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