AP Music Theory FRQs 5-7 are the written part-writing and harmonization tasks. You complete all three in 45 self-paced minutes: Question 5 asks for part-writing from figured bass, Question 6 asks for part-writing from Roman numerals, and Question 7 asks you to harmonize a melody. These non-aural questions test Skill Categories 2 and 4 through 18th-century voice-leading procedures.

These questions test your ability to apply music theory knowledge in written form. Unlike the dictation questions where you transcribe what you hear, here you're creating music that follows specific compositional rules. This is where your understanding of voice leading, harmonic progression, and compositional conventions directly translates to points.

Strategy Focus

Each of these three questions requires a different approach, though they all test related skills. Understanding the specific demands of each question type allows you to allocate your 45 minutes effectively.

Question 5: Part-Writing from Figured Bass

This question provides a bass line with figured bass symbols and asks you to realize it in four-part harmony (SATB). You also provide Roman numeral analysis below. This is the most mechanical of the three questions - the figured bass tells you exactly which chords to write.

Start with Roman numeral analysis. Before writing a single note in the upper voices, analyze every chord. The figured bass symbols combined with the bass note and key signature determine the chord. For example, in C major, a bass note of G with a 7 means V7. A bass note of E with a 6 means I6 (first inversion C major). Complete all Roman numerals first - they're independent points and guide your voice leading.

Next, establish your soprano line. The soprano should create good counterpoint with the bass - generally contrary motion, avoiding parallel fifths and octaves. At cadences, follow standard patterns: for V-I, the soprano usually has 2-1 or 7-1. For a deceptive cadence (V-vi), the soprano must have 2-1 (the leading tone in an inner voice resolves to tonic).

Fill inner voices last. Alto and tenor should create smooth voice leading, staying in their respective ranges. Follow the voice-leading rules religiously: resolve sevenths down, resolve leading tones up (in outer voices), avoid parallel fifths/octaves, and maintain proper doubling. For root position triads, double the root. For first inversion, double the soprano note if it's stable (not a tendency tone).

Common pitfalls to avoid:

Forgetting accidentals implied by figured bass (a slash through a number means raise that pitch)
Creating voice crossing or overlap
Improper doubling in second inversion chords (always double the bass)
Unresolved sevenths or leading tones

Question 6: Part-Writing from Roman Numerals

This question provides Roman numerals and asks you to write the four-part realization. Unlike Question 5, you have more freedom in choosing inversions and voice leading, but this freedom requires careful decision-making.

Begin by planning your bass line. The Roman numerals tell you the chord, but not always the inversion. Choose inversions that create a musical bass line - mix root position and inversions for variety. Avoid excessive leaps. Use first inversion to create stepwise motion. Reserve second inversion for specific contexts (cadential, passing, or pedal 6/4).

The soprano should be melodically interesting while following voice-leading rules. Unlike Question 5 where the bass line shapes the exercise, here you can craft a soprano that has melodic shape. Think about creating a climax point, using a mix of steps and small leaps, and ending with strong cadential motion.

Inner voice leading matters when you control the inversions. Plan voice leading between chords before writing notes. If moving from I to V, consider: Will root position to root position create parallels? Would I to V6 create smoother voice leading? These decisions separate competent part-writing from excellent part-writing.

Strategic considerations:

Use inversions to avoid voice-leading problems
Create contrary motion between outer voices when possible
Plan your approach to predominant chords (ii6 often works better than ii)
Save dramatic motion for important moments (like approaching the cadence)

Question 7: Harmonization of a Melody

This question provides a melody and asks you to create a bass line and Roman numeral analysis. This is the most creative and challenging of the three questions because you're making all harmonic decisions.

First, identify phrases and cadences. The melody usually has clear phrase endings - look for long notes, rests, or melodic patterns that suggest closure. Determine what type of cadence fits: authentic (ending on tonic), half (ending on dominant), or deceptive (V-vi). Mark these first as they anchor your progression.

Next, determine harmonic rhythm. Not every melody note needs a new chord. Generally, change chords on strong beats unless the melody suggests otherwise. Repeated notes often maintain the same harmony. Quick passing notes don't require their own chords. The harmonic rhythm should feel natural - not too static, not too busy.

Choose progressions that support the melody. Each melody note must be a chord tone (root, third, or fifth) of your chosen harmony. For a melody note C in C major, possible chords include: I (C-E-G), vi (A-C-E), or IV (F-A-C). Choose based on:

What creates good progression
What supports the melodic direction
What leads smoothly to your planned cadence

Create a bass line that complements the melody. Good bass lines have their own shape - not just chord roots. Mix root position and inversions. Use contrary motion with the melody when possible. Include some stepwise motion to avoid a jumpy bass line.

Common harmonization patterns:

Opening measures often establish tonic (I or i)
Predominant function (ii, IV) typically appears before V
Sequences in the melody suggest sequential harmony
Chromatic notes in the melody often indicate secondary dominants

Rubric Breakdown

Understanding the detailed scoring criteria for each question helps you maximize points through strategic focus on what matters most.

Question 5 Rubric (Figured Bass)

Points typically distribute as follows:

Roman numerals: 1 point each (usually 7-9 points)
Chord spelling: 1 point per chord with correct notes
Voice leading: 2 points between each pair of chords
Specific deductions for voice-leading errors

The Roman numerals score independently - get these right even if your voice leading has issues. Each represents a free-standing point. Common errors that cost Roman numeral points: forgetting to indicate inversions (6, 6/4, etc.), using wrong case (major vs. minor), or missing seventh chord indicators.

Chord spelling requires all notes to be correct for the point. However, you can omit the fifth in root position triads and seventh chords without penalty. All inversions must be complete (no omitted tones). Doubling errors typically result in half-point deductions unless egregious (like doubling the leading tone).

Voice leading scores by connection between chords. Perfect voice leading between two chords earns 2 points. One minor error (like hidden fifths in outer voices) reduces to 1 point. Major errors (parallel fifths/octaves, unresolved sevenths) earn 0 points. This scoring means one bad connection doesn't doom your entire response.

Question 6 Rubric (Roman Numerals)

Similar structure to Question 5, but with important differences:

No separate Roman numeral points (they're provided)
More emphasis on musicality of bass line
Soprano line quality may factor into scoring
Same voice-leading criteria apply

Since you choose inversions, the rubric rewards musical bass lines. Excessive leaps, awkward motion, or poor contour may result in deductions. The best responses create bass lines that could stand alone as musical entities while supporting the harmony.

Question 7 Rubric (Harmonization)

Points typically come from:

Roman numeral analysis (including inversions)
Bass line notation
Overall harmonic coherence
Appropriate harmonic rhythm

Each Roman numeral scores independently, as in Question 5. The bass line must work with your Roman numerals - inconsistencies cost points. Harmonic coherence means your progression makes musical sense - random chord successions that technically work but lack musical logic may lose points.

The rubric often rewards standard progressions over creative but unusual ones. When in doubt, choose conventional harmonizations - this isn't the place for experimental harmony. The exam tests whether you understand common-practice harmony, not whether you can innovate.

Pattern Recognition

Success on these questions requires recognizing and applying standard patterns from 18th-century style.

Voice-Leading Patterns

Certain voice-leading patterns appear repeatedly because they work reliably:

The V7-I resolution has specific requirements. The seventh resolves down by step (fa-mi). The leading tone resolves up (ti-do) when in outer voices. The fifth of V7 typically moves down to the root of I. These resolutions are non-negotiable - violating them costs points.

ii6-V creates smooth voice leading because the bass moves up by step. The first inversion of ii allows all voices to move by step or common tone to V. This smoothness explains why ii6 appears more frequently than root position ii in common-practice style.

Deceptive cadences (V-vi) require special attention. The leading tone still resolves to tonic, but now it's the third of vi. The seventh of V7 still resolves down. The bass leaps from dominant to submediant. Getting this voice leading correct matters because deceptive cadences are a common part-writing pattern.

Common Progressions

Memorizing these standard progressions helps both in harmonization and part-writing:

Circle of fifths progression: I-IV-vii°-iii-vi-ii-V-I. While the complete circle rarely appears, segments like vi-ii-V-I or iii-vi-ii-V are common. The bass moves by descending fifth (or ascending fourth), creating strong root motion.

Predominant-dominant-tonic: The backbone of tonal music. Predominant function (ii, ii6, IV, occasionally vi) leads to dominant function (V, V7, vii°6) which resolves to tonic. This functional progression underlies most common-practice phrases.

Sequential progressions: Descending fifths sequences (I-V-vi-iii-IV-I) or ascending step sequences often appear in middle phrases. Recognizing sequential passages helps in harmonization - if the melody sequences, the harmony usually does too.

Cadential Formulas

Cadence writing matters because every phrase ends with one:

Authentic cadences require V-I or V7-I with both chords in root position and soprano ending on tonic. The approach to V often includes cadential 6/4, functioning as dominant preparation rather than true tonic harmony. Write I6/4-V-I but analyze as I6/4-V7-I (the 6/4 decorates the dominant).

Half cadences end on V, often approached by ii6 or IV. The soprano typically ends on scale degree 2, sometimes 7 or 5. The bass must be on the dominant - inversions don't create half cadences.

Plagal cadences (IV-I) appear less frequently but offer variety. They often follow an authentic cadence as a "tag" or appear in hymn-style writing. Voice leading is straightforward - mostly common tones and stepwise motion.

Time Management Reality

With 45 minutes for three complex questions, time management matters. Unlike the dictation sections, you control the pace, so make deliberate choices about where to spend time.

Suggested time allocation:

Question 5 (Figured Bass): 12-13 minutes
Question 6 (Roman Numerals): 12-13 minutes
Question 7 (Harmonization): 15-17 minutes
Review and fixes: 3-5 minutes

Question 7 deserves the most time because it requires the most decision-making. You're creating the entire harmonic structure, not just realizing given information. However, don't let any question consume excessive time - partial credit on all three beats perfection on two.

Work efficiently by completing similar tasks across the question before moving to the next task. For example, in Question 5, complete all Roman numerals before starting voice leading. This batch processing is faster than completing each measure entirely before moving to the next.

If you're stuck on voice leading between two chords, mark it and continue. Often, completing surrounding measures reveals solutions to problematic spots. The musical context clarifies voice-leading options that seemed impossible in isolation.

Leave time for a final review focusing on common errors:

Check every seventh for proper resolution
Verify leading tone resolutions in outer voices
Scan for parallel fifths/octaves between all voice pairs
Ensure each measure has the correct number of beats
Verify accidentals match the key signature

Final Thoughts

These three questions test whether you can apply theory knowledge to create music that follows historical conventions. This isn't about creativity or personal expression - it's about showing command of a specific compositional style.

Success requires both knowledge and systematic application. Knowing the rules isn't enough; you must apply them quickly and accurately under time pressure. This comes only through extensive practice. Work through figured bass realizations until reading figures becomes automatic. Practice Roman numeral part-writing until voice-leading rules become second nature. Harmonize melodies until choosing progressions feels intuitive.

Students who do well on these questions understand that 18th-century style has specific conventions that create its characteristic sound. Learning these conventions helps you show how Western tonal music functions.

These questions also connect with other exam sections. The voice-leading principles you apply here help you understand the harmonic dictation questions. The progression patterns you use in harmonization appear in the aural multiple-choice. This connection means that written practice strengthens your overall musical understanding.

Approach these questions with confidence built on systematic preparation. The exam doesn't expect perfection - it expects competence in applying learned principles. Trust your training, work methodically, and remember that every student finds certain voice-leading challenges difficult. The scoring acknowledges this reality while rewarding those who show solid understanding of fundamental principles.

Success on Questions 5-7 shows that you can apply common-practice conventions to create coherent musical statements. These skills also support advanced theory study, composition, and deeper musical analysis.

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