various sizes. She works with players of other instruments and singers in chamber ensembles.

When working with recorder players, she pays special attention to tone control and development of expressive playing, to technique in general, including “recorder rehab” (often needed by amateur players), and to consort playing skills, including working with renaissance instruments. She uses repertoire ranging from the 12th to the 21st centuries, from easy solos and duets to the most demanding concerti. She also brings to her teaching an extensive knowledge of recorder pedagogy and practice techniques. Though an early music specialist, she has wide experience with modern recorder music.

For chamber ensembles and larger groups, making beautiful music that is both alive and vibrant is the goal. Areas such as performance practice, including ornamentation, improvisation, and working with/as the continuo group, as well as general ensemble skills are highlighted. Her wide experience of different roles as a performer, from the treble soloist to the inner ensemble part to the basso continuo line, gives her a unique perspective in addressing all areas of early music ensemble playing.

In addition, she helps all students with such essential skills as concert programming, practice techniques, injury prevention and recovery, and with performance psychology.