Toccata is constructed as a series of short rhythmic motives, each repeated an indefinite number of times at the performer’s discretion. Through whatever means desired, the performer may elaborate on the rhythmic motives while progressing from one motive to the next in sequence. The degree to which the performer improvises is undetermined, but the structure of the piece itself is fixed. The piece begins and finishes with a single statement of the principle rhythmic motive, a sudden burst of notes running up the five conga drums. The first section of music is comprised of technically demanding, rudimental gestures, some drawing upon traditional conga drumming practice. These gestures give way to the center of the piece, a collection of Afro-Cuban folkloric rhythms, again meant to be improvised upon by the performer as they see fit. The final portion of the piece instructs the performer to return to the first section and improvise in a different manner. During its conclusion, both technical control and endurance are crucial for execution, as the rhythmic motives become increasingly challenging.