carefree section ensues, dominated by acoustic guitar and piano, eventually returning to the soft riff first heard just past four minutes into the piece.
A 3/4 variation of the original theme comes next, followed by eerie bass and organ playing, segueing into a bluesy shuffle on electric guitar. Once again, when it looks like the piece will be serene (when the nasal choir intervenes), another edgy guitar line ensues, with Oldfield incorporating both 4/4 and 7/8.
After that, a more folky acoustic line plays (with background tambourine), but is suddenly cut off by the tolling of bells. A weary acoustic guitar line follows, breaking into the eight-and-a-half minute “Finale” section, commencing with a double bass line in 5/4, polyrhythmically played with a 4/4 acoustic line. After the bass and guitar unite into the 4/4 line, the acoustic guitar tacets and is eventually replaced by soft pipe organ notes (usually lasting four or eight full beats) while the bass line plays.
After the 10-bar bass phrase is repeated several times, Stanshall introduces many of the instruments appearing in part one up to then, beginning with the keyboards, followed by glockenspiel and all guitars before the tubular bells are announced, the ensemble becoming more dynamic and full as more instruments are said. Finally, after the tubular bells enter, a wordless feminine chorus starts to sing. Farther down, the Finale ensemble fades out to an acoustic guitar solo, which takes up the remainder of part one. Progression of part two
Part two begins where part one left off; a soft, simple piece, this time, beginning with bass guitar and working up with other guitars and keyboards. The opening time signature is 6/8, but a later line plays a similar melody in 3/4 on various
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