“Away In A Manger (Intermediate Piano No. 3),” arranged by Polly Bekasova, is a gentle and lyrical intermediate piano arrangement of the beloved Christmas carol. Marked Allegretto, this two-page, 41-measure arrangement uses a particularly open texture. The melody is frequently presented in the upper register while the left hand supplies sustained bass notes and chords, giving the piece a calm, lullaby-like character. The arrangement also makes use of octave passages, simple melodic movement, and carefully placed harmonic changes, making it a good exercise in balance, phrasing, and controlled playing.

Measures 1–5 open with the melody in a high register, marked with an 8va indication, while the left hand provides widely spaced harmonic support. The long notes in the accompaniment allow the melody to stand out clearly. The performer should focus on maintaining a smooth, singing tone despite the relatively sparse texture.

Measures 6–9 continue the melody with slightly more movement in the right hand. The left hand remains restrained, using sustained notes and chords to support the melodic line. The short melodic figures require accurate finger coordination while the longer accompanying notes should remain steady and unobtrusive.

Measures 10–13 introduce a more clearly chordal accompaniment. The left hand uses sustained chords beneath the melody, creating a stronger harmonic foundation. The right hand continues the familiar tune with a combination of individual notes and small moving figures.

Measures 14–17 return to the spacious texture established earlier. The melody moves through another phrase while the left hand provides long, sustained harmonies. The contrast between the active melodic line and stationary accompaniment makes careful voicing especially important.

Measures 18–21 develop the melody with a slightly more active right-hand line. The upper voice moves through several connected notes before arriving at longer tones, while the lower part again emphasizes sustained harmonic support. This section should remain gentle and lyrical rather than becoming overly heavy.

Measures 22–29 continue with the same fundamental approach but introduce additional melodic movement and changes in register. The right hand carries the recognizable tune through a series of short and sustained notes, while the left hand alternates between longer bass notes and harmonic support. The performer should keep the melody flowing naturally across the bar lines.

Measures 30–37 bring another statement of the melody with a somewhat fuller harmonic texture. Both hands remain relatively independent: the right hand shapes the melodic phrase while the left hand moves through supporting bass notes and chords. Maintaining a consistent Allegretto pulse is important even though many of the notes are sustained.

Measures 38–41 form the closing section. The melody rises again into the upper register, including an 8va passage, before settling into the final sustained notes. The left hand supports the conclusion with broad closing harmonies. The final sonority should be allowed to ring naturally, preserving the peaceful character of the carol.

Interesting fact: “Away in a Manger” was long associated with Martin Luther, and early publications even called it “Luther’s Cradle Song.” However, modern scholarship has rejected that attribution. No German version of the carol is known from Luther’s lifetime, and the earliest known publications appeared in the United States in the 1880s.

The carol also has more than one famous melody. The two settings most commonly heard today are associated with James R. Murray and William J. Kirkpatrick, with the latter's “Cradle Song” becoming especially familiar in the United Kingdom and Ireland.