The beauty of this album lies in its systematic approach, as well as the variety and quality of the selections of Etudes.  Many of the pieces go beyond the dull routine of note-spinning exercises into the realm of high quality art music.  The layout and presentation of the "Flute Etudes Book" is strictly logical and carefully structured so that maximum benefit can be derived from each practice session.  The Etudes are organized around the circle of fiths, with majors followed by relative minors, including enharmonic equivalents.  A brief introduction is provided for each study, offering advice on practice and interpretation, and suggesting ways of combating the unique challenges of each individual piece.  In all there are 51 Etudes (of one to two pages each) with up to three studies in each key.  Clardy has also included an outline of scale and arpeggio practice routines.

The collection includes an interesting cross-section of works from different periods in contrasting styles, including works by Bach, Karg-Elert, Koehler, Donjon, Boehm and Andersen. 

Bach's Courante from his Sixth Suite for solo cello (BWV 1012) and the Preludes in F and G Major from the Well-tempered Klavier provide the opportunity for unlimited hours of worthwhile study and practice, incorporating aspects of technique, tone, intonation and articulation into works which are artistically, not just technically challenging.  This is the kind of music that presents the opportunity for limitless inspiration.  Even if you are well acquainted with these pieces through first hand experience or recordings, every time you return to them can prove to be an exciting journey of re-discovery.

At the other end of the spectrum, some of the pieces are less involved, but still attractive and fun to play, with each work focusing on imporant aspects of development.  Andersen's Study in D flat Major, Op. 33 No. 15 will push double tonguing technique to new levels, whereas works such as his Op. 30 No. 16 and Boehm's Etude in B flat Major, Op. 26 No. 5 provide the chance to work on ornamentation in a rhythmically secure context.  Students can concentrate on use of tone colour, legato and vibrato in Donjon's The Song of the Wind, and flexibility of embouchure and intonation across wide leaps in Andersen's Study in B flat Major, Op. 30 No. 21.  As for the selection from Bach, you can assume all of the above challenges and much more!

In the past, the music selected for such compilations of flute studies has more often than not been very unexceptional, with the emphasis on training finger co-ordination rather than creating music.  Students will learn a valuable lesson when they realize that ultimately, the different aspects of tone, technique and interpretation are all part of the same process, and can be separated only at the most superficial level.  Clardy's book of Etudes is one of the few to address such issues.