Drumming becomes a combo of ride cymbal work and tom-tom fills. Gilmour starts strumming muted notes from B to F♯ to D to E (rhythmically reminiscent of Another Brick In The Wall) on a guitar tuned to drop D over Wright's slowly-building organ solo.

This strongly suggests the clearing air and receding winds after a violent storm. Volume swells on the guitar accompanied by sustained organ chords combine to create a stark contrast to the screams of the previous interlude. It eventually fades into a sustained Farfisa organ chord underneath the pings' reprise. This increases in volume as high pitched guitar 'screams' enter, resembling a distorted whale song. It was created when Gilmour discovered that a roadie accidentally reversed the cables of his wah-wah pedal, making the pedal's input go into the guitar's output, and played around with his guitar. In the second half of the interlude, the screams die down to become background noises under the sound of rooks, which were added to the music from a tape archive recording.

A throbbing wind sound is introduced, created by Waters vibrating the strings of his bass with a steel slide and feeding it through an Echorec. These organ fills, along with the bass and drum groove, fade away as lead guitar gradually becomes more distant. Wright plays brief phrases on the Hammond, which slowly increase in intensity. The latter provides this solo with exaggerated pitch bends. The solos and backing riffs are replaced by a drum and bass groove with a funk-like chordal backing, then the 3rd solo begins with a less controlled feel and prominent improvisation. A distant 2nd guitar starts accompanying the first with distortion, feedback, wah-wah, and whammy bar effects. This contains multiple guitars harmonizing at various points, after which it gives way to the 1st break. Gilmour plays a chromatic riff between verses, accompanied with A and C♯m chords, which segues into his 2nd solo. A chord progression of C♯m, G♯m, F♯m, G♯ hints to themes explored later. The opening lyrics put the listener underwater where 'everything is green and submarine'. Bass and drums enter shortly after, as guitar and the piano continue through the first verse. Gilmour enters with his 1st solo that has extensive use of his trademark expressive bends. Ad-lib notes fade in and build from random notes into a backing harmony. The lyrics begin with a marine theme, inspired by the 'ping' created by Wright when his grand piano's high B was put through a Leslie speaker.Written By: Roger Waters, David Gilmour, Richard Wright, Nick Mason For the compilation album see Echoes: The Best Of Pink Floyd.

Echoes of atom heart mother pink floyd