A lengthy work consisting of six parts. Its very length is both a characteristic and perhaps a flaw of this piece. Although it does not adopt the clear T-F-T-F-T structure of traditional German toccatas and fantasies, the second, fourth, and fifth sections begin with imitation between both hands. On the other hand, arpeggiated chords are indicated by half notes at various points, such as at section breaks, requiring an improvisatory treatment. Commonplace idioms are frequently employed and juxtaposed, such as two-hand arpeggios spanning the full width of the keyboard and perpetuum mobile passages based on sequential imitation. A certain sense of redundancy cannot be denied.

However, in the chords and harmonic progressions used—even if many cannot be called typical of Bach—bold sounds with a sense of color occasionally emerge as if shining through. Regardless of its authenticity, it is a work from which considerable performance effect can be expected.