I agree. A forum would be nice. However, those who are interested why not post a piece to analyze?
If you want to learn analysis, especially of classical era pieces (which is usually the focus of university level theory instruction) it's great to start with many of the simple little pieces one starts with in learning to play.
I have gone through a complete movement of a Haydn keyboard sonata on another forum and I don't mind taking the time to do it on a forum like this. I'll be happy to lend whatever knowledge I can (I have taught theory at the university level and have a master's in music composition).
I want to throw out a caution here:
Many people think "analyze" means, "name the chords". That's part of it, but there's much more to it than that. I posted on another forum today, "here are the chords:"
Gm7 - C7 - F7 - Bb - Gm - Bb - Eb
That's the opening to Bohemian Rhapsody. Now, how much does that analysis tell you about Bohemian Rhapsody?
Obviously, for some, just understanding what the chords are is a big step, but IMHO it's as important to learn about the form, how the chords fit in the key, functional progression, modulation, cadence structure, etc.
Also, many people think that there is a "universal" music theory and you can analyze anything with it. Not true. Each style needs its own set of standards. This is a difficult concept for some to grasp because Palestrina and Jazz both use notes and chords, but neither of them are strictly Tonal music and thus involve a different set of analysis tools with different goals in mind.
For example, the Milan Pavans are Modal, and not Tonal. They do however use recognizable chords. So for those needing to learn to identify chords, they make nice examples because in many cases the chords are neatly stacked. However, using Tonal terminology and concepts may not be as informative as one would like and a Modal analysis would be more appropriate (and informative). Same is true with Jazz - of course you can take some notes and work out what chords they are, but talking about "Sonata Form" may be of little use for most pieces.
So if someone picks a piece to analyze, be forewarned that it may be "unanalyzable" with regard to standard Common Practice Period terms and concepts and one has to accept that and learn what makes Modal music different from Tonality, and what's different about Atonality, and so on.
But if you start with CPP Tonality, that's where the bulk of university level study is focused, and where the most consistent information can be obtained and disseminated.