Originally Posted by: Dave CardwellThanks ... I'm going to be working with them for a while.[/quote]
I wish you success with it. :)

Originally Posted by: Dave CardwellI've been studying scores, which takes me forever since my reading is very slow and I've also been using the midi sequences too.[/QUOTE]
Good deal. Those really are the best places for learning. I certainly learned a lot from the books on theory. But there's no substitute for going out and buying the scores of Beethoven's complete piano sonatas, concertos & symphonies & closely studying them.

THAT is an education.

Originally Posted by: Dave CardwellI do know a good amount of music theory ...

Very good. Continue to add to that knowledge.
[QUOTE=Dave Cardwell]I've just been looking for some classical chord sequences that don't sound stereotypically baroque.

The basics concepts are the same in all 3 eras: voice leading, counterpoint, functional tonal harmony.

The differences are largely of method and degree. Generally speaking, in Baroque there are fewer prolongations, fewer modulations (and limited to closely related keys), and more "crammed together" phrasing. For example, Bach might change chords 2 or 3 times in a measure, whereas Beethoven's compositions are typically more expansive. He might expand this to one chord used per measure or even over several bars. By the time you get to Liszt or Wagner you are sometimes dealing with whole phrases "within" one chord.

But all of them are still using the same basic ideas of dominant-tonic harmonic functions (& therefore chord progressions).

Typically Baroque modulates through one "degree of separtion" from the home key then back again. And even then only to relative major/minor, to the dominant, sub-dominant, submediant (Bach loved this move!). Beethoven & Haydn spearheaded (& perfected!) the process of modulating multiple degrees away from the home key (prolonging the resolution), through several distant keys before finally returning. The Romantics stretched this modulating/prolonging business to even greater extremes.

Often the "chords change" a lot in Baroque because of the heavy use of strict counterpoint. The Classical & Romantic eras still used counterpoint, but it was more "hidden in the music". There was much more emphasis placed on homophony, and the beauty of the melodic line.
[QUOTE=Dave Cardwell]Thanks again for the help. :D