Étude No. 1: Of these 18 studies, numbers 1 through 4 are composed with wide intervals to assist the student in forming a good embouchure: "pour former les levres aux grands intervalles". In the print, the first three compositions are for a single oboe and basso continuo, whereas the remainder are set for two oboes. No. 1 demonstrates, on a small scale, Garnier's command of species counterpoint.

Étude No. 2: At the initiation of this study, Garnier introduces subdivision by four, but suddenly leaves it. Again we have a study in species counterpoint.

Étude No. 3: This etude is quite similar in style to No. 2, albeit somewhat longer.

Étude No. 4: Garnier makes rather extraordinary demands on the embouchure in this movement, insofar as the number of wide intervals are concerned for each player. The structure is a contrived, but nonetheless, ritornello form with two episodes.

Étude No. 5: Garnier was certainly up-to-date, insofar as his knowledge of the newest music for ballet was concerned! This work is a Polonaise, a kind of stylized dance music. It had evolved its well-known mannerisms in Polish-speaking lands around 1800, the very period when Garnier's Méthode was published. Its structure follows classic rounded binary form.

Étude No. 6: This is a study in four against three. Oboe I subdivides by 4, whereas Oboe II maintains running triplets. Garnier labels the movement  Pascaille [Passacaille], clearly one of the many kinds of dance music he would have played at the Opéra. Another interpretation of the piece would be to play the part for Oboe I in triple division to match the constant triplets of Oboe II. The étude which follows (No. 7: Liez) is the trio of this Passacaille.

Étude No. 7: Garnier places the rubric $ D.C. al Io. [sign Da Capo a Primo] at the end of this work and the dal segno sign at the initiation of the previous study, indicating that this Liez [slurred] movement is the trio of the Passacaille. Like that aforementioned work, there are clashes in subdivision in the print of the Liez: two eighth notes occur against three eighths. The original print utilized 3/4 which is incorrect, as the bulk of the movement, a gigue, is in triple subdivision requiring 9/8.

Étude No. 8: Garnier's knowledge of the two-part framework for composing counterpoint serves him well in this colorful D Major fugue. There are three full-fledged Episodes preceded by three ritornelli which state the subject primarily in stretto:

Ritornello 1a in I: Oboe I to Oboe II: stretto
Ritornello 1b in I: Oboe II
Ritornello 1c in V: Oboe II to Oboe I: stretto
Episode 1
Ritornello 2a: Oboe I in V to Oboe II in iii: imitation
Ritornello 2b: in vi: Oboe I to Oboe II: stretto
Episode 2
Ritornello 3a in i: Oboe I
Ritornello 3b in I: Oboe I to Oboe II: stretto
Episode 3
Closing Theme 1 in I: repeated
Closing Theme 2 in I: stretto

Étude No. 9: This study is a sonata in two movements. The first of these, in the relative major, concentrates on trills. Its structure is a ternary form with a central section placed in bIII. At the end, there is the vestige of a ritornello for orchestra. The finale is also set in ternary form, with a series of closing themes at the end. Here, the central section is placed in the relative major. This is a very difficult piece, particularly when it is played on the Classic oboe.

Étude No. 10: Again, Garnier draws upon his experience in the Opéra with this Chasse or hunting piece. One expects two horns to be joining these two oboes as the hunt for the fox gets under way. The structure consists of three short themes repeated three times in each of the I-V-I tonalities, producing a ternary structure. Two repeated closing themes are appended at the end to solidify the tonic. The running 16th notes of the third theme and of two closing themes keep the oboists busily engaged.

Étude No. 11: Another danse characteristique from French opéra makes its appearance. This Anglaise includes a binary form trio in the parallel minor; here the line, now in augmentation, is passed to Oboe II. The structure of the primary rounded binary form contains immediate repeats on each part contained within the A-BA form.

Étude No. 12: This Minuetto includes a sparkling trio in the relative minor. The number of trills contained within it, make this section extremely difficult to execute. Perhaps Garnier wished the movement to end on the last note of the trio, since there is no rubric for a da Capo to the Menuetto proper. The present editor, on the other hand, prefers such a da Capo in order that the work might be rounded out.

Étude No. 13: Garnier now includes a complete scena among the body of his 18 Études. The Cavatina is marked Pastorale, which must be an error on the part of the engraver. The movement is more like an Andante, the rubric which the present editor has provided. The Cabaletta that follows is linked thematically to the Cavatina by way of a figure composed of seven 32nd notes resolving into an 8th note or another 32nd. The first movement is cast in sonata form but has no development section, while the sprightly (and difficult!) finale is set in rounded binary form: AA-BA.

Étude No. 14: The rubric Allegretto at the head of this study seems to be yet another engraver's error. To be sure, this work is an Andante, and has been marked so by the present editor. A simple rounded binary form, this étude concentrates on problems of subdivision.

Étude No. 15: Mild imitation is integral to the various thematic areas of this Minuetto which is, otherwise, cast in rounded binary form. The difficulty in playing it lies in executing the multitude of trills found in both oboe parts.

Étude No. 16: A brilliant waltz follows. One of Garnier's rare dynamic markings occurs at the very end: the rubric Smorzando. Chromatic figures are found throughout the study. Of course, on the Classic oboe such figures are much more difficult to execute than on modern instruments, primarily because of the forked fingerings which must be utilized by necessity on the older instrument. It should be remarked that in the late 1700's when Garnier's Méthode appeared, the Waltz had just begun to achieve its classic style, one it would maintain for the next two centuries. In this example one finds ternary form rather than the usual rounded binary form.

Étude No. 17: This item is the sole representative of Italian Bel canto style in Garnier's Méthode. In a word, it is a killer aria, with subdivisions reaching deep down, breaking up the slow moving eighth-note tactus into divisions as small as six and eight. Oboe I gets all the work; Oboe II is merely supportive.

Étude No. 18: Despite the rubric Rondeau, Garnier's final study in his series of 18 is laid out in sonata form: there are two contrasting themes and one closing theme. The short development section is based primarily upon a motive taken from the single closing theme of the exposition.