An ixi-style read of the jam window, 2:54 to 7:24, tracked player by player. Unlike the fixed-root jams of the run, this one rocks. Mike pulses the bass between D and A, the root and the fifth, a slow tide under Trey's climb, while Page grows into the jam and a flat-seven slips in at the close. Every claim traces to a per-stem chroma and spectral-flux pass over the available demucs lanes. The staves are transcribed off the guitar and bass stems with librosa pyin, Trey above Mike. Trey's F#-G climb, Mike's tide to A, and the C natural flat-7 shading the close to Mixolydian are read straight from the audio.
Everything's Right (jam peak, 2:54 to 7:24) — Phish · 2025-04-26 Hollywood Bowl
D major · the tide begins (2:54 to 4:02) · Mike on D, the major-7 brushing
Mike opens on D, his field carrying a C#, the major seventh, so the floor reads as a bright D major rather than a plain triad. Trey leads on A, D, F#, B, the D major triad with the sixth ringing on top. Page comps lightly on piano, A, F#, D, E. There is no drum lane here, but the pulse is in the bass: this jam will not sit on one note, it will rock, and the first half of that rock is the D it opens on.
favorite momentThe bright D major opening with the major-7th C# brushing in Mike's line and the 6th ringing in Trey's, a major key that floats rather than plants.
the rock to the 5th · Mike moves to A (4:02 to 5:09) · the bass tides to the fifth, Trey climbs
Mike moves the bass to A, the fifth, the other half of the tide. This is the jam's engine, not a fixed pedal but a slow rock between root and fifth, D and A. Trey climbs over it, his activity rising, his line adding a G, the fourth. Page grows too, his piano more present. The harmony stays D major while the bass rocks beneath it, the I-and-V pulse giving the jam a gentle forward motion the pedal jams never had.
back to D · Trey peaks (5:09 to 6:17) · the climb crests over the returning root
Mike rocks back to D and Trey peaks, his busiest playing of the window, working F#, G, A, D over the returned root. Page tracks right with him, F#, D, A, G, the keys now a full voice. The tide has completed a full swing, D to A and back to D, and Trey's climb crests exactly as the root returns, the rock of the bass and the rise of the guitar locking into one motion.
the 5th again, a flat-7 slips in (6:17 to 7:24) · a C natural shades the close toward Mixolydian
Mike tides back to A for the close, and a C natural slips into the field, the flat seventh, shading the bright D major toward Mixolydian at the very end. Trey stays strong on D, G, A, C, and Page reaches his most active here, growing into the jam as it rides out. The tune lives up to its name, settling rather than straining, the bass rocking root to fifth one last time as the flat-seven adds a final warm grain.
favorite momentThe C-natural flat-7 slipping in over the bass tide at the close, the bright D major picking up a Mixolydian warmth right as the jam settles home.
Everything's Right's stems carry bass, guitar, piano, and vocals, with no separated drums or synth lanes, so Fishman is left unread and Page is read from the piano stem. The bass pulse between D and A is read from the per-section bass root. Lead attribution comes from a per-stem spectral-flux pass, Trey the busiest voice every section, climbing 601 to 1095. Window vocal-gated to the instrumental stretch at 2:54. Key D major.