No. 1: The two-part writing in Garnier's 55 Leçons indicates that the master was well-trained in counterpoint, as the two-part framework has been basic to the procedures of contrapuntal art since its inception in France in the Middle Ages. Structurally the movement consists of two self-contained sets of three phrases, a unique procedure; similar ideas will be found in Leçons 2 through 6. Garnier supplies a special fingering chart for the first 12 Leçons which includes the following notes: lower register: D-E-F-F#-G-A-B-C; upper register: C#-D-E-F-G-A. On the other hand, the full chart of fingerings ranges from low C1 to F3, but there is no low C#. In the original print, the 55 Leçons are notated for two oboes only: the teacher and student alternate the playing and Oboe I and Oboe II, as the parts are conceived along the lines of parts found in the orchestra of the Classic Era. The present editor has added a keyboard part to solidify the harmonies played by the two oboes. Without exception, all attacks in the Garnier Méthode, even those at the inception of slurs, are indicated with a staccato dot or line. In this particular leçon the dot is used, but the editor has removed it here and throughout the Méthode in keeping with the practices of modern notation. When Garnier wants to indicate staccato, he utilizes the actual term: staccato, or staccato segue.

No. 2: Again, we have a movement divided into two self-contained sections. But here the first part is three phrases long while the second part contains four. One might question Garnier's sudden introduction of thirds and even wider intervals in this leçon, but clearly he expected his beginners to have had prior woodwind experience with the flute or perhaps clarinet. Otherwise, such fingerings as C2 to D2 and D2 to E2 found in the first leçon, not to mention the F, which could only be played forked, would not have been introduced so quickly. Both leçons have been made all the more difficult because there are a number of spots utilizing the fingering B1 to C2: on the Classic Oboe this sequence requires alternating the first and second fingers. It should be noted that the oboe shown in the Garnier Méthode is a 2-keyed instrument from the shop of the great maker, Christoph Delusse (c. 1758-1789).

No. 3: Perhaps the most unusual aspect of this study is the progression found within the last phrase of the two sections, where the two oboes spell out the chords G major-F major-E minor-D minor (measures 18-21). This results in a harmonic progression in the piano that was very unusual for the era: G7-d7-A9/7-d7. Also, the master is intent on teaching the student about what later on would be designated Klangfarbenmelodie.

No. 4: Garnier's primary purpose in this study is to introduce the motion of slurred quarter notes. In addition, the special process of stopping the sound for quarter rests must be understood. On the modern instrument, this is carried out by closing the lips upon the reed. However, some pitches require additional adjustment in order to maintain color and intonation.

No. 5: The master now introduces 2/4 meter and the subdivision of the quarter into eighth notes. But this subdivision is made quite difficult because of intervening rests, slurring, and syncopation. The Klangfarbenmelodie of the first section has been met with in Leçon No. 3. In addition, this is the first item in Garnier's Méthode constructed in binary form, wherein the first section moves from the tonic to the dominant, while the second starts in the dominant and modulates back to the tonic. In this example we find the first part ending in the tonic, a common variant. The editor has chosen to repeat the second section; in many examples of binary form, both sections are repeated.

No. 6: More work in 2/4 meter follows. An interesting echo effect is found in Oboe I between measures 9 and 10. The harmony is still quite restricted, but once Leçon No. 13 is reached, additional fingerings will be added which will make enriching of the harmony possible.

No. 7: This is the first example to feature the ouvert-clos structure. In this form there are two practically identical sections: the first ends on the dominant, but the second on the tonic. The structure itself is a direct descendant of the polyphonic sequenza of the Notre Dame Era (late 12th-early 13th centuries). A sequenza would be composed of dozens of these ouvert-clos structures. In this little movement there is also a short closing theme to solidfy the tonic. Also, low F# is found for the first time in this set. Before the addition of mechanism beyond the keywork C and Eb, F# was played as it is on the modern oboe, but the Eb key has to be added to raise its pitch. The alternative is to slip the 4th finger to the right exposing one of the two holes drilled in that location.

No. 8: This is Garnier's first example of rounded binary form. The rounding occurs when the initial section returns as part of the B section of the A-B form. In the original print, Garnier used a da capo to indicate this return, which the present editor has written out in full. The 2/2 meter is introduced here for the first time.

No. 9: This is a pure example of rounded binary form. The A section moves from the tonic to the dominant, while the B section begins in the dominant, only by the time that the  rounding occurs, it has modulated back to the tonic. Note that both the A and B sections repeat. The C#2 is introduced in this leçon as part of an A7 chord which Garnier utilizes as a secondary dominant to the D minor chord.

No. 10: The ouvert-clos format appears again, but this time it supports a wonderful waltz. At the time, this genre was quite new. A tonicizing closing theme, repeating internally as so many of them do, brings this little movement to a close.

No. 11: The low G# in Oboe II at the start of the second half of this miniature, is notated as a G natural by the composer; but, as the harmony calls for an E major 7th chord, it has been changed by the editor. In keeping with his original plan, Garnier was in the process of holding off on the G# until Leçon 13.

No. 12: This is the final item to correspond with Garnier's short fingering chart. Again we are treated to the special flavor of the waltz. Its structure is that of binary form with only the second half repeated; and this section contains ouvert and clos endings. The low C1 in Oboe II is not part of the short fingering chart; on the other hand, the F#2 which is contained in the chart, has not as yet come into play.

No. 13: Finally after 12 studies in C Major, we have a change of key with the appearance A Minor. This is brought about by the generous use of G# which is necessary to build the dominant chord, E Major 7th. From this point onward, the student must consult Garnier's full set of fingerings for the oboe. Also, at this time, Garnier begins to introduce a variety of tempo indications, beginning here with Grazioso. The movement itself is a waltz, and it is set forth in rounded binary form, but neither section A or BA has repeat marks.

No. 14: This leçon consists of a rounded binary form [Andante] followed by a trio in ternary form [Allegretto]. Both parts have stylistic differences: the binary form is deliberate and mournful, while the trio is full of vigor. Garnier does not indicate a return to the Andante after the trio: in fact, he indicates that the trio is the end. Despite this, one could return to the first section for a more Classic structure. It must be said that the harmonies of this study are quite beautiful: the downward chromatic line [G-F#-F natural-E] which appears several times in Oboe II is a beauty, but is difficult to tune on the Classic instrument.

No. 15: Compared to Leçon No. 14, this movement is a much easier piece. The minuetto itself, is constructed in binary form without rounding. To avoid having to create a separate tonicizing closing theme, Garnier simply repeated the last phrase, albeit with a clever elision.

No. 16: Garnier continues with another simple study. Here we find multiple appearances of the low C1 and of the G#1, the latter of which is played on the Classic oboe by slipping the third finger to the left to expose just one of the two holes drilled there. It was during Garnier's lifetime that the G# key was added to the instrument to run around this maneuver, which could become quite tricky in quick-moving passagework. Most extant oboes of his day actually maintained both G#'s. The etude itself is a beautifully crafted, albeit miniature, binary form.

No. 17: Another modest study follows in rounded binary form. Careful attention to articulation is the name of the game here.

No. 18: In this waltz, Garnier introduces 16th notes, the tactus being placed on the eighth note. This is the initial appearance of F Major among these studies. In addition, the notes Eb2 and Bb2 are seen for the first time There are no repeats indicated in the print for either section of the rounded binary form, but they certainly could be added to extend this petite study.

No. 19: This etude is a slow processional in the, now familiar, rounded binary form. The orchestral orientation of the two oboe parts is remarkable.

No. 20: This waltz is in the form of a miniature rondo with three couplets. The first and third of these are set in the dominant [C Major], while the second couplet is placed in the subdominant [Bb Major]. The latter key offers the opportunity for Garnier to include the Eb2 fingering in Oboe I. One gets the feeling that between measures 24 and 25, Garnier should have once again notated the refrain.

No. 21: In this study, the key of D minor is met for the first time. The range sits rather high in Oboe I, particularly in the B section of the rounded binary form. There is much use of the F in both parts. Of course, this can only be played forked on the Classic oboe, and even on the modern oboe many of these F's will have to be taken forked. More precocious students can now begin to utilize the left F on the modern instrument. Also, the closing thematic material could be taken in diminuendo.

No. 22: The Oboe I part of this petite minuetto is loaded with offbeats in detaché style. Also, the movement includes Garnier's first use of triplets, and these are set as three eighths against two.

No. 23: A Romanza is a style of strophic music found in French opéra. This movement would represent only the first verse. In subsequent strophes not only would there be new words, but the ornamentation would increase. Note that Garnier has given a taste of simple ornamentation during the rounding of A within the BA section. Also, a short cadenza would be in order at the fermata. This etude contains the first appearance of dynamics in the Garnier Méthode: note that the two hairpin crescendi are coupled with upward chromatic movement. Also, C3 makes its debut in this leçon.

No. 24: This study is surely an unusual piece for the Classic Era, sounding, as it does, very much like one of Dvorak's Slavonic Dances. Needless to say, its odd-lengthed phrases are rare in Classicism. Also, the chromaticism is noteworthy. This little work is set in the ouvert-clos format, and features staccato whenever the dotted eighth-sixteenth combination occurs. In this instance the dotted eighths should be stopped by the lips while the sixteenths must utilize the tongue, a difficult procedure.

No. 25: Light music of this type is associated with Opéra comique and Singspiel. This particular ternary form sounds very much like a polka; but this style of music did not come into vogue until about 1830, at least 30 years after Garnier composed this study.

No. 26: A simply ravishing Romanza forms the body of Leçon No. 26. The previous commentary concerning such works holds true here: several ornamented repeats of the strophe are in order, and the fermata is a place where Oboe I can perform a cadenza.

No. 27: A pleasant minuetto follows. Its structure is that of classic binary form, but the B section does not repeat.

No. 28: Another Romanza, this one in ternary form, follows. As in the previous etudes in this style, ornamentation is in order.

No. 29: This study is a simple Ländler in rounded binary form. As usual, Garnier leaves most of the phrasing up to the performers, but the exceptional dynamic rinf. [rinforzando] does appear twice.

No. 30: In the leçon before us, the tempo indication Gai is rendered in the older French spelling, Guai. The piece, itself, is a light melody clearly influenced by the opéra comique.

No. 31: This item comes directly out of species counterpoint class. For the student, it provides a chance to come to grips with the tying of notes.

No. 32: Here is yet another modest exercise from counterpoint class. Clearly. Garnier's purpose here was to acquaint the student with the stile antico of the Catholic Church, despite the fact that the latter had gone through great turmoil in France as a result of the 1789 Revolution.

No. 33: In this study, the master directs both players to lead a Cantabile line. Unfortunately, no information as to expression is given.

No. 34: This leçon is a study in syncopation. Also it is the second study in this series to include staccato. Here, Garnier indicates the line variety, that is, quite short and marked. The original notation in this piece is quite awkward, with vertical lines over the staccato notes and dots over the notes where slurs are initiated.

No. 35: Garnier makes playing eighth notes on the offbeats great fun in this intriguing study. The binary form, itself, has no repeats in the print, but the editor has added them at the end of the A section.

No. 36: An intriguing ternary-form minuetto forms the body of this study. The harmonies are filled with suspensions, but on the page they look like appoggiaturas with anticipations. The fermatas at the end of the B section could signal a cadenza for Oboe I.

No. 37: This clever study in syncopation is made up of two binary forms. In the first, both the A and B sections repeat, one after the other as expected; but in the second binary form, actually a variation, the entire AB repeats as a unit.

No. 38: Garnier directs that the attack [le coup de langue] should be quite distinct [plus net] in this staccato etude. In the original print, line staccato was utilized.

No. 39: The ouvert-clos structure is utilized to good advantage in this gavotte. At the start of the movement, Garnier directs the piece to be played 'stacato', but he gives no hint as to whether this is to be dot or line staccato.

No. 40: The rubric 'De deux en deux' at the opening of this study indicates slurred pairs [two and two] which phrase together. Garnier also has the term 'De meme" [the same] under 'No. 40'. The present editor is unsure if he means the same phrasing is to be followed in both parts, or that the phrasing of this piece is similar to that of the preceding gavotte.

No. 41: One wonders if Apollon Barret was thinking of the style of this study when he composed the first theme of his Grand Study No. 1. Garnier calls the articulation in the present work three for one [trois pour une], that is to say, three attacks and one slur, slurs being attacked at the start. Nowadays, we call the same procedure two and two: two slurred, two tongued. By the way, Barret's No. 1 is articulated three and one: three slurred one tongued. At the end of this study, Garnier writes 'deux fois', that is 'play it through twice'. The staccato is of the line type in the print.

No. 42: Garnier notates this study in 3/4. But because triplets permeate the leçon, the present editor has given the correct meter, which is 9/8. The rubric 'Une pour trois' indicates that for every triplet there will be one attack. This is the first appearance of triple subdivision in these studies.

No. 43: Garnier now presents a charming study where the two oboes trade off motivic material. As naïve as this might appear, in actual orchestral parts of the period, this was a reality for which the master wanted his students to be prepared.

No. 44: In Leçon No. 43, Garnier had reached into a distant tonality for the Classic oboe: A major. In the Baroque era, A Major signaled a change to oboe d'amore as did the present key of B Minor. A major becomes C Major on the oboe d'amore, while B minor becomes the more pleasant key, fingering-wise, of D Minor. Notwithstanding the tonality, the study itself is a Gigue set in the ouvert-clos format. The harmonies are unusually simple. The rubric 'Deux pour une' is equal to our present designation 'slur two - tongue one'; Garnier's meaning reflects the two attacks he is asking for during the playing of a single triplet.

No. 45: This study is a variation of No. 44 in 2/4.

No. 46: A petite ternary form serves as a study for subdivision by 4 with the 32nd note as the tactus. Simple harmonies continue to be used by Garnier for this purpose.

No. 47: This item appears to be an operatic aria which Garnier specially arranged for two oboes. In any case, it is the first full-length study to be met in his Méthode. It is here that the high D3 is introduced for the first time. No dynamics of any kind whatsoever are given, so it is up to the student, guided by the teacher, to work out the phrasing of the long lines.

No. 48: This is the most difficult key to be found in the 55 Leçons. Again, it would seem that this item has been taken from an opera. The last two phrases have the feel of an orchestral tutti [ritornello].

No. 49: This item appears to be a Romanza, in which case successive repetitions should be ornamented in Oboe I.

No. 50: Garnier has notated this movement incorrectly: despite the fact that it is loaded with eighth-note sextuplets (actually pairs of triplets), he places it in 2/2 rather than 12/8. His rubric 'Coup de langue cinq pour une' means five attacks to one slurred note, what we would call slur 2 - tongue 4. But there is also a goodly amount of slur 2 - tongue 1 in this study, all the more reason for notating it in 12/8. In any case, staccato is in order here!

No. 51: This ternary form Romanza might have been extracted from an opera of the day. As usual, ornamentating additional stanzas is in order.

No. 52: A pleasant Ländler in rounded binary form follows. It contains all sorts of possibilities for interesting phrase building.

No. 53: Messa di voce, or hairpins on a single note, is a prime component of Bel canto ornamentation. Garnier now presents a study to work on that single idea. He uses the expression 'Pour filez le son', that is, ['This is an etude to assist in] spinning out the sound'.

No. 54: Again Garnier asks the oboists to spin out the sound: 'Filez le son'.

No. 55: The 55 Leçons are brought to a close with this Adagio. It resembles the kind of music that is associated with the slow movement of a sonata or concerto.