Hyacinth
Ghostmaker
Topic title says it all, really.
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You'd think somebody who at least knew what a root note means would know the answer to this...
Yeah, it's too bad that he doesn't know. There's a common mistake of terminology going on here: MatthewLeisher means to ask whether a phrase always needs to end on the tonic. The tonic is the highest ranking pitch in a key. The tonic is how you name scales and keys (i.e. E is the tonic of the key of E major, B is the tonic of B dorian, Db is the tonic of the key of Db). A root is how we name a chord (i.e. D is the root of Dm, G is the root of G7/F, A# is the root of A#°/E). Key (tonality - from which the word 'tonic' is derived) is established through harmonic context, which involves chord progressions (root movements). A new root does not mean a new tonic, because multiple chords (which contain roots) are used to enforce a single tonic.
Now, to give you the short answer: no, a phrase does not need to end on a root note, and no, nor does it need to end on the tonic.
I will now give you the long answer through the process of elaboration. Phrases frequently end on the tonic because the termination of a phrase (and therefore the phrase in its entirety) is determined by cadence. A cadence is a pattern or symbol that gives a phrase closure. The most common type of cadence involves ending on the tonic chord, and the most conclusive note is the root of the tonic chord, which is the tonic itself. Many melodies will end on another member of the tonic chord, most frequently the third, sometimes the fifth, very rarely the seventh, and still more rarely, extensions. In a contrapuntal texture, you'll typically have two or more melodies that end up on different members of the tonic chord. However, the tonic still has authority in those cases.
Cadences that end on the tonic chord are called conclusive cadences. By virtue of nomenclature, this must mean that there are inconclusive cadences. Inconclusive cadences are, you guessed it, cadences that do not end on the tonic chord. The most definitive of these is the half cadence, a cadence onto the dominant chord, which creates in the listener a desire for the tonic. The other one is the deceptive cadence, which gives the listener the expectation of the tonic chord but instead progresses to something other than the tonic, most frequently the submediant chord.
A word on inconclusive cadences: phrases that do not end on a tonic chord are often followed by a conclusive phrase. This is because, as with many formal elements of music, an inconclusive phrase incurs a debt to the listener. Our ear feels that it is only right that the music repay us for that tonic that it didn't give to us. However, this is the twenty-first century, and much of the world is accustomed to getting robbed in some fashion or another, so we give tonality some leeway. As such, it is certainly possible to hear pieces that end inconclusively on whatever damn chord the composer wishes. Alas, that is not the model. Learn the conclusive/inconclusive cadences, and learn that an inconclusive phrase must be answered by a conclusive phrase. This will get you pussy. Then, you can dick around with the unanswered inconclusive cadences if you want to be forever surrounded by sweaty men.
Of course, we're only speaking of tonal music here.
Learn the conclusive/inconclusive cadences, and learn that an inconclusive phrase must be answered by a conclusive phrase. This will get you pussy. Then, you can dick around with the unanswered inconclusive cadences if you want to be forever surrounded by sweaty men.