An ixi-style read of the improv window, 3:07 to 7:37, tracked player by player. Trey leads the whole window, Mike holds F and slowly gets busier, Page comps the extensions and clears space mid-jam, Fishman lifts the groove into the crest. The harmony moves entirely in the added tones, a hanging fourth resolving to an added ninth and blooming to six-nine. Every claim traces to a per-stem chroma and spectral-flux reading across all six demucs stems. The staves under each section are transcribed straight off the demucs guitar and bass stems, Trey on top, Mike below, the real notes each man played in the loudest five seconds of that section, pyin pitch-tracked and snapped to F major. The descending C, B♭, A, G, F bass walk on the plateau and Mike's D arriving at the crest are read from the audio, not drawn by hand.
Twist (jam peak, 3:07 to 7:37) — Phish · 2025-04-27 Hollywood Bowl
F with a hanging 4th · the suspension (3:07 to 4:14) · a B♭ leans over the F triad, unresolved
Trey leads from the first bar, his guitar the busiest voice in the window by a wide margin. He states the F major triad with a B♭ hanging on top, the suspended fourth, the note that wants to resolve and does not yet. Mike anchors the floor on F, low and steady, with an F# chromatic neighbor brushing under the root. Page comps beneath on piano and organ, doubling Trey's F-major colors rather than pushing his own line. Fishman holds a firm mid-energy groove. The suspension belongs to Trey, the band holding the floor while he leans on the unresolved fourth.
favorite momentTrey's B♭ hanging over the F triad at the open, the fourth suspended and unresolved while Mike, Page, and Fishman hold the floor steady beneath him.
F add-nine · the resolution (4:14 to 5:22) · the suspension releases and the 9th opens the chord
Trey resolves the suspension, his line settling to F, C, A with a G added on top, the ninth opening the clean F major, and his activity peaks right here, the busiest stretch of his whole window. Page reads the moment and pulls his piano sharply back, stepping out of Trey's way and leaving only a thin organ pad. Mike answers by getting busier, beginning to walk around the F rather than just hold it. Fishman stays steady underneath. The added-ninth resolution is Trey's, and Page clearing the room for it is the conversation.
F add-nine held · the plateau (5:22 to 6:29) · the chord settles and rides its added 9th
The F add-nine holds. Trey stays out front with the G ninth ringing, still the lead voice. Page brings his organ back up while his piano stays sparse, the keys re-entering as a sustained color rather than a busy line. Mike keeps thickening, his activity climbing steadily through this stretch, pushing from underneath. Fishman adds a touch of lift. Nobody reaches for a new chord, the band trusting the open major-with-a-ninth to carry the middle while the energy gathers below it.
F six-nine · the crest (6:29 to 7:37) · the 6th joins the 9th and the chord opens all the way
The crest, and all four arrive together. Trey leans on A, the major third, his line still leading, and Mike answers by adding a D to his bass field, the sixth, the chord opening into an F six-nine. Page tracks the same A, F, G stack on both piano and organ, reinforcing the wide voicing. Fishman pushes the groove to its densest of the window, the drums lifting hardest right at the peak. The chord blooms to six-nine over the unmoved F, no cadence needed, the home key simply opened as far as it will go with every player on it at once.
favorite momentAll four landing on the six-nine together at the crest, Trey on the third, Mike adding the sixth, Page reinforcing on both keys, Fishman driving the groove to its peak, the widest voicing in the run.
Reading built player by player from a per-stem chroma and spectral-flux pass over all six demucs lanes: Mike (bass), Trey (guitar), Page (piano and organ), Fishman (drums). Lead attribution comes from spectral flux, the busiest harmonic voice per section. Trey leads every section here (flux roughly four times any other voice). Window chosen by the lowest-vocal, highest-instrumental stretch. Key F major at 0.941 correlation, the most confident reading of the run.