An ixi-style read of the jam window, 11:00 to 15:30, tracked player by player. The jam climbs out of a D-minor stretch into a luminous F major using nearly the same notes, then pedals there. Page carries the color, his keys the most active voice in the window, with Mike anchoring the arrival and Trey weaving the lines. Every claim traces to a per-stem chroma and spectral-flux pass over the demucs lanes. The staves are transcribed off the guitar and bass stems with librosa pyin. This is a slow, sustained comedown, so the notes are sparse, the real held pitches each voice rang, with the B♭ brushing Mike's pedal on the ride-out read straight from the audio.
Ruby Waves (jam peak, 11:00 to 15:30) — Phish · 2025-04-22 Bill Graham Civic, San Francisco
the arrival · D re-read as F (11:00 to 12:07) · the same notes slide from minor to major
The jam lifts out of a D-minor stretch, and it does it the ixi way, by re-reading rather than re-chording. Mike is still on D, the stack reading D, F, A, C, which is D minor seven and F six at once, the same four notes pointing two ways. Page is already the most active voice, his keys carrying A, C, E over the move. Trey weaves A, F, D above. The harmony slides from minor toward major without changing a single note, just leaning on a different one as home. The lift is felt before any chord actually changes.
favorite momentThe D-minor stack quietly becoming an F-major one on the same four notes, the jam climbing into the light by re-rooting rather than re-chording.
F major lock · Mike drops to F (12:07 to 13:15) · the major seven rings clean
Mike drops the bass to F and the key snaps clean. The stack reads F, A, C, E, an F major seven, bright and settled. Trey steps up here, his guitar the lead voice for this stretch, riding F, C, A. Page holds the F-major color underneath on his keys. The arrival is complete, the D-minor haze burned off into a plain major key, Mike's move to the root the moment that confirms it.
F add-nine · the opening (13:15 to 14:22) · the G widens the chord, Page back out front
Still on F. A G enters the stack, the ninth opening the chord into an F add-nine, both Trey and Page reaching for it at once. Page climbs back to the most active voice, his keys leading C, F, A, G, the organ-toned color filling the room. Mike holds F steady underneath. The chord brightens further, the ninth giving the F major air, the keys and guitar sharing the lift.
the ride-out · a soft 4th over F (14:22 to 15:30) · a B♭ brushes the pedal as it fades
Mike rides the F out, the pedal holding to the end. Page stays the most active voice, his keys on F, C, A, E, carrying the color through the close. Trey brushes a B♭, the fourth, a soft suspension over the held root, a touch of unrest before the fade. The jam settles rather than peaks, the F major it arrived at simply held and colored out, Page seeing it home more than Trey does.
favorite momentPage carrying the color all the way out over Mike's held F, the keys, not the guitar, being the voice that sees this jam home.
Ruby Waves's stems carry bass, guitar, piano, and other, with no drums or vocals lanes, so Fishman is left unread. The piano stem is nearly silent across this window while the synth/organ stem (demucs labels it "other") is the most active harmonic voice, so Page's part here is read from that stem and attributed to his keys. Lead attribution comes from a per-stem spectral-flux pass. Window set by hand to 11:00, the arrival into the F-major jam, since with no vocals lane the automatic picker cannot gate to the improv. Key F major at 0.903 correlation.