The coherence of the Twelve has received far less attention than the unity of the Twelve in the last thirty years of research. Contributions by Kenneth Cuffey, David Morgan, and Daniel Timmer focused primarily on coherence in the Twelve while other works usually only address coherence briefly, if at all. Cuffey provides a beneficial framework for coherence and applies that framework to Micah. Morgan applies Cuffey’s framework to the book of Micah using land and temple as markers of coherence. Timmer explores the use of the non-Israelite nations in the Twelve as a marker of thematic coherence. This paper seeks to contribute to the discussions of Cuffey, Morgan, and Timmer by focusing on the coherence of the Twelve. In particular, the Day of YHWH motif plays a crucial role in maintaining the structural coherence of the Book of the Twelve. Examining the motif’s distribution reveals a tripartite structure resembling a musical ternary form (e.g. A-B-A’). The initial quartet of books (Hosea to Obadiah) introduces and develops the Day of YHWH motif, while the concluding quartet (Zephaniah to Malachi) recapitulates and further expands the motif. The Day motif predominantly appears in the A and A’ sections with the middle B section of the Twelve (Jonah–Habakkuk) presenting material that contrasts the A sections. The B section includes few references to the Day of YHWH. This examination of the Day motif uncovers an intentional arrangement within the Twelve and reveals a structural coherence similar to a musical ternary form.