An ixi-style read of the jam window, 2:45 to 7:15, tracked player by player. This is the great ascent of the run. The band floats a Bb major-seven and never leaves it while Trey climbs, his activity rising every single section to the highest peak of any jam here. Mike holds the floor, Page brushes a flat-seven against the major-seven. Every claim traces to a per-stem chroma and spectral-flux pass over the available demucs lanes. The staves are transcribed off the guitar and bass stems with librosa pyin, Trey above Mike. Trey's line climbing off the B♭ floor up to the high F at the peak is read straight from the audio.
What's Going Through Your Mind (jam peak, 2:45 to 7:15) — Phish · 2025-04-18 Climate Pledge Arena, Seattle
Bb major-seven · the float (2:45 to 3:53) · a bright, suspended major-7 floor
Mike sets the floor on Bb and keeps it, his field carrying a strong A, the major seventh, so the chord reads as a floating Bb major-seven rather than a plain triad. Trey leads on Bb, F, D, A, the triad with that same major-seven shimmer. Page comps on piano, G, A, Bb, F. The jam opens suspended and bright, the major-seventh giving everything an unresolved, hovering quality, the launch pad for the climb to come.
favorite momentThe Bb major-seven hovering from the first bar, the major-7th A in both Mike's and Trey's lines giving the floor a floating, unlanded brightness.
the climb begins · Trey rises (3:53 to 5:00) · the line gets busier over the held Bb
Trey starts to climb, his activity rising as he works Bb, F, D, and a G, the sixth, widening the chord. Mike holds Bb rock-steady, the floor unmoved. Page stays in the comp, brushing a Ab against the major-seven, a flat-seventh rubbing the bright major-seventh, a small grain of tension under Trey's rise. The harmony does not move, the guitar does, the ascent underway over a fixed floor.
still climbing · the intensity builds (5:00 to 6:08) · Trey's line keeps rising
Trey keeps climbing, his activity higher again, the line denser and more insistent over the same Bb. He works Bb, D, F, A, the major-seven chord tones with the climb threading through them. Mike never leaves Bb, Page holds the comp with the Ab grain still present. This is the middle of an unbroken ascent, no plateau, no chord change, just Trey rising and the rhythm section holding firm so he can.
the peak · the highest climb of the run (6:08 to 7:15) · Trey crests over the unmoved Bb
Trey reaches the peak, his busiest playing of this jam and the highest single reading of any jam in the run, an F# chromatic leading-tone threading into Bb, F, D as the line crests. Mike holds Bb to the last, the floor never once moving across the whole window. Page stays underneath. The entire jam has been one continuous rise over one fixed major-seven chord, the purest ascent in the run, the guitar climbing from the float to the ceiling without a single step back.
favorite momentTrey's activity rising in every single section to the highest peak of any jam here, an unbroken climb over a Bb that Mike never moves, pure ascent from float to ceiling.
WGTYM's stems carry bass, guitar, piano, and vocals, with no separated drums or synth lanes, so Fishman is left unread and Page is read from the piano stem. Lead attribution comes from a per-stem spectral-flux pass, Trey the busiest voice every section and climbing 959, 1007, 1153, 1332 across the four, the steepest unbroken rise in the run. Window vocal-gated to the instrumental stretch at 2:45. Key Bb major.