It is a mystery why this piece was not written in a compound meter, but it may be intended for the performer to consistently feel the 4/4 time signature. Setting aside the perception of the beat, this Fantasy is written in C minor. However, when one recalls other works by Bach in C minor, this key is by no means a somber one. Rather, it is a key that also encompasses joy; recalling the Capriccio from the Partitas or the Prelude from Book II of the Well-Tempered Clavier reveals it to be a truly delightful and cheerful key. This Fantasy is no different. The key is to maintain a certain dignity while playing it joyfully. Furthermore, sections resembling a dialogue between tutti and solo can be observed.

Therefore, this Fantasy should not sound heavy. To achieve this, the sixteenth-note triplets should be played pp and leggiero. For instance, the eighth notes in the right hand and the left hand in measures 9-10 should be played with a short staccato.

Throughout the piece, these sixteenth-note triplets appear almost continuously in one voice or another. Therefore, understand this piece as one that progresses rhythmically and unassumingly. Furthermore, be sure to employ a variety of timbres according to the character of each section.