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A comparison of textures employed in the Gigue from Partita no 4 by Bach, and the Fugue in A Major by Shostakovich. Both Bach’s gigue and Shostakovich’s fugue show distinct similarities as both are written, at least partly, in the style of a fugue. Bach’s gigue takes the style of a fugue in Bars 1 – 21, with the subject being stated in Bars 1 – 6, as a single line of melody in the right hand, providing a monophonic texture. The same style of entry is seen in Shostakovich’s fugue, as the subject is given in Bars 1 – 4 in the right hand, before the answer is heard with a countersubject in Bars 5 – 8. The subject in both pieces form the basis for the thematic material throughout the remainder of the piece. Where Shostakovich’s subject is based upon the A Major triad, Bach’s subject can be easily divided into three distinct parts. The first section of the subject is the broken arpeggio, as is seen in Bars 1 – 2, the second section is the sequential syncopated rhythmic idea, as seen in Bars 3 – 4, and the third and final section of the running semi-quaver idea, as is seen in Bars 5 – 6. Although all of these ideas are seen and developed throughout the gigue, it is the arpeggio figure and the contin