12. Church Bells

Bells do not have pedals. For instance, when performing Rachmaninoff's "The Bells," some consider it natural for the sound to be "muddy," given that bells lack pedals and cannot change sustain. The pedal markings in this piece also tend towards this approach. Observing measures 1-2, 5-8, etc., one can see instructions to hold the pedal down continuously. Considering that many bells ring simultaneously rather than just one, indeed, muddiness might become irrelevant. Pedaling varies according to the performer's subjective interpretation. There is no single correct way; it should be left to the performer's discretion.

However, in Section B (measures 17-32), chords change every two measures. The first chord of each two-measure unit is found in the lowest position. Considering this note also serves a bass function, these low-positioned chords should be sustained with the pedal for at least two measures. Avoid changing the pedal every single measure in this section.

Regarding the melody line, while it would normally be clarified and smoothed, this piece is "The Bells." Instead, I recommend treating it percussively, adding accents without considering phrasing, to evoke the effect of bells.

Section B still begins somewhat p, gradually building a crescendo towards measure 29 as its goal. However, there is one point to note here. Measures 18-19 are A minor's V7 (E-G#-H-D), and measures 20-21 are A minor's I (A-C-E). This means that V7 resolves to I, so measures 20-21 should be softer than measures 18-19. Similarly, measures 21-22 are C major's V7 (G-H-D-F), resolving to I (C-E-G) in measures 23-24 (this section is strictly a harmonic sequence). Therefore, since V-I occurs in two-measure units, play the latter two measures softer than the preceding two measures.

Do not apply special rubato to this piece. Maintain the tempo throughout, except where holding back (slowing down) or in time (returning to the original tempo) is indicated. This is akin to the sound of bells, which do not have rubato.