Pieces disliked by own creators

Apart from writing most the keyboard parts you mean? His main role, and unmissable strength, within Yes was in stitching together all the disjointed melodies written by Howe & Anderson (and Squire & White) to form coherent pieces of music and in writing the passages of modulations and segues that made that happen. While Anderson and Howe take most of credit for creating the various melodies, it was Wakeman's knowledge of composition and arrangement that made each one work together. How he does that is masterful, though it does tend to leave a very unmistakable Wakeman-signature on every note he plays. While we regard each of the four "movements" as single pieces of music, they aren't - each one is a collage of separate melodies - IMO no one in Yes (Wakeman aside) was really capable of writing a sustained and continuous 20 minute piece of music, and it's no accident that later 20+ minute epics, either on Yes or solo albums, are as rare as rocking horse poop - all Yes epics are musical collages of disparate bits. [just listen to The Ancient if you're unsure of that - for example what those few bars of ukulele are is doing there is anyone's guess - while that is probably the least "Wakeman" track what little fluidity it has is attributable to Wakeman]. TFTO without Wakeman's input would be dreadful, as would Relayer without Moraz.

Think Wakeman would have been much happier with TOTO if the music had been written to fit a single CD, rather than he having to stretch the pieces that Anderson and Howe had written for the album, to have each of four movements fit one side of an LP. 

Oh dear, that would be a massive loss  although I can understand he might not consider them representative of the way he wanted to project the group, as happened with Kraftwerk.