Separate crossing accuracy from rhythmic evenness
Before using a count, locate A4, B4, C5, and D5 with fingers 3, 4, 1, 2. The useful question is whether you can prepare C5 without losing track of D5 afterward. A correct landing on C is only part of a continuing scale. If the next finger has no clear destination, the crossing remains incomplete as a plan. Read through the landing to the following note, then try the short group with comfortable hand travel and releases rather than preserving every old key.
When the notes and fingers are clear, give the same group equal spoken beats. Listen for a long B before the thumb or a sudden rush from C to D. Both can conceal a hesitant crossing. The first adds time before the move; the second tries to recover that time afterward. Neither is corrected by playing the whole scale faster. Return to the local sequence and keep each onset one beat from the next. If even counting disrupts the movement, separate key finding and counting again rather than force their combination.
A different issue is an unwanted thumb accent. You might arrive at C5 on time but make it much stronger than B4 and D5. That is an attack-level problem, not proof that the rhythm is uneven. Compare the group first for timing, then for relative strength. On a touch-responsive instrument, aim for attacks that do not single out the thumb unless the phrase asks for emphasis. If touch response is unavailable, the timing comparison still works. The browser cannot assess your key movement or diagnose a physical cause from the notes you select.
The final C6 lasts two beats, whereas all preceding notes last one. The whole score therefore contains sixteen quarter-note beats. The long final value completes bar 4 after A5 on beat 1 and B5 on beat 2. C6 begins on beat 3 and continues through beat 4. Do not compare that deliberate two-beat ending with an accidental pause at a crossing. One belongs to the written rhythm and the other changes it. Counting the final bar explicitly keeps the correct held ending from being mistaken for uneven technique.
Understand the arpeggio through its intervals and reversal
The arpeggio score selects C-major chord tones rather than adjacent scale notes. Its first bar is C4, E4, G4, C5 with fingers 1, 2, 3, 5. C to E spans a major third, E to G a minor third, and G to the upper C a fourth. Those distances differ, so the fingers do not move across equal keyboard gaps. Reading C, E, G, C as a remembered chord collection helps identify the pitches, but the printed fingering still needs a route that allows the hand to travel.
The second bar begins with another C5, followed by G4, E4, C4 with fingers 5, 3, 2, 1. There are two consecutive C5 attacks across the bar line. They have the same pitch and finger, but there is no tie joining them. The first is on beat 4 of bar 1, and the second is on beat 1 of bar 2. Release enough to sound the second attack in its place. Silently merging them into a two-beat hold changes the written rhythm even though the sounding pitch name would stay C.
This repeated top note creates time to recognize the change of direction without adding a new rest. Count 3, 4, 1, 2 while playing G4, C5, C5, G4. The two C attacks remain one beat apart, and G returns on the following beat. If the top seems to last too long, check whether you inserted preparation time in addition to both written quarters. If it seems to disappear, check whether you omitted the repeated attack. These are opposite reading errors with the same apparent location in the score.
No part of this arpeggio requires C4 and C5 to sound together. Vertical chord spacing and successive-note spacing make different physical demands. You may release and move between the notes, particularly during slow exploration. The interval labels describe the distances between pitches, not a prescribed hand spread. A small release gap is preferable to forcing a fixed octave position. The page can explain the route and its notation, but a teacher who observes you can judge movement details that a fingering string cannot establish.