Make the sixteenth-note bar fit the same four beats
Bar 14 starts with G4, A4, B4, C5 as four sixteenths using fingers 1, 2, 3, 4. Those four attacks occupy beat 1 alone. D5 and B4 follow as eighths with fingers 5 and 3 on beat 2 and its and. A4 with finger 2 occupies beat 3, and G4 with finger 1 occupies beat 4. Read the two beams on the sixteenth group and the single beam on the eighth pair. Their different beam counts indicate different subdivisions, not a demand to accelerate the underlying beat.
At 60 quarter-note BPM, beat 1 lasts one second and each of its sixteenths occupies one quarter second. Beat 2 also lasts one second, now divided into two halves. Beats 3 and 4 each have a single quarter note. Thus the attack spacing becomes wider during the bar while the numbered beats remain equally spaced. Count 1 e and a, 2 and, 3, 4. Do not count all eight melody attacks as equally long. That would replace the written proportions with a different rhythm, even if the same eight keys appeared in order.
The bass in bar 14 is the C3 and G3 fifth, beginning on beat 1 and again on beat 3. It should not copy the sixteenth notes or the eighth pair. Compare the two hands at those landmarks. The first bass attack coincides with the initial G4 of the sixteenth group; the second coincides with A4, the quarter note on beat 3. If the second bass attack arrives with D5 instead, the dense opening may have been treated as two beats instead of one. Return to counting the group on one pitch before restoring the route.
Inspect the approach from bar 13 as well. That bar ends on B4 with finger 3, and bar 14 starts lower on G4 with the thumb. Find that move without time, then count the last beat into the four sixteenths. After the dense bar, bar 15 returns to A4, F-sharp4, G4 with quarter, quarter, half durations. Keep F-sharp active under the G-major signature. A successful isolated bar 14 does not show that its approach or its slower continuation is reliable. Extend the fragment in both directions before judging the phrase.
Use the final study as evidence about specific skills
The return at bar 13 restores mf after the middle section's mp. The opening is also mf. Compare those relative levels without turning the return into a faster tempo. The melody should remain audible over the fifths, including when it drops to F-sharp4 and G4. The browser's synthesized reference establishes pitches and rhythm but does not reproduce every intended dynamic contrast. On your instrument, assess balance by listening to a short passage with the same notes and count while changing only the accompaniment's attack strength, where touch response allows that comparison.
Position changes also deserve their own check. In bar 6, E5, D5, B4, G4 use fingers 5, 4, 2, 1. This is a higher starting position than the opening G4-to-D5 figure. In bar 7 the route A4, F-sharp4, G4 uses 2, 1, 2. Inspect both routes before connecting them. If bar 6 is accurate but bar 7 hesitates, rehearse the end of bar 6 into the lower turn rather than repeating the high E alone. The same general diagnosis applies later, but the actual keys and finger assignments determine the useful fragment.
Make a complete attempt only after inspecting the joins, then choose a single observed weakness to investigate. A repeated C at bar 10 suggests a tie and coordination repair. Correct bar 14 pitches with distorted beat lengths suggest a subdivision repair. A melody hidden by the bass suggests a balance comparison. Keep the successful parts unchanged while testing the chosen repair, then reconnect the passage. If repeated fifths are uncomfortable, retain the lower-note alternative instead of treating the full grip as a mandatory checkpoint. Neither the score nor its audio can assess physical technique remotely.
The final assessment should distinguish learned repertoire from transferable reading. Playing Cross town from familiarity can show retained rhythm, planned fingerings, phrase contrast, and recovery after a small mistake. It cannot by itself show that you can read unfamiliar notation before hearing it. Use an easier new score for that separate question, and use Lantern waltz to compare control in another key and meter. These observations describe an early-intermediate foundation without assigning an examination grade. Record the specific skill that remains unreliable and the passage that exposes it, rather than converting completion of the course into an unsupported ability label.