No. 1: [Quarter = 96] Barret’s short set of twelve etudes are dedicated to an exploration of articulation possibilities, albeit in a most mannered way. Never would so many changes in combinations take place in such a short time span in an actual piece of music. Wide intervals and high range put the first study in the set out of the reach of the novice; and several others are even more difficult. Therefore, it is surprising that the master has placed this series before the 40 Progressive Melodies in his famous Oboe Method. The first study itself, consists of two contrasting 4-measure phrases, both of which begin with 2-measure sequences, probably a unifying device.

No. 2: [Quarter = 108] Syncopation of two kinds is introduced in this etude in the midst of a rather arpeggio-charged atmosphere. The range from low b to high e3 puts a great deal of strain on the embouchure even though this is just short study. Furthermore, Barret’s clever manipulation of motivic material demonstrates his mastery of extremely abbreviated structures.

No. 3: [Quarter = 80] Actually this is a subtle study in repeated notes. Barret secretly encases two measures of them into the center of the study, thereby disabling the unaware performer. The first three measures of this study are really quite mannered and require much concentration on the part of the performer in order that their quirky turns of articulation might be mastered.

No. 4: [Quarter = 68] The editor has set the piano part of this study in the style of the polacca, somewhat like No. 12 of the 40 Progressive Melodies. The etude itself twists and turns unmercifully on small motives while supplying the most varied kinds of articulation to the oboist.

No. 5: [Eighth = 86] This legato study presages many a longer etude in the 16 Grand Studies and the 40 Progressive Melodies. Tricky articulation is restricted to the second section. As this is study is set up to be played rather slowly, it should be mentioned here that the tempos throughout the 12 Articulation Studies are those of the editor; students should feel free to modify them.

No. 6: [Dotted Quarter = 56] A bright waltz in a tricky key is the essence of this study. Scales, arpeggios and non-harmonic tones abound. In addition, the master does not spare on the use of accent markings!

No. 7: [Quarter = 66] Here is a sometime lyrical study in a rather difficult key. The musical line, which begins and ends legato, is interrupted for a good part of its spin by edgy articulation and spicy non-harmonic tones.

No. 8: [Eighth = 106] Barret has given us yet another etude which lends itself to a slow pace, this one rather featuring various kinds of paired articulation.

No. 9: [Dotted Quarter = 48] Loaded with accents and placed rather high in the range of the oboe, this study spells death to many a player. Overall, the etude concentrates on various combinations of groups of three. It is imperative to maintain a steady pulse no matter how quickly this movement is played.

No. 10: [Dotted Quarter = 40] Here is a calm flowing series of arpeggios with a minimum number of non-harmonic tones inserted just before the second half of the study. The main problem is in filling out the wide intervals, as they occur constantly.

No. 11: [Quarter = 70] Combinations of slur-three, tongue-one predominate in the first half of this study. Afterwards, the master is concerned with slur-two followed by tongue-two articulation.

No. 12: [Quarter = 96] Barret presents yet another study with bright accents and high tessitura. Only the strongest embouchures can negotiate this etude.