As ever, a tempo considerably under Czerny’s metronome marking presents the music of #49 very effectively for ballet class. I suggest the quarter @120, which makes the double-note writing in the second half quite manageable (to say nothing of the hand-crossings), and you can get away with dropping some of the lower notes if it still isn’t quite manageable. At the slower tempo dotting the RH rests will add swagger. Czerny’s structure is perfectly square.
Op 335 #49, 1st Version: military march, 16 sets of 8-count phrases
This is my performance of #49 recast as a military march. I provide a score in which it will be seen that I’ve thinned out Czerny’s LH and substituted his mm 9-16 for his mm 25-32 to create a ternary form. For convenience I’ve notated my march in 6/8 rather than Czerny’s 2/4.
Be sure to make a waltz version of #49 if for no other reason than that it’s so easy: change Czerny’s sixteenths into eighths and his eighths into dotted quarters, rebar in 6/8, experiment with different tempos and filling out the LH...
Op 335 #49, 2nd Version: fast 6/8 waltz, 28 sets of 8-count phrases
This is my performance of my 1st Version recast as a quick 6/8 waltz, for which I supply a score. Because #49 is less about harmony and melody and more about the excited fanfares in thirds, fourths and fifths my doubling of the material makes for a very static piece of music. To counter this I’ve filled out the LH with more rhythmic detail and changes of voicings and I’ve inflected the regular RH eighths with dottings. I’ve expanded the piece with repeats to make it suitable for a centre petit allegro.