An ixi-style read of the jam window, 2:25 to 6:55, tracked player by player. This is the most guitar-driven jam of the run, Trey running almost the whole window. It starts in a bright C major and turns Mixolydian as a flat seventh slips in, the clean key picking up a bluesy lean. Page comps and fades, Fishman holds the groove. Every claim traces to a per-stem chroma and spectral-flux pass over the available demucs lanes. The staff is transcribed off the guitar stem with librosa pyin. This jam has no separated bass lane, so only Trey's run is shown, sparse, the held notes of his line, with the B♭ slipping in on the bluesy turn read straight from the audio.
A Wave of Hope (jam peak, 2:25 to 6:55) — Phish · 2025-04-20 Moda Center, Portland
C major · Trey runs it (2:25 to 3:32) · bright major with the 4th and 6th
Trey owns this jam from the first bar, his guitar the dominant voice by a wide margin. He works F, C, A, G, a bright C major with the fourth and the sixth ringing, the floor anchored on C and G even with no separate bass to plant it. Page comps lightly on piano, F, A, C. Fishman drives a steady groove. The jam opens clean and major, Trey already spinning the long melodic lines this song is built for.
favorite momentTrey running bright C-major lines with the 4th and 6th from the downbeat, the guitar carrying the whole floor before any flat color arrives.
C add-nine · the line reaches up (3:32 to 4:40) · the 9th opens the major
Trey keeps the lead, his field now C, G, D, F, the ninth opening the C major into airier territory. Page stays in the comp, his piano thinning. Fishman holds the groove. The harmony is still bright and clean, the ninth giving Trey's lines more room to climb, the jam widening without leaving the major key, the wave of hope still cresting upward.
C Mixolydian · the bluesy turn (4:40 to 5:47) · a Bb slips in and the major leans
The turn. A Bb slips into Trey's line, the flat seventh, tilting the bright C major into C Mixolydian, the clean key picking up a bluesy, dominant lean. Trey peaks here, his busiest playing of the window, working C, G, Bb, D. Page's piano echoes the Bb. Fishman pushes a touch harder. The single flat note changes the whole character, the hopeful major now carrying a funkier, road-worn edge as the jam reaches its high point.
favorite momentThe Bb flat-7 slipping into Trey's line at the peak, one note turning the bright C major into a bluesy C Mixolydian, the hope picking up some grit.
Mixolydian rides out (5:47 to 6:55) · the flat-7 and the 4th carry it home
Trey rides the C Mixolydian out, his line on C, G, Bb, F, the flat seventh and the fourth both ringing, the bluesy color holding to the end. Page stays light underneath, Fishman rides the groove. The jam never returns to the clean major it opened in, it settles into the warmer Mixolydian shade it found, Trey spinning lines over a C that the guitar held down the whole way without a bass to share the floor.
favorite momentThe jam ending in the Mixolydian it turned into rather than the major it began in, Trey carrying both the lead and the floor end to end.
A Wave of Hope's stems carry guitar, piano, drums, and vocals, with no separated bass lane, so Mike is left unread and the tonal floor is inferred from the guitar's persistent C and G anchor. Page is read from the piano stem, Fishman from the drums stem. Lead attribution comes from a per-stem spectral-flux pass, Trey the busiest voice every section by a wide margin. Window vocal-gated to the instrumental stretch at 2:25. Key C major at 0.852 correlation.