“Twelve Days Of Christmas (First Version),” arranged by Polly Bekasova, is a lively advanced piano arrangement of one of the most recognizable Christmas carols. Marked Allegretto, this four-page arrangement transforms the familiar cumulative song into an engaging solo-piano piece filled with repeated-note patterns, moving accompaniment figures, chordal textures, register changes, and contrasting rhythmic ideas. As the arrangement progresses, the musical texture becomes increasingly substantial, giving the performer plenty of opportunity to demonstrate coordination, rhythmic accuracy, and control of the melody within a busy accompaniment.

Measures 1–17 introduce the arrangement with the characteristic melody and a steadily moving accompaniment. The opening establishes the Allegretto character while requiring the performer to coordinate the hands carefully and keep the principal melodic material clear above the accompanying figures.

Measures 18–37 develop the musical material with more active rhythmic writing. Repeated notes and short accompanying figures create continuous motion, while sustained notes and longer melodic gestures provide contrast. The changing texture keeps the arrangement moving forward without losing the recognizable character of the carol.

Measures 38–51 continue with fuller piano writing and additional harmonic movement. The hands move between different registers, and the accompaniment becomes more prominent. This section requires careful balance so that the melody remains audible within the increasingly active texture.

Measures 52–63 form the final section of the arrangement. The musical writing becomes more concentrated, combining the established accompaniment patterns with stronger chordal and sustained sonorities. The final measures bring the piece to a clear, decisive conclusion.

Interesting fact: “The Twelve Days of Christmas” has a surprisingly long history. The earliest known printed version of the words appeared in the English children's book Mirth Without Mischief around 1780, where it was presented as a memory or forfeit game rather than as a fully notated song. The melody most familiar today comes from a traditional folk melody that was arranged by English composer Frederic Austin in 1909.

Another interesting detail is that the lyrics have changed over time. The earliest printed version used “four colly birds” rather than the now-common “four calling birds.” “Colly” was an old English term associated with something coal-black.