The three-movement structure—a rapid opening movement, an Adagio in the parallel minor, and a gigue-like fugue—at first glance resembles the Italian Concerto. Indeed, one manuscript is titled "Concerto or Toccata," and in that case, the sixteenth-note passages in the opening movement would be considered solo, and the chordal groups tutti; however, both are too brief, not lasting long as if running out of breath. Rather, such phrases are found in traditional German toccatas and preludes. Furthermore, since there is no apparent alternation between tutti and solo in the slow movement and the fugue, the "concerto" aspect should be regarded merely as an appearance or a slight interpretive hint.

The chords in the left hand at the beginning of the slow movement seem to allude to the latter half of the theme from the preceding movement. The true theme finally appears in the alto voice in measure 5. While the imitation is not strict, it initially forms the core of a richly ornamented melody, and later the theme emerges within a long-breathed suspension counterpoint.

The fugue subject combines a dotted rhythm with a toccata-like descending passage. It concludes by rapidly descending three octaves. In this movement, as well as in the opening toccata movement, the fact that the final measure consists of a single eighth note followed by rests, and moreover, a fermata, holds extremely significant meaning. The final note must not be ornamented or lingeringly prolonged. This is because the composer unequivocally intends a somewhat abrupt departure or disappearance here.