An ixi-style read of the improv window, 7:07 to 11:37, tracked player by player. This is a one-chord jam in the truest sense. Mike pins a single A for the whole window while Trey leads and Page climbs in beside him, the two upper voices cycling the third, sixth, ninth, and flat seventh over a root that never moves. Every claim traces to a per-stem chroma and spectral-flux pass over the demucs lanes. The staves under each section are transcribed straight off the guitar and bass stems, Trey on top, Mike below, the real notes from the loudest five seconds of that section, pyin pitch-tracked at 136 BPM. Trey's F# sixth at the brightening, the C# third peaking at the build, and Mike's A held under all of it are read from the audio, not drawn by hand.
Light (jam peak, 7:07 to 11:37) — Phish · 2025-04-25 Hollywood Bowl
A Mixolydian · the drone (7:07 to 8:15) · Mike pins A, Trey gives it swagger
Mike pins the floor on A and never leaves it, the single most fixed root of any jam in this run. Trey leads on top, his guitar the busiest voice by far, stating the A major triad, A, C#, E, with a G natural riding above, the flat seventh that makes the held A read as a dominant. Page is already a real second voice, his piano comping A, E, and an early F#, his organ a thin sustained pad underneath. This is A Mixolydian, swagger built into a chord that never resolves because it never leaves, Mike holding the one note while Trey colors it.
favorite momentTrey's G natural sitting on the A major triad from the first bar over Mike's unmoving A, the flat 7th turning a static chord into a dominant that leans without ever stepping.
A major sixth · the brightening (8:15 to 9:22) · Trey peaks, Page reinforces with the 9th
Same A floor from Mike, new color above. Trey hits his busiest playing of the window here, his line shifting to E, F#, A, C#, the major sixth ringing over the root, an airy near-Lydian lift. Page climbs right with him, his piano now voicing A, E, and a B, the ninth, widening the chord from underneath Trey. The two upper voices brighten the drone together while Mike holds firm, the recoloring shared between guitar and keys rather than Trey alone.
the build · Page at full voice, Mike busiest (9:22 to 10:30) · the chord widens and the energy climbs
The build, and it is the most three-way stretch of the window. Page reaches his strongest here, his piano nearly a co-lead, voicing A, E, B, F#, the ninth and sixth both open. Trey leans on C# and E, the third and fifth, still out front. Mike is at his busiest too, the bass pushing hardest under the held A, even adding passing tones around it. The chord is at its widest and airiest, an A with the sixth and ninth glowing, three players climbing over one root.
back to Mixolydian · the ride-out (10:30 to 11:37) · Trey brings the flat 7th back and closes the circle
Trey brings the G natural back, his line returning to A, E, G, C#, the flat seventh reasserting the Mixolydian swagger the jam opened with, closing the circle on the same color. Page and Mike both ease slightly, the energy settling. Mike rides the A out to the end, unmoved across the full window. The whole peak has been one chord, an A held under a guitar and a piano that painted the third, the sixth, the ninth, and the flat seventh across it in turn, the resolution never needed because the floor never left home.
favorite momentMike holding A from the first bar to the last while Trey and Page change the chord above him four times, one root carrying an entire peak.
Light's stems carry bass, guitar, piano, other, and vocals, with no separated drums lane, so this reading tracks Mike, Trey, and Page and leaves Fishman unread. Lead and activity come from a per-stem spectral-flux pass. Window chosen by the lowest-vocal, highest-instrumental stretch.