Editing Close to the Edge (section)

== Composition and music ==
=== Side one ===
"[[Close to the Edge (song)|Close to the Edge]]" was written by Anderson and Howe, both of whom also share lyrical credits. Its 18-minute length marked the longest track Yes had recorded at the time. Anderson gained initial inspiration from a moment in his hotel room during the Fragile Tour when he was reading ''[[The Lord of the Rings]]'' by [[J. R. R. Tolkien]] while listening to [[Symphony No. 6 (Sibelius)|Symphony Nos. 6]] and [[Symphony No. 7 (Sibelius)|7]] by [[Jean Sibelius]], one of his favourite composers. The seventh struck Anderson the most as he noticed that its main theme was introduced some time in the composition which influenced how "Close to the Edge" was shaped. He studied No. 7 for the remainder of the tour; roughly halfway, he discussed his initial ideas with Howe. During a break the two resumed writing at Howe's home in [[Hampstead]], north London, at which point Howe devised the lyric "Close to the edge, round by the corner",<ref name=BCB19>{{cite web|url=https://bestclassicbands.com/jon-anderson-interview-3-26-19/|title=Jon Anderson Interview? Yes, Indeed|date=26 March 2019|publisher=Best Classic Bands|first=Greg|last=Brodsky|access-date=3 May 2019}}</ref> itself inspired when he had lived in [[Battersea]], an area beside the [[River Thames]].<ref name=somethingelse2013>{{cite web|url=http://somethingelsereviews.com/2013/04/24/something-else-interview-steve-howe-on-jon-davison-playing-classic-albums-and-a-renewed-solo-focus/|title=Yes' Steve Howe on Jon Davison, performing classic LPs, a renewed solo focus: Something Else! Interview|date=24 April 2013|first=Nick|last=Dersio|publisher=Something Else!|access-date=24 September 2016}}</ref> Anderson was inspired to base its theme and lyrics on ''[[Siddhartha (novel)|Siddhartha]]'' (1922) by German novelist [[Hermann Hesse]], and revised the song's lyrics "three or four" times, saying "it's all metaphors".<ref name=trackbytrack/> The lyrics for the concluding verse were based on a dream he once had about the "passing on from this world to another... yet feeling so fantastic about it that death never frightened me ever since".{{sfn|Morse|1996|p=36}}

The song's [[tape loop]] introduction, a combination of keyboard and nature sounds, including flowing water and bird chirps recorded on location,<ref name=rockcellar2017>{{cite web|url=http://www.rockcellarmagazine.com/2017/01/12/rick-wakeman-interview-piano-portraits-yes-rock-roll-hall-of-fame-david-bowie/#sthash.sKeo1PtR.dpbs|title=Rick Wakeman: On 'Piano Portraits,' David Bowie, Yes in the Rock Hall of Fame and More (Q&A)|publisher=Rock Cellar Magazine|first=Ken|last=Sharp|access-date=16 January 2017|archive-url=https://web.archive.org/web/20170122175254/http://www.rockcellarmagazine.com/2017/01/12/rick-wakeman-interview-piano-portraits-yes-rock-roll-hall-of-fame-david-bowie/#sthash.sKeo1PtR.dpbs|archive-date=22 January 2017|url-status=dead}}</ref> measured approximately 40 feet in length and took two days to record.{{sfn|Welch|2008|p=122}} Anderson was inspired to include the bird sounds, and the instrumental section in "I Get Up, I Get Down", from hearing ''[[Sonic Seasonings]]'' (1972), an electronic ambient album by [[Wendy Carlos]].<ref name=trackbytrack>{{cite web|url=http://www.musicradar.com/news/guitars/jon-anderson-talks-yes-close-to-the-edge-track-by-track-567900|title=Jon Anderson talks Yes' Close to the Edge track-by-track|date=2 December 2012|first=Joe|last=Bosso|publisher=MusicRadar|access-date=24 September 2016}}</ref>{{sfn|Popoff|2016|p=35}} Anderson suggested starting with an improvised group jam, which the group saw as adventurous and is one of the reasons why the band comes in out of nowhere on the final take.{{sfn|Kirkman|2016|p=39}} The track was assembled in pieces throughout, as Bruford described, "in ten, twelve, sixteen-bar sections".{{sfn|Bruford|2009|p=56}} Its introduction came about after the band had toured with fusion group [[Mahavishnu Orchestra]]; someone in the band suggested having the piece open with improvisation with pre-arranged pauses.<ref name=guitarworld>{{cite web|url=http://www.guitarworld.com/steve-howe-talks-vintage-and-line-6-guitars-and-new-yes-album-heaven-earth?page=1|title=Yes Guitarist Steve Howe Discusses the Making of 'Fragile' and 'Close to the Edge'|date=10 October 2014|publisher=GuitarWorld|access-date=24 September 2016}}</ref>

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 [[Solstice|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.{{sfn|Hedges|1982|p=68}} 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".{{sfn|Hedges|1982|p=69}}<ref name=trackbytrack/> Wakeman's organ solo was written by Howe for the guitar originally, but he thought the arrangement sounded better on the organ.{{sfn|Morse|1996|p=36}} It is played on the [[pipe organ]] at [[St Giles-without-Cripplegate]] church in [[Barbican Estate|Barbican]], London.<ref>{{cite web|url=http://www.soundbard.com/total-5-1-mass-retain-steven-wilson-on-mixing-yes-close-to-the-edge-in-surround-sound/|title=Total 5.1 Mass Retain: Steven Wilson on Mixing Yes' Close to the Edge in Surround Sound|first=Mike|last=Mettler|date=26 February 2014|publisher=The SoundBard|access-date=23 September 2016}}</ref> 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.{{sfn|Morse|1996|p=36}} 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.<ref name=YWDisc>{{cite web|url=http://yesworld.com/discography/close-to-the-edge/|title=Close to the Edge – by Sid Smith|first=Sid|last=Smith|publisher=YesWorld|date=August 2013|access-date=6 December 2021}}</ref>

=== 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.<ref name=YWDisc/> 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.<ref name=LPsleeve/> 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.<ref name=trackbytrack/>{{sfn|Morse|1996|p=37}} While introducing the song on tour, Anderson said its working title was "The Protest Song".<ref>{{Cite AV media|first=Jon|last=Anderson|date=11 November 1972|title=Disc 5, track 5 on [[Progeny: Seven Shows from Seventy-Two]]. Anderson's introduction to "And You and I".|medium=CD|publisher=Rhino Records|id=081227956417}}</ref> 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.{{sfn|Welch|2008|p=125}}{{sfn|Morse|1996|p=39}} In a newspaper review of a Yes show in August 1972, the writer paraphrased that Anderson calls the song "a tale of the search for truth and purity between two people".<ref>{{cite news|url=http://forgotten-yesterdays.com/_graphics/graphic/thumb/graphic_24467_thumb.jpg|title=YES performs at Convention Hall|first=Pam|last=Metzler|date=14 August 1972|newspaper=Asbury Park Press|via=Forgotten Yesterdays|access-date=2 December 2021}}</ref> Anderson himself said it is similar to that of a hymn, in the sense of feeling "secure in the knowledge of knowing there is somebody... God maybe".<ref name=nme1972-07-15>{{cite magazine|title=Yes on edge|first=Tony|last=Stewart|magazine=NME|date=15 July 1972|pages=8–9|via=ProQuest}}</ref> The track starts with Howe on a Guild 12-string acoustic that belonged to Squire,<ref>{{cite web|url=https://www.gear4music.com/blog/yes-steve-howe-interview/|title=Yes 'Close to the Edge' 50th Anniversary – Steve Howe Exclusive Interview|first=Tom|last=Rice|publisher=Gear4Music|date=27 May 2022|access-date=23 August 2022}}</ref> initially playing improvised [[String harmonics|harmonics]] and saying "Okay" in response to Offord who signalled to Howe that he was ready to record. The moment was not part of the song, but Offord liked it and persuaded the band to keep it in.<ref name=CAR22>{{cite AV media|url=https://www.youtube.com/watch?v=Env7ShS2_FA|title=Steve Howe (Interview): Close to the Edge|publisher=Classic Album Review|date=May 2022|via=YouTube}}</ref> "The Preacher, the Teacher" was developed in a single afternoon. Anderson suggested the idea of it having a more country feel, to which Howe and Squire came up with respective guitar and bass arrangements that Anderson thought "sat together so sweet".<ref name=trackbytrack/>

"[[Siberian Khatru]]" is a more straightforward rock song that developed from an idea that Anderson had on an acoustic guitar. He did not have the entire track worked out, so the rest of the group took the sections he needed help with and discussed what riffs best suited it as it lacked one strong enough to carry the song.{{sfn|Morse|1996|p=40}}<ref name=trackbytrack/> Wakeman received a writing credit on the song, and has a solo played on a Thomas Goff model harpsichord. He recalled Goff visiting the studio and directing Offord on the best way to set up and record the instrument.<ref name=YWDisc/> In terms of its lyrics, Anderson noted the song is a collection of "interesting words, though it does relate to the dreams of clear summer days".{{sfn|Morse|1996|p=39}} He claimed "khatru" translates to "as you wish" in the Yemeni dialect of Arabic, but had no idea what the word meant at the time until he asked someone to look up its meaning.<ref name=trackbytrack/> Howe said the group were inspired by [[Igor Stravinsky]] when it came to the end of the song, "by having that staccato pounding and at the same time throwing those accents on voice and drums and having me driving through it with that constant guitar motif."<ref name=YWDisc/> When it came to recording Howe's ending guitar solo, one experiment involved Offord placing one microphone by the amplifier and having his assistant swing a second microphone around the room to create a [[Doppler effect]].{{sfn|Morse|1996|p=40}} [[John Frusciante]] of [[Red Hot Chili Peppers]] has cited the closing solo as an influence for his own guitar solo on "[[Get on Top]]". He said: "The band sound is really big – and they're playing fast – and then this clean guitar comes out over the top. It's really beautiful, like it's on its own sort of shelf. For 'Get on Top', I wanted to play something that would create a contrast between the solo and the background."<ref>{{cite web |url=http://medlem.spray.se/frusciante/artiklar/rhcp1.htm|title=John Frusciante Interview|access-date=9 July 2012|archive-url=https://web.archive.org/web/20120212162729/http://medlem.spray.se/frusciante/artiklar/rhcp1.htm|archive-date=12 February 2012}}</ref>