How to Pick a Piano Piece for an Eisteddfod
Choosing the right piece is often more decisive than how many hours you practise it. Pick something too easy and an adjudicator will note the lack of technical challenge; pick something too hard and the performance unravels under pressure. The guidance below draws on what actually matters at a community performing arts competition like the North of Perth Music Festival piano competition, where qualified adjudicators write a personal report for every single performer.
Start with the syllabus, not with YouTube
Most eisteddfods publish a syllabus or entry schedule that lists accepted repertoire, grade levels or time limits for each section. Read it before you open a single score. At a festival like North of Perth, each section has its own conditions, and entering the wrong grade or playing outside a permitted list can affect how your work is assessed. If the schedule specifies a time limit, keep your piece well inside it: overrunning creates unnecessary pressure and, in some sections, draws a note from the adjudicator. Once you know the rules for your section, you have a genuine filter for every piece you consider rather than falling in love with something unsuitable and working backwards.
Match the piece to your current grade, not your aspirations
A common mistake is choosing a piece that sits one grade above what a student has actually passed. The technique required at, say, AMEB Grade 6 is genuinely different from Grade 5: finger independence, pedalling control and dynamic range all shift. Performing a piece you can almost play is a gamble that rarely pays off in front of an adjudicator. A general rule of thumb used by studio teachers across Australia is to enter with a piece from the grade the student has already completed or is currently being examined on, then spend preparation time refining musical shape rather than still learning the notes. Accuracy under performance pressure is always lower than in the practice room, so build in a safety margin.
What does a festival adjudicator actually listen for?
An adjudicator at an eisteddfod is not just tracking wrong notes. They are listening for musical communication: phrasing, dynamics, tone quality, rhythmic integrity and stylistic understanding. A clean performance of a Grade 4 piece with genuine musical shaping will outscore a stumbling attempt at a Grade 6 showpiece. Choosing a piece you understand emotionally and can shape with intention gives you real material to work with in your preparation, and it gives the adjudicator something to respond to positively.
Consider contrast where multiple works are required
Some sections ask for more than one piece, and contrast matters. A programme of two Romantic works in the same tempo and mood wastes the opportunity. Aim for contrast in period, key, tempo and character. Pairing a structured Baroque work with a lyrical Romantic piece, or a Classical sonata movement with a contemporary study, shows range and demonstrates that the student has more than one colour in their playing. Teachers planning repertoire for a competition season often select one technically driven piece and one that showcases tone and musical sensitivity. This pairing approach tends to generate richer adjudicator feedback because there is more to comment on.
How far ahead should you finalise your piece?
Finalise it as early as possible, ideally at least three months before the sessions begin. For the North of Perth Music Festival, 2026 sessions run from Saturday 5 September to Sunday 20 September at The Rise in Maylands, with entries having already closed. That timeline means most students should have had their piece locked in well before mid-year. Three months gives you time to move past the mechanical learning phase and into genuine musical preparation, which is where performance confidence actually builds. Changing pieces six weeks out is usually counterproductive unless there is a clear technical mismatch. If you are planning ahead for 2027, start piece selection conversations with a teacher in the first term of the school year.
Memorisation: required or a strategic choice?
Check whether the section you are entering requires the piece to be played from memory. Many piano sections at eisteddfods do require memorisation, and performing from the score when memory is expected affects the assessment. Even where it is permitted, playing from memory generally frees up physical and mental bandwidth for musical expression, because the performer is not tracking the page. If memorisation is part of the goal, choose a piece whose structure you can map mentally, meaning you understand the harmonic logic and the section architecture, not just the sequence of movements. Pieces with clear ABA or sonata form are often more reliable to memorise under pressure than through composed works with no repeated material.
Talk to your teacher before committing
A studio teacher who knows your playing inside out will spot a mismatch between a piece and your current technical limitations faster than any checklist. Bring two or three candidates to a lesson and ask specifically: is the technical demand realistic for performance, not just practice? Is there anything in this piece that is likely to break down under pressure? Does this piece show the musical qualities I am strongest in? A good teacher will also know which pieces have been overperformed in recent years at local festivals and may steer you toward something fresher, which can work in your favour when an adjudicator has heard the same arrangement many times in a single session.
Getting the repertoire right is the foundation that every other preparation decision rests on. If you or your child are working toward a piano eisteddfod entry and want to understand the broader performance experience involved, the article on how to prepare your child for their first stage performance covers the nerves, the logistics and what to expect on the day. At the North of Perth Music Festival, sessions run across a fortnight each year, every performer receives a personal written report from qualified adjudicators, and $11,000 in prizes is available across all categories, including a $2,500 cash prize for the Most Outstanding Performance.
Frequently asked questions
Can I play a piece from a lower grade than I am currently studying?
Yes, and many teachers recommend it. Performing a piece from a completed grade means you can focus entirely on musical expression rather than technical survival. Adjudicators reward a well shaped, confident performance over a technically stretched one, so playing to your strengths is a sound strategy.
Does the North of Perth Music Festival accept contemporary or non-classical piano pieces?
The festival covers a wide range of categories and styles, but the specific repertoire requirements for each section are set out in the entry schedule. Check the schedule carefully before selecting your piece, and contact the festival directly at 0409 292 876 or northofperthmusicfestival@yahoo.com.au if you have a question about whether a particular piece qualifies.
How do adjudicators give feedback on piano pieces at an eisteddfod?
At the North of Perth Music Festival, every performer receives a personal written report from a qualified adjudicator. This written feedback is one of the most valuable aspects of entering, regardless of how you place, because it provides specific and actionable guidance from an independent expert.
Is a longer piece always more impressive to an adjudicator?
No. Length and complexity are not the same thing, and neither is automatically more impressive. A piece that fits the section's time requirements, suits the performer's grade and is delivered with musical intention will always outscore an overlong or technically out of reach choice. Respect the time limit stated in the schedule; running over rarely works in a competitor's favour.
When do entries open for the North of Perth Music Festival piano competition?
Entries for 2026 are now closed, with sessions running 5 to 20 September 2026 at The Rise in Maylands. For future years, watch the festival website for entry form announcements and plan your piece selection well in advance so you are ready when the entry window opens.
Sources
This article draws on the following pages.