The performer credits in the 2014 reissue of "Wonderwall Music" rectified the situation, and list Harrison on piano and guitar. The album opens with "Microbes", which consists of call-and-response shehnai parts and was partly based on the raga Darbari Kanada. The waltz-time "Red Lady Too" includes what musicologist Walter Everett describes as "'Moonlight' Sonata-like suspensions on piano, honky-tonk piano, Mellotron, and drums". Ashton performed the tack piano part, with Barham supplying the lower-register piano accompaniment. On "Tabla and Pakavaj", Mahapurush Misra played the two types of hand drums named in the title, the barrel-shaped pakhavaj being another mainstay of Hindustani classical music. "In the Park" features Sharma's santoor alternating solos with surbahar and tabla tarang. Neither of these last two tracks appears in the film. Author Peter Lavezzoli recognises "Harrison's dry humor" in "the honky-tonk, piano-driven" "Drilling a Home". The song is subject to dramatic changing of pitch, from the key of G up to B, through the tape being sped up. In the film, only the portion up to the sound of a rainstorm is used. The ragtime feel of the track is accentuated by an arrangement that includes tack piano, horns and banjo, with the last two sounds created through Ashton's use of different settings on the Mellotron. Author Ian Inglis writes of the effectiveness of "Drilling a Home": "its jangle piano instantly recreates the mood of a crowded saloon in a frontier town, or a Laurel and Hardy or Keystone Cops pursuit." The track segues into "Guru Vandana", another Bombay-recorded piece featuring multiple shehnais. The title references Guru Vandana, a Hindu prayer in honour of God and one's teacher. "Greasy Legs" consists of harmonium and Mellotron, including parts played on the latter instrument's flute, organ and cello settings. On "Ski-ing", Clapton plays a blues-based guitar riff treated with a fuzz-tone effect, over a rock rhythm and heavy tambura drone. While Spizer and Everett credit all four electric guitar parts (two of which were taped backwards) to Clapton alone, he recalls that "we put down this thing [on tape] and George then put backwards guitar on it."