The ternary structure and 4-bar phrasing (except for the enjambment at mm 23-4) make it easy to shape #6 into a short piece for ballet class. The arpeggiation can be projected a number of ways. At Czerny’s tempo you can make it shimmer and swirl, and blur fragments of melody in and out of focus like sunlight glinting off water. Or you can slow it down and make Czerny’s 2/4 rhythm more muscular for something less impressionistic and more in the character of his B section (starting m 17) where the melodic line moves from quarters to eighths.
Op 740 #6 1st Version: Port de Bras, 4 sets of 8
This is my performance of a “miniature” of #6, a ternary form piece that uses only about a quarter of Czerny’s material: mm 1-23 (with m 23 extended to finish the phrase), then a recap of mm 9-16 with a final cadence.
The simplest way to reshape #6 into 3/4 is to repeat the first beat of each measure. It makes a lovely Adagio.
Op 740 #6 2nd Version: short Adagio, 4 sets of 8
This is my performance of my 1st Version reshaped into 3/4.