Wilson's use of "metaphoric instrumentation", this time to bolster the themes of "commitment and strength" elaborated in the lyrics. The song opens and ends with the heavy sounds of a timpani being struck, which reduces in intensity during other sections. Lambert says that the timpani is evocative of "a throbbing, aching heart" and is "soon joined by other instruments and a brief statement of an inverted arch figure in the flute" which recurs later in the piece. In the verses, the lead vocal melody is doubled by an English horn. In Granata's belief, this English horn amplifies the song's restless feeling by suggesting "a sense of longing when voiced behind Brian's lead vocal ('I came along when he broke your heart'), and resignation in the final chorus ('I'm waiting for the day when you can love again')." Chord-wise, the changes in the verses are essentially a doo-wop progression that gives way to the same progression Wilson had previously used in "The Man with All the Toys" (1964). The second verse introduces backing vocals singing the same melody that the flutes play in the intro. Bruce Johnston alluded to the nonsense-syllable bass vocals, a part of the backing harmonies, as an example of the "tremendous amount of doo-wop and R&B influence sprinkled throughout Pet Sounds." Of this song, he said that there are "beautiful, dumb background parts. The yin-yang works great there. The 'doops' and the 'aahs.' It's kind of like having all the scruffy characters that are in [the musical] Oliver show up at the Royal Albert Hall. They don't belong but it fits." Preceding the final chorus is a sudden short interlude featuring just a string section as accompaniment. Granata compares the section to the previous track, "Don't Talk (Put Your Head on My Shoulder)", which similarly emphasizes the stringed instruments' lower register. He writes, "In this seven-second passage we glimpse Brian's refined musical sense, and his predilection for taking us by surprise. Here, the theme is arbitrary—it isn't voiced anywhere else in the song. In this short section, the string ensemble sweeps through an interesting sequence of 10 chords, none of which repeat." Lambert characterizes those chords as "intensely chromatic" with "internal moving lines of extraordinary intricacy". Carol Kaye, who played 12-string electric guitar on the track, commented of the bass line, "[That] part with the 4th (sus 11th) on the bottom. Very rare! Brian really stretched his