The jolly four-square tune of Czerny’s #33 (mm 1-32) is effective for ballet class at many tempos, though the slower you play it the more humdrum the tune starts to sound. For me the coda (starting the second beat of m 32) is more interesting music, but if you want to fashion a piece that includes the coda you’ve got to add material to it so as to balance the length for a ballet class combination, and #33 is very taxing to play (for me). Therefore I propose a shortcut version of #33 that consists only of Czerny’s first 32 bars.
Op 335 #33, 1st Version: Little Working Song, 8 sets of 8-count phrases
This is my performance of Czerny’s first 32 bars as written but for a thinning out of the voices in his LH stride. For quick pieces like #33 my general rule is that where Czerny’s LH stride figure has three or more voices on the after-beat I reduce it to two voices, preferably the top interval, and I avoid octaves if the character is one of lightness.
Many of Czerny’s studies feature a note pattern which is continuously repeated through harmonic changes and which supports a simple melody line in long notes (often, as here, in the same hand). I don’t have any sort of algorithm for discovering whether a particular note pattern of a particular Czerny study will support a well-known melody; sometimes, by luck, a well-known melody will begin to suggest itself when I’m working on certain Czerny studies.
Op 335 #33, 2nd Version: “Heigh-Ho, Heigh-Ho” in the manner of Czerny’s op 335 #33, 8 sets of 8-count phrases
This is my performance of the Frank Churchill tune using Czerny’s #33 as the “costume.” I provide a score. Churchill’s tune (for which I have secured licensing) is very short, so you’ll likely have to repeat it at least once, with or without variations or change of key.