Czerny Op 335 #14, Single Version
As I’ve explained in my commentary to #13, I think of this study as a kind of “abstraction” in which the “feel” of playing it (the handshapes and the exertion needed for the staccato) is more important than the music you make playing it. As such, #14 seems better suited to private exercise than performance in ballet class, but, as I’ve recommended with #13, a ballet accompanist should try to make something useful for class from it.
Op 335 #14, Single Version: sharp light 12/8, 16 sets of 8-count phrases
This is my performance of #14 in an arrangement that’s even simpler than that of #13, and I supply a score. Again I’ve focused on the RH, reducing the LH even more than in my arrangement of #13, and I’ve cast Czerny’s study in ternary form, using only 16 of his 24 measures.