with pedal tones of the guitar's open E, B, and G strings (a full E minor triad) ringing out over a sequence of power chords, resulting in the chords E minor, Fmaj7sus2(♯11), C major seventh, and Bsus4(add♭6). Providing contrast, another guitar, equally treated with delay, plays a low-pitched riff on the roots and minor sevenths of each chord, although the E♭ (minor seventh of F) and B♭ (minor seventh of C) do not match the sustaining open E and B strings an octave above. Aside from the added tones in each chord, the basic verse sequence of E minor, F major, E minor, C major, and B major is reprised later in "The Trial", the conceptual climax of The Wall. However, David Gilmour is not credited as a co-writer of "The Trial", which is credited to Waters and producer Bob Ezrin. Before the final riff ends the song, a piercing shriek by Roger Waters can be heard, not unlike one heard between "The Happiest Days of Our Lives" and "Another Brick in the Wall, Part 2". At the conclusion of the song, the crowd begins chanting, "Hammer! Hammer!" as the sound of soldiers marching is heard before segueing into the next song, "Waiting for the Worms". Film version The movie version of the song is considerably shorter than the album version, likely done for the sake of pacing. The second guitar refrain between the first and second verses was taken out, with the verse's last line, "You better run", leading directly to Gilmour's harmonized chant ("Run, run, run, run"), which now echoed back and forth between the left and right channels. Also, Richard Wright's synth solo was superimposed over the second verse, and the long instrumental break between the end of the synth solo and Waters' scream was removed. Reception Billboard felt that the lyrics were not as "biting" as Pink Floyd's previous single "Another Brick in the Wall, Part 2," but stated that "it's the driving, dance-oriented, percussion-filled rhythm which makes the song come alive." In 2017, they ranked the song number two on their list of the 50 greatest Pink Floyd songs. Cash Box said that "David Gilmour’s hard bitten guitar and Roger Water's incessant bass beat set the perfect instrumental mood for the lyrical paranoia." Record World said that "a barrage of guitar/keyboard waves pound the dance-oriented rock" in this example of "brilliance from The Wall." Ultimate