'Game of Thrones' Final Path: The Journey of Arya Stark It was one of the earliest examples of the composer thinking about how to channel a character through music - specifically, interpreting the young Arya Stark (Maisie Williams) and her water-dancing through the form of the hammered dulcimer. “We’re six seasons in now at that point,” he remembers, “and it wasn’t something we could do in the first season of the show, but now, because we’re so far in, the sound is so established and all of a sudden, you can bring something in that’s so different, that it really takes you sideways right away.”ĭjawadi’s next selection, “Needle,” once again leans on unique instrumentation: the hammered dulcimer, which made its first appearance during the first season. Once again, “Light of the Seven” helped pushed Game of Thrones forward musically, with the first-ever appearance of piano and organ, played on the track by Djawadi himself. 'Game of Thrones' Composer Discusses "Light of the Seven," the Finale's "Haunting" King's Landing Score What’s really about to happen? It definitely made me excited when people responded to it so positively.” With ‘Light of the Seven,’ for example, because there isn’t much dialogue at all, the music really needs to carry you through that scene and reveal things as they become more clear. It means I did my job well and I achieved something special in a certain scene. “But it’s absolutely fantastic when it gets such great recognition, just like the main title, when all these cover songs started popping up. “When I write my music, I never think about a piece becoming successful or being well received. Years later, what felt like an instantly iconic song remains a central weapon in Djawadi’s musical arsenal. Shortly after the episode first aired in 2016, Djawadi went into great detail about the sequence with The Hollywood Reporter. The children’s choir would go on to play a key role in “Light of the Seven,” yet another haunting example of Lannisters paying their debts - this time, in the form of Cersei (Lena Headey) executing her enemies via wildfire. There are some little Valyrian notes that I took from the language and modified so it doesn’t mean anything, but it Daenerys’ army growing, her powers growing, everything positive that’s developing about her character.” For me, personally, I just hear these syllables and sounds that match the feeling of what I wrote. … I’m not always good with words, I’m not always articulate, but I like when instrumental music makes you interpret a feeling without saying words. I actually liked that we didn’t have lyrics that really meant anything. “It’s not really Valyrian,” he explains, “but I took some of the sounds and some of the syllables and kind of created my own little language with it that felt like the rhythm of it and the sound of it. 'Game of Thrones' Final Season Teaser Promises Destructive "Aftermath" But they told me about it after season one, because we needed to establish this new theme which we’ll introduce in season two, and by the time we get to season three, it’s a known theme that viewers will identify with the Lannisters - so when you hear it, you will know something is off, and that this melody does not belong at this wedding.” “They told me about the Red Wedding, which wasn’t even happening until season three. “I normally get the episodes before I start writing the music, but with this one, they called me up and said, ‘There are lyrics in the book for “Rains of Castamere,” and we need you to write a melody that will become the Lannister theme,'” he remembers. For Djawadi, it’s one of his best examples of the close collaboration he enjoys with Benioff and Weiss. If the main title theme evokes excitement, this next one evokes fear and dread: “A Lannister Always Pays His Debts,” better known within the Game of Thrones universe by another name: “The Rains of Castamere.” It’s a haunting tune, one most commonly associated with House Lannister writ large and the Red Wedding specifically.
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