I like this study not for its music but for its technique. Changing fingers on repeated notes in both hands is good for warming up and of course good for independence of the fingers. The RH note pattern of #35 transposes readily to the strong fingers of the LH, and when I was first working on this study I made a one pager that alternates hands. Eventually I worked up most of Czerny’s material for a more substantial piece.
Op 740 #35, 1st Version: light 2/4 repeated notes, 16 sets of 8
This is my performance of #35 with Czerny’s repeated note patterns alternating between the hands. I provide a score, and it will be seen that the LH sextuplets take the broken octave down, not up, allowing for the easier fingering. I did the same thing in #11.
If you like #35 and find it useful (whether with alternating hands or not) you can readily project it in triple time and have more to like and find useful.
Op 740 #35, 2nd Version: light 3/8 repeated notes, 8 sets of 8
This is my performance of an abbreviation of my 1st Version of #35 in which I project Czerny’s RH sextuplets as six 16ths and rebar each measure as two 3/8 measures. I provide a score to show some of my ideas for realizing the accompanying, “supporting” hand. Incidentally, it’s not difficult to project the 3/8 meter under Czerny’s B section (starting m 17) and allow his RH 16ths to sound like hemiola, but for this arrangement I wanted to relieve the constant rat-tat-tat. And you can expand the arrangement with repeats.