Most composition students read about the masters.
Here, you study inside their scores.

Over 458 works — including 408 Bach chorales — and more than 14,500 expert annotations, measure by measure, showing you exactly how Beethoven built tension in the Fifth Symphony, how Debussy created atmospheric color in La Mer, how Ravel achieved transparency with a full orchestra in Boléro. Not chapter summaries. Not biography. The actual decisions, bar by bar, explained in plain language by someone who has studied them closely.

Every annotation connects directly to the lesson where you encountered that technique. When you reach the unit on imitative counterpoint, Bach’s Mass in B Minor opens with the exact stretto passage you just wrote. When you study orchestral voicing, Brahms’s Fourth is there waiting — 76 annotations on how he balanced four independent string lines across a full symphonic texture. The repertoire and the curriculum are one thing.

Score prediction exercises make you an active reader: before each annotation, you form your own analysis. Every annotation connects directly to what you’re learning — harmony, orchestration, form — so the connection between study and practice is immediate. This is the habit that separates composers from listeners.