Firstly, this fantasy employs a compositional technique popular at the time, known as a walking bass line. As its name suggests, it progresses steadily at a walking pace. Furthermore, since the left hand is positioned relatively far from the right hand, the bass line is almost never confused with other voices.

The challenge in this fantasy lies in the upper two voices of the right hand. The key to performing this piece is to make these two voices sound independent. This is paramount.

In measures 10, 15, and 17, for instance, the right hand can be made to sound as two independent voices even as is. However, in measures 12-14, for example, it is extremely difficult to make the right hand sound as two voices. In such sections, you should clearly differentiate between the upper voice and the inner voice to ensure their independence. This distinction can be achieved by playing the upper voice louder and the inner voice softer.

Nevertheless, it is not always the case that the upper voice should be played strongly and the inner voice weakly. For example, the two voices in measure 1 swap roles between melody and inner voice in measure 4. In such situations, it may be appropriate to play the melodic line softer and the inner voice louder.