Scena I: Each of Barret’s two scenas is entitled Air Varié. Both are constructed in the formula found in early 19^th-century Italian opera: orchestral ritornello, cavatina with cadenza, and cabaletta with variations. Some instrumental works in this genre are actually called concerto by their composers, that is to say, they are meant to be performed with orchestra. Barret’s ritornelli do not exist in the source (his Oboe Method), although the measures of rest are given. Therefore, the editor had to create the initial orchestral introductions from Barret’s etudes and the petite reprises from the second section of the cabalettas. In the First Air Varié, part of the Grand Study No. 6 was chosen for the introductory ritornello. For practical reasons, the melodic line has been given to the oboe rather than to the piano, which is standing in for the orchestra. The same procedure will be followed in the second Air Varié. The Tempi of the sections follows:

Ritornello [Dotted Quarter = 76]
Cavatina [Quarter = 72]
Cabaletta [Quarter = 96]

Variation 1 [Quarter = 96]
Variation 2 [Dotted Quarter = 96]
Variation 3 [Quarter = 96]

Variation 1 features quadruplets and syncopation, thereby turning the original waltz of the cabaletta into a polacca. Two sets of triplets per beat are found in Variation 2 where the waltz is restored. Barret notates this section in ¾, which is incorrect since it is permeated with triplets. The editor has applied the correct meter of 18/16. Finally, Variation 3 is set in quadruplet subdivision like Variation 1, but here the quadruplets are constant; this final variation ends with a coda of five tonicizing closing themes.