An ixi-style read of the jam window, 8:30 to 13:00, tracked player by player. This is the ambient one, a quiet C-major float that wakes up slowly. Page leads on the keys, Mike holds C with a calm hand, and the story is Fishman: the drums start near silent and steadily double in energy until the jam lifts. Every claim traces to a per-stem chroma and spectral-flux pass over all five demucs lanes. The staves are transcribed off the piano and bass stems with librosa pyin, Page above Mike. This is the quietest jam, sustained pads, so the notes are sparse, but Mike's lean to E on the glow, the major third the prose names, is read straight from the audio.
Halley's Comet (jam peak, 8:30 to 13:00) — Phish · 2025-04-22 Bill Graham Civic, San Francisco
ambient C · Page floats it (8:30 to 9:37) · the quietest opening, organ out front, drums near silent
The window opens almost weightless. Page leads on the keys, his organ the most active voice by far, floating C major with the sixth ringing, G, A, E over the root. Mike holds C with the lightest touch, the bass barely moving. Trey weaves quiet lines, G, A, E, supporting rather than leading. Fishman is near silent, the drums at their faintest of the whole window. This is ambient Phish, the band floating a major chord with no hurry, Page painting and everyone else holding still.
favorite momentPage's organ floating the C major sixth over an almost-silent rhythm section, the jam opening as a held breath rather than a downbeat.
the keys fill in · piano joins the organ (9:37 to 10:45) · both of Page's hands carry the color
Page widens. His piano comes up to join the organ, both keyboard voices now active, C, G, F, E across the pair, the keys fully carrying the harmony. Mike stays on C, adding a passing D. Trey holds his supporting line, G, C, E, F. Fishman begins to stir, the drums creeping up from the floor. The jam stays in its calm C major, the change being density, not harmony, Page thickening the cushion while the others hold their places.
the major-3rd glow · Mike leans to E (10:45 to 11:52) · the bass brushes the third, the chord brightens
Mike briefly leans the bass to E, the major third, tilting the C major up onto its brightest note, a soft inversion rather than a key change. Page's organ stays the most active voice, painting E, D, G, C over the lean. Trey holds G, E, A. Fishman keeps building, steady and patient. The harmony glows a shade warmer as the bass kisses the third, the kind of small re-coloring the ixi ear lives for, a whole mood shift from one bass note.
the wake-up · Fishman doubles the energy (11:52 to 13:00) · the ambient float finally lifts
The build crests. Fishman has roughly doubled the drum energy since the open, the rhythm section finally awake, and the whole jam lifts with it. Trey comes back up, his guitar more present, with a B♭ brushing as the flat seventh, a touch of grit on the bright major. Mike settles back on C, and Page stays the most active across the pair of keys. The ambient float that opened near silence ends as a real lift, the same C major the whole way, the energy doing all the traveling.
favorite momentFishman doubling the drum energy from near-silence to the wake-up, the band lifting a single held C major from a whisper to a swell on dynamics alone.
Halley's Comet's stems carry bass, guitar, piano, other, and drums, no separated vocals lane, which does not affect a jam reading. Page's keys are read across both the piano stem and the synth/organ stem (demucs labels it "other"), the latter the most active voice here. Fishman's build is measured from the drums-stem energy, which roughly doubles across the window. Lead from a per-stem spectral-flux pass. Window set by hand to 8:30, the developed C-major float, since with no vocals lane the automatic picker cannot gate to the improv. Key C major at 0.953 correlation, the most confident reading of the run.