It is included in the "Andreas Bach Book," specifically, the music manuscript book of Bach's elder brother, Johann Christoph. Although its authenticity as a genuine work by Bach is debatable, the last three measures are undeniably in Bach's hand.

The piece overflows with the passion of the young Bach as a performer. In modern times, a virtuoso is praised with admiration (and sometimes a touch of disdain) for their superhuman technique. According to Forkel, Bach himself referred to this type of acrobat, who "learns from their fingers rather than instructing their fingers what to play," as a "Clavier Hussar." Although titled "Prelude," no similar writing style or form is found in Bach's other preludes.

The entire piece consists of five sections, each with a different time signature and fundamental rhythm. The motives and rhythms themselves are extremely simple and are repeated relentlessly. As a result, it even gives the impression of a catalog of possibilities, showcasing how many variations and harmonic progressions can be achieved with small motives.

However, this piece possesses a strong power to draw the listener into a trance-like state, a power not derived from motivic development or contrapuntal techniques. Modern pianos still offer room for further exploration of timbre, and as an unusual work by Bach, it is certainly worth engaging with.