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)