An ixi-style read of the jam window, 4:17 to 8:47, tracked player by player. This is the dark outlier of the run. Where the others plant a clear tonic, Timber roams a Bb-major and G-minor field without ever settling, the bass roving and the flat colors and chromatic notes keeping it uneasy. Trey leads, Page's organ seizes the darkest stretch, Fishman peaks in the middle. Every claim traces to a per-stem chroma and spectral-flux pass over all six demucs lanes. The staves are transcribed off the guitar and bass stems with librosa pyin, no scale-snap so the chromatic intrusions survive, Trey above Mike. The Eb-against-E rub and Mike's roving Db and Ab are read straight from the audio.
Timber (jam peak, 4:17 to 8:47) — Phish · 2025-04-27 Hollywood Bowl
the unsettled field · Trey out front (4:17 to 5:24) · a Bb / G-minor color that will not plant
Trey leads into a field that refuses to settle, his guitar working Bb, Eb, F, G, the flat-heavy color of a G minor and Bb major at once, the relative pair sharing one set of notes. Mike sits on E, a chromatic note outside the key, a tritone away from the Bb, which is exactly why nothing feels grounded. Page doubles the flat colors on piano, Bb, G, Eb, Ab. Fishman drives a firm groove. From the first bar this jam withholds a clean tonic, the unease built into the note choices rather than the dynamics.
favorite momentMike sitting on an E against a Bb-and-G-minor field, a tritone under the harmony, the one note that guarantees the jam never feels at home.
Mike roves · the bass refuses a root (5:24 to 6:32) · D, chromatic intrusions widen the unease
Mike moves to D and gets busy, the bass roving rather than anchoring. Trey peaks here, but his line adds C# and F#, notes from outside the key, chromatic intrusions that deepen the shadow instead of resolving it. Page tracks the Bb-Eb color underneath. Fishman holds the groove. The harmony is still the Bb-and-G-minor field, but every player is leaning on its darkest and most outside notes, the jam tunneling further in rather than opening up.
the keys seize it · Page leads, Fishman peaks (6:32 to 7:39) · the densest, darkest stretch
The center of the jam, and it changes hands. Page's organ becomes the most active voice, seizing the lead from Trey, painting Eb, G, Bb, Ab, the flat colors at their thickest. Fishman drives the drums to their densest of the window, the groove heaviest right here. Trey drops back, trading the lead. Mike holds D. This is the darkest stretch, the keys and drums pushing the unease to its peak while the guitar steps aside, the only section where Page, not Trey, owns the room.
favorite momentPage's organ seizing the lead at the heaviest, darkest point while Fishman peaks behind him, the keys driving the jam where the guitar usually would.
Trey back out front · the ride-out (7:39 to 8:47) · the dark field holds, no resolution
Trey takes the lead back, his line on Eb, Bb, G, A, still inside the same unsettled field. Page stays present on the flat colors, Mike holds D, Fishman rides the heavy groove out. The jam never resolves to a clean tonic, never brightens into a plain major or darkens into a plain minor, it simply holds its Bb-and-G-minor ambiguity to the end. Timber rides out the way it lived, refusing to tell you where home is.
favorite momentThe whole jam ending on the same unresolved Bb-and-G-minor field it started in, the one jam in the run that never plants a root, dark all the way out.
Timber's stems carry all six lanes. Page is read across the piano and synth/organ ("other") stems, the organ the lead voice in the middle. Fishman's build is from the drums-stem energy, densest in section three. Lead attribution comes from a per-stem spectral-flux pass. The key sits ambiguous by design: Krumhansl lands on Bb major and G minor (the relative pair, one note set) at 0.76 to 0.80 across the window, lower than the run's pedal jams, which matches a jam that withholds a clear tonic. Window vocal-gated to the instrumental stretch at 4:17.