After the intro, the limited instrumentation allows the vocals to be the main focus of the piece, emphasising the meaning of the lyrics. The addition of the string quartet builds dynamic tension and by the third verse, where the lyrics repeat themselves, Wilson builds the instrumentation with the flute playing call and response to emphasise each line specifically. The rigidity of the percussion and bass beating away in the background gives the piece a forward motion with a large amount of reverb applied to the sparse instrumentation filling the space in the mix. When the full ensemble returns at the end of the piece, it feels as if we have returned to the intro, with the unresolved chord sequence offering no sense of closure. The perpetual round and fade out that ends the song gives the effect that it continues on forever unresolved. The line “God only knows what I’d be without you” now feels uncertain and tense, rather than the return to stability of the earlier
After the intro, the limited instrumentation allows the vocals to be the main focus of the piece, emphasising the meaning of the lyrics. The addition of the string quartet builds dynamic tension and by the third verse, where the lyrics repeat themselves, Wilson builds the instrumentation with the flute playing call and response to emphasise each line specifically. The rigidity of the percussion and bass beating away in the background gives the piece a forward motion with a large amount of reverb applied to the sparse instrumentation filling the space in the mix. When the full ensemble returns at the end of the piece, it feels as if we have returned to the intro, with the unresolved chord sequence offering no sense of closure. The perpetual round and fade out that ends the song gives the effect that it continues on forever unresolved. The line “God only knows what I’d be without you” now feels uncertain and tense, rather than the return to stability of the earlier