William Caplin’s textbook, Analyzing Classical Form: An Approach for the Classroom, provides a new forum for his theory of formal organization in Classical compositions—one that is accessible to both undergraduate and graduate classrooms alike. Building on the foundations of Caplin’s Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, this much anticipated volume, like its predecessor, explicitly focuses on the style established by the composers of the high Classical period (1998, 3); 2013, xv). Prior to these volumes, the ideas of Schoenberg (1967 and Ratz (1973)—Caplin’s primary inspirations for his theory of formal functions—had appeared primarily within harmony textbooks.(1) This extraordinary new volume provides advanced undergraduates and graduates an opportunity to be exposed to his theories; it simultaneously taps into the intuitions of music theory students and provides a new vocabulary through which to communicate concepts of form and function.