Transpositional Combination and Aggregate Formation in Debussy

Abstract

The most conspicuous moments of chromaticism in Debussy's works are found in passages unified by sequential motion featuring semitonal transposition. This topic has been termed transpositional combination (TC) by Cohn, and it relates naturally to Debussy's method of aggregate formation. Such passages appear throughout Debussy's output, and serve a variety of functions. Debussy expanded his method of aggregate formation in his final works beyond TC to include inversional symmetry as well. The “mystery” behind the similarity in a chord progression common to works by both Debussy and Berg is found in a trait both works share: aggregate formation via TC.

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