Aimed at any student at the 1st or 2nd cycle, child or adult, wishing to build or perfect his instrumental technique to the alto recorder, this collection offers many tips based on the essential link between the auditory, visual and kinesthetic approaches of the music and recorder, developing the interiorization of these three senses and highlighting the attention to body feeling and listening. The methodology also proposed will make it possible to master the difficult passages through a reflection on the learning modes specific to each one. Part 1 discusses the mental mechanisms that need to be put in place to most effectively integrate the different parameters of instrumental play (the fundamentals of learning - how to learn, how to memorize, how to work a difficult passage), the essential concepts regarding our physical relationship to the instrument (position, holding the instrument, beak, hands, fingers, tongue), abdominal breathing and spun sounds. Two chapters of help with the use of the metronome and tips for starting a personal work session complete this section. The second part, centered on the fingers and their movements, is conceived as a reservoir in which the student comes to extract what he needs (flexibility, exercises with fork fingerings or 1/2 holes, gymnastics fingers, chromaticism, notes highs, octaves, trills). It is therefore recommended to play according to his needs and not in order, the completeness of the exercises. The third part represents a work based on a daily practice and on the long term, with a view to acquiring and mastering the different articulations - single, double and triple lick - and the coordination of tongue and fingers: exercises and studies precede ranges and decreases. It is recommended to approach them in the order indicated. Regularity and perseverance in this work represent an important part of the technical evolution. In the fourth part are combined chromatic fingerings / quarter notes, and rhythmic correspondences between white and black beats, the beaked flutists are often led to play music whose beat is to the white. The result of more than thirty years of teaching, my approach is to help flutists make the best use of their concentration and their bodily feeling, in close connection with their listening and visualization. Their technical and musical progress will thus be solid, lasting and will fuel their pleasure of playing, the technique remaining at the service of the expression of their musicality.