@solargarlic78 said:

Well, if that Tweezer starts playing the F note then yes I would call that a modulation (from the scale of Gmajor to Cmajor). My only point is it's much more jarring when you modulate from key/scale to another - like in the Hood versions that go from Dmajor to Dmixo - that C note really hits ya. But my view is that Phish's most common style is to migrate from chord to chord, mode to mode. For example, many, many Ghosts go from A Dorian to D mixo - but the scale/key remains the notes of Gmajor - it's just the mode and tonal center has shifted. That shift sounds really cool (minor to major) but it's less jarring because the key/scale hasn't changed.

@MikeHamad said:

@solargarlic78 said:

A lot of what you're calling modulation is really just migrating from chord to chord in a given key. For example, the 8/1 Tweezer goes from Amin to D to C . All those chords and scales contain the same notes (G A B C D E F#). That's the scale for Gmajor. So they're shifting "modes" but not keys. Dorian to Myxolydian to Lydian. So is this really modulation at all if the 7 note scale never changes?

You can call it migrating from chord to chord too. We're hearing the same thing, just defining terms differently. Also: that pitch collection does change in subtle ways (F vs F# mainly) in a move from A min > D > C (Lydian mode never wants to stick around for long, etc)

Solargarlic, you are expressing my thoughts exactly. Looks like we're the same age, too... Love the Dorian to Mixolydian shift, but my favorite remains the Dorian to Lydian -- LOVE the Lydian mode...