open with improvisation with pre-arranged pauses. The music played during the "Close to the edge, round by the corner" section was originally a same-titled song that Howe had put together several years prior, in part based on the longest day of the year. Anderson and Howe agreed this section fit best with an Anderson composition titled "Total Mass Retain", thus joining the two ideas together. Howe had prepared another song, of which its middle eight was adapted into the "In her white lace" section of "I Get Up, I Get Down". Wakeman's organ solo was written by Howe for the guitar originally, but he thought the arrangement sounded better on the organ. It is played on the pipe organ at St Giles-without-Cripplegate church in Barbican, London. The band produced a take of the section after the church organ solo that they were satisfied with, but when it came to inserting it into the final mix, Offord had inserted the take he thought was the right one and placed the good take in the bin of scrapped tape. The result caused a noticeable tape edit that had to stay in the mix as the task of reproducing the sound exactly would have been a near impossibility. Anderson sings the final verses in G minor, which had to be scaled down to F on stage due to the strain on his voice. Side two "And You and I" originated as a more folk-oriented song that Anderson developed which was based around the idea of presenting a theme and building it as the track progresses. The track is in four sections; its style and themes were worked on by Howe, Bruford, and Squire, the only track on the album that credits Bruford and Squire as writers. Anderson pitched his ideas for the track while strumming chords on a guitar, singing the section where the first lyric comes in. It was a theme that Howe particularly enjoyed and was keen to develop. While introducing the song on tour, Anderson said its working title was "The Protest Song". In its original form, the song had an extended ending that Welch described as "a shattering climax", but its popularity amongst the band decreased over time, leading to their decision to cut it from the final version. In a newspaper review of a Yes show in August 1972, the writer paraphrased that Anderson calls the song "a