This piece, along with the Fantasia and Fughetta in B-flat major, BWV 907, is mostly written on a single staff with figured bass. It is believed to have been used as teaching material for composition and improvisation by his pupils, and is considered a work deeply connected to Bach, transcending debates about its authenticity. Regardless of the original composer, the figures are extremely strict and accurate. It is highly probable that Bach himself added the figures and even modified the original melody. The realized versions of these two pieces were provided by Czerny.

Furthermore, this type of composition is called a keyboard partimento, and it was frequently used as teaching material in 17th- and 18th-century Germany. Contemporary accounts suggest that it is a work by Gottfried Kirchhoff (1685-1746), a contemporary of Bach who became organist in Halle in 1714—a position for which Bach himself was brilliantly selected after a superb improvisation before the master Reinken (1643-1722), but which Bach declined. However, there is no definitive proof.

Although this partimento appears to be monophonic, the musical form is already indicated within it. To supply the unwritten voices, one must thoroughly understand the key of each section and its function within the musical structure. The key can be easily grasped from the frequently established cadences.

In the Fantasia, primarily the left hand is provided, and the right hand must be supplied solely from the figures. The phrases are smaller than in BWV 907, and the figures are very meticulously placed, so there is little room for confusion.

The Fughetta is in 12/8 time, and although it appears to have many notes, it can be said that it divides 4/4 time into triplets, ornamented with passing tones and arpeggiated chords. Consequently, the harmonic movement is gradual. Furthermore, the motif of octave leaps creates a jig-like rhythm, providing a hint towards the complete form of the piece. Similar to BWV 907, the initial exposition is presented as a model.