In this research, the question of “Which types do we encounter in terms of the relationship between piano accompaniment and solo party in Classical and Romantic period works?” has been investigated. The study focused on 115 works with piano accompaniment selected from C.F. Zelter, W.A. Mozart, L.v. Beethoven, J. Brahms, R. Schumann, F. Chopin and F. Mendelssohn Bartholdy. Based on the findings, it was observed; that “dependent piano accompaniment with solo part” was used in 79 works, and that this type of accompaniment was given more place in the Classical period than in the Romantic period; It has been observed that “independent piano accompaniment with solo part” is used in 87 works, and this type of accompaniment was given more place in the Romantic period than in the Classical period. As a musical instrument that continued its development during the Classical period, the piano stands out with its dependency on accompaniment, specifically in terms of presenting the solo in the same manner. It can be observed that Beethoven assigned the piano for this purpose in all the examined works. Mozart, although not in all of his compositions, largely incorporates this accompaniment style as well. In the Romantic period, where music turned towards a more emotional and personal expression, the piano also developed its distinct character in parallel with this change. The piano became an instrument where emotional expression intensified, breaking free from the constraints of the Classical period, providing composers with a broader space for personal expression. As a reflection of this development in the Romantic era, the examined Romantic period works in the scope of the research include more independent melodic movements in the piano accompaniment compared to the solo. With this general finding, different approaches are observed in the Classical period by Zelter and in the Romantic period by Brahms.