Game of Thrones: How the Music Works
ฝัง
- เผยแพร่เมื่อ 13 เม.ย. 2019
- A complete analysis of the Game of Thrones Soundtrack.
🎁 FREE - Accelerate your ear training, sight reading, and musicianship skills with this free mini-course:
www.insidethescore.com/fast-t...
Your journey towards musical mastery begins here... 🛤️
🎻 Where to Start with Classical Music? - www.insidethescore.com/14-pieces
🎼 The Training Ground for Next-Level Musicianship - www.insidethescore.com/musica...
🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - www.insidethescore.com/composer
💖 Support this Channel - / insidethescore
💬 Join the Discord - / discord
Ramin Djawadi has proven to be a great world-builder of epic worlds, writing music for Game of Thrones and Westworld.
This video explores Djawadi 's musical techniques for bringing the world of Game of Thrones to life. It discusses his leitmotifs, including the Stark theme, the Lannister theme - the Rains of Castamere - the Dragon music, the music for Jaqen Hghar.
It also talks about how he paints musical locations for the Dothraki, the Wildlings, Braavos, and Meereen.
It finally talks about music and silence, considering battles such as Hardhome, the Battle of the Bastards, and the fight with Brienne vs the Hound.
Presented by Oscar Osicki
UPDATE: Decide what film, topic, or piece of music I cover next! Check out my newly updated Patreon, with new tiers and rewards, at:
patreon.com/insidethescore
I can't wait to see your analysis of the music from Game of Thrones season 8 episodes 3.
i know im asking the wrong place but does anybody know a way to log back into an instagram account?
I was dumb lost my login password. I would appreciate any assistance you can give me!
@Luca Tripp instablaster =)
@Duke Gregory Thanks so much for your reply. I found the site on google and Im trying it out atm.
Looks like it's gonna take quite some time so I will get back to you later with my results.
@Duke Gregory It did the trick and I finally got access to my account again. I'm so happy:D
Thanks so much you saved my account!
I actually found the use of a piano in the explosion of the Bealor's Sept absolutely brilliant - and I think so exactly because it did not fit in with the rest of the score. It felt odd, out of place, alienating. As if something was wrong, or even something was very wrong. Fifteen minutes into the score and the episode, we were given the answer that it indeed was. For me, this was a brilliant plot device, and a very satisfying pay-off.
This! i knew something was very off as soon as the piano started. Its like a huge "you better get ready and pay attention" moment because things are about to get crazy.
Light of the Seven was the single most genius thing in the whole score of the Game of Thrones. Absolutely eerie, fitting and non-fitting simultaneously, not to mention the song itself is simply a masterpiece. It was just perfect for the scene itself, and the episode "The Winds of Winter" became one of my all time favourites, hugely because of the score. And considering that Game of Thrones has in my opinion the most memorable soundtrack of any show or movie ever created, is saying a lot. Ramin Djawadi is a master of his craft, right up there with Williams, Shore, Zimmer and others.
Agree. It's out of place, but so so effective! That whole eerie sequence was something else. Such a leap for a TV show. Brilliant.
Yes - I'm glad. I personally didn't like the plot device - the religious storyline , and Margeary's plot, for me was the most compelling one of the season, and just blowing up every character to tie it all up felt to me a bit cheap. But I'm clearly outnumbered and I'll accept that most people loved it!
To you sir, i salute you!
Yes. Just yes. Ramin Djawadi has been the MVP for this show for the past eight years!
"remember the silence after the Red Wedding?"
yeah.... I couldn't even reach down to pull my jaw up from the floor.
that's how frozen everything was.
"The Reynes of Castamere" used to be just an idea by George R.R. Martin in the books, used in exactly the same narrative way (Catelyn notices it being played, suddenly all hell breaks loose)
I'm not sure if he already wrote the lyrics for it in the books (he definitely wrote a bunch of song lyrics throughout the book series) and Djawadi made it real and tangible and it's one of the best out-of-a-book adaptions I know.
Which is why "The Reynes of Castamere" is one of my favorite songs from the whole franchise
@@WindspriteM As a bookreader I can tell you that there are actually at least parts of the lyrics mentioned in the book as well as the whole background story of it...
@@bakingbread4002 I read the books too, I just didn't want to make claims on what I only vaguely remember
All the lyrics were revealed, I believe when Tom o'Sevenstreams sang it.
Oh the piano scene. I remember listening to that part and feeling so nervous for no reason. I don’t know much about music but somehow something felt out of the place. So I’d say using piano there was brilliant.
Thank you for this video, btw. Love your work! I just wish I could watch more :)
The composer was so intentional and that was his exact intent
Something that I find genius is also the fact that Petyr Baelish's theme is played, but very lightly, during the part, on s1ep1, where catelyn gets the news about Jon Arryn being dead.
Also really good video and analysis on the mastermind of Ramin Djwadi keep up with great content like this!
Oh cool! I missed that
I would follow up on that. This theme, that slowly transitioned into Petyr's theme was originally the theme for Lannisters in S1 and few episodes of S2. To be more precise, it is the theme of *Conspiracy* , and initially, the Lannisters were the main known conspirators in the Game.
Not only does the same tune and cimbalom play in "A Raven from King's Landing" (while receiving the letter about Jon Arryn's death), but also in "Await the King's Justice" (Cat arrests Tyrion). These two events are key points in setting up the War of the Five Kings, and later we realize that the one behind it all has the same theme. The theme is also peppered in numerous other scenes as well, surrounding conspiracy.
Another use of the theme was in some Jojen and Three Eyed Raven scenes. There is a scene from S3E6 where Jojen has a green-dream induced seizure, and another in S6 (can't remember the episode), where Meera talks with Leaf outside the weirwood tree. In both these scenes, some sections of "A Raven from King's Landing" was played. I think it has gone on to become a general theme for greensight.
A neat feature I noticed about Ramin's use of leitmotifs, especially for this particular Conspiracy theme, is that he unintentionally sets up certain connections which people rarely catch, and this leads to some fun theories as well. For example, the cimbalom is consistently used in only two themes, Jaqen H'ghar/Faceless Men/Braavos theme, and the early versions of the Conspiracy theme. I might be reaching here, but I believe this hints at, not only Baelish's Braavosi heritage, but also.... _perhaps something more_
finally someone who is focusing not on the actors, design or filming. But on the one thing that people keep forgetting, but has a HUGE roll and impact in GoT. The freaking music of Ramin Djawadi
The best part of ep3 was the 10. Min bit where there was no talking lol
According to Djawadi, the motif you call Jaqen's Theme is actually Arya's
Well in Season 2 it appears every time Jaqen appears, and pretty much nowhere else that I noticed. But I'm happy to be corrected
@@InsidetheScore He is wrong, it is a Jaqen/Faceless Men theme. Arya's theme is the one you said sounded similar that plays when she trains with Syrio Forel (track is called 'The Pointy End'). It later evolves into the darker one you hear when she kills Walder Frey and when she fights Brienne, which uses the same chord progressions.
@@Scarecrow545 The motif from 'The Pointy End' is developed later into Needle in season 6, it's an Arya motif which is adapted depending on the circumstances (such as the descending scale to counter-balance her lighter theme). I'd recommend watching Ramin's video on 'Needle'
Inside the Score The song from season 6 is called ‘Needle’, which is the exact same song. Needle, being Aryas sword of course, so pretty sure it’s aryas.
@@InsidetheScore I think it may have started out as a theme for Jaqen, but it's definitely meant for Arya herself now. You can hear the motif shortly during the Red Wedding scene when Arya attempts to save the direwolf. It's also used during the credits music following Arya scenes in episodes 4x01 and 4x10 (killing the Lannister soldiers and sailing to Braavos). After that, you hear it a few themes during Arya's scenes while training with the Faceless Men, for instance when she enters the House of Black and White and when she's being chased by her annoying training partner.
I also love the jarring ending to s3e3 where Jaime loses his hand. We go straight from his scream into The Hold Steady's loud, rock version of The Bear And the Maiden Fair and it leaves you with a massive wtf feeling.
I disagree with you about the Light of the Seven. I think the piano achieved the desired effect with me. It was supposed to tell you everything is different now, all the old rules are out the window and anything can happen. I noticed it immediately and it was what brought such a feeling of suspense and engagement to the scene that using the old tropes of cello or cimb just would not have achieved. The level of tension is unparalleled. Also you didn't mention some of the hidden themes in it that connect to other themes such as the opening two chords being the same as the white walker theme. I think you went wrong by expecting the show to stay within the same boundaries you had already grown accustomed to instead of realizing that everything is "in" and just because you haven't heard a certain colour before does not mean it's out of place. It just means they were saving it for the right moment. Light of the Seven is easily the masterpiece of the show. There may be a greater theme in season 8 but we will have to wait and see.
"It was supposed to tell you everything is different now, all the old rules are out the window and anything can happen." That's what the first five seasons were about. After that it became predictable and "tropey".
it gave that suspense because up until that point Ramin had yet to use the piano in any of the music thus far. So it was intended to feel out of place and make the viewer feel uneasy.
Well I hope my analysis shed some light on *why* the effect was different - that it created a montage effect, and that it used an entirely different sound colour from any that had come before it. My only criticism of the scene was that it kind of broke the fourth wall with me, made me feel like I was watching a show, rather than immersed in Westeros. Like: "What's that modern instrument doing in this ancient epic?!" And some of the commenters here had felt the same. But clearly the vast majority adore this piece!
Also - as I say, it has grown on me a lot since. But I'm just being honest about my initial reaction.
I know there are deeper breakdowns elsewhere; this video was never going to do a breakdown of Light of the Seven - instead, it's an overview of Djawadi's techniques and methods for building a world, so it didn't make too much sense to do a full breakdown of the biggest outlier in the soundtrack!
@@InsidetheScore Game of Thrones ISN'T a representation of modern history. It's fantasy and binds multiple genres together. For me musical instruments from the 1400s-1800s are best for fantasy settings, not just medieval instruments, if that's what you call it.
Djawadi's score is magnificent. I would go as far as saying that without his score, the series wouldn't have been as successful. Djawadi worked for/with Hans Zimmer, another master of the Leitmotif, but he is a lot more subtle and doesn't overuse his themes. The music of Westworld is pure genius, too.
Who is more subtle? Zimmer or Ramin?
Ramin is better than Zimmer for the very reasons you stated. Zimmer reuses his own music too much.
Idk why but the Lannister's theme sounds the best for me
Because it is.
For me it's a close thing between the Lannister's theme and the one from the Greyjoys. Espeically 'The Gift' from Season 7 is amazing. I am a bit sad that the Greyjoy's Theme wasn't mentioned in this video, but i guess you can't talk about all the leitmotifs.
same that and stark is a close 2nd
Isn’t there another Lannister theme besides The Rains of Castamere?
I think the piano makes a lot of sense if you start thinking in more depth why Djawadi uses the instrutments he does.
Not just because they are real/fantasy-like or they sound exotic, or ancient, or old. But rather how they work and its relation to the effect on the human body.
The piece called "Light of the Seven" is minimalism. Why would Djawadi use minimalism in this montage?
- Rethorically: it's because IT IS a Montage, a machination, Cersei's ploting.
Minimalism is the perfect music style to convey this plot web, Cersei's trap.
And Why?
- Minimalism is a post-modern style, it enphasizes the self-awareness, the deconstruction and reconstruction of the formal structure of music.
The way this style formally moves forward is by slowly changing notes with a constant and steady repetition - like a machine.
I couldn´t think of a better music style to represent how Cersei's mind works, like a vicious clockwork orange.
This is where the piano enters. The piano is probably the most mechanical instrument, and at the same time is pure but human in how it sounds. Djawadi has made that conection prior in the generic of the score for "Westworld".
Each instrument in Game of Thrones is played in a very different manner.
- Cersei's piano is humanizing, but cold and mechanical, it is "easily" played with the fingers which transform the machine into sound. Its relation to the body is cold, but the sound it makes is warm.
- The Cello is the emotional beat of the entire score, as its sound is warm. The player must embrace the cello, feeling all his vibrations. The sound is also very grounded into reality as it is a bass instrument, a deep one, but can also scream like a violin, having a huge range of emotion.
- The percusions for the Dothraki are primival. They don´t give much affection. The only affection given is of the intense single moment of the beat. The touch of the mallet into the drum's skin.
- The duduk for Danearys is literally a breath giving instrument like a fire breathing dragon.
- The cimbalon for Bravos and the free cities is perhaps a strange precursor of the piano. It is the link between the "mindless" percusion of the dothraki and the mental King's Landing. It is the starting point for the humanizing nature of the percusion. The cimbalon literally is percusioned strings.
- But perhaps more than anything, the White Walkers and fantasy in general get the synths, as they cannot be humanly touched by emotion, meaning fantasy is artificial. The pure mechanics.
Overal I liked your video, I just had to fill in this details I was thinking while watching it.
Thank you and please keep up with these videos, they really are helpful in thinking and developing music.
Ramin Diawaldi is a genius. I love the music so much.
100% agree!! Light of The Seven use of piano felt so out of place at the time for me too ..totally caught me off guard..for reasons I know understand why.
*GENIUS* move by Djiwadi , I totally appreciate it now
"Light of the Seven" also was shock, because after six seasons of 'fantasy RCP score' we hear Philip Glass style with all its minimalistic glory.
Exactly - no doubting everyone noticed!
Thrilled to release this content - I lost 9 hours work on Friday but had some late nights and got this out on time!
Very excited to announce my new Patreon - you can vote for what film or piece I'll cover next, and I'll do it. You can also get early access to content, behind the scenes snippets, and more - check it out: patreon.com/insidethescore
I hope you enjoy this video - as I say, The LIght of the Seven (the piano piece) has grown on me massively since I first heard it, but I thought I'd be honest about my initial response - the first time I saw the episode, I was like "What is that doing there??". It felt almost like it wasn't a Game of Thrones episode. But now looking back on it I think it's a great piece of writing.
Thanks for watching - and if you can help support this channel too, that would be fantastic! This channel may need support in the future to help it to grow, thrive, and produce high quality content!
Cheers
Oscar
Oh thank you for spending those 9 hours on us. I enjoyed it.
What's great about The Light of the Seven is that Ramin purposefully chose the piano to portray unease since it was never used before. He also chose the solo cello, especially for the opening theme, because the producers didn't want a flute for stereotypical medieval theme. Really shows how great of a composer he is and how much thought he puts into his pieces.
Well yes --- these are pretty standard decisions that any composer has to make though, for any piece of music they're writing!
Music analysis gets the biggest thing you can analyze about music in the show wrong. The piano was out of place, thats the point. Its an instant warning that something is wrong, something is very wrong. because in 60 hours of this show not once has it been used but now you hear a piano. Perfect for the scene
About Jaqen h'ghar leitmotif:
it accompanies Arya, sounds like Arya, talks like Arya, walks like Arya, isn´t it really Arya's leitmotif?
Jaqen h'ghar already has another leimotf that ascending glissando interval in the weird duduk instrument.
It's totally Arya's theme.
Exactly my thought. Aryas travels are heavily impacted by syrio and jaqen. Then she becomes the assassin and a sword of braavos
Rui Lima Yes, absolutely! Thank you!
Rui Lima
No, i dont think so.
Arya is a Stark and still is in my opinion.
I connect this theme to Jaqen strongly. But maby you can interpret it as commected to Bravos or the many faced god or Aryas assasin training.
@@maxmustermann3876 Jaqen has his own leitmotif, the ascending glissando interval in the duduk.
Arya and/or Bravos have the cimbalon melody motif, which has its first appearance in season 1 with Syrio Forel. Saying that it belongs to Jaqen is reductive.
For eg.:
The Stark theme is quite a broad one, used mainly for emotional effect. Jon Snow is part Stark and part Targaryen but he has his own theme now, it could be safe to assume other members of the family have their own themes too. Bran has the weirwood motif attached for instance.
This made me appreciate Ramin Djawadi even more than I did before. He proved himself to be one of the biggest soundtrack composers nowadays. He clearly knew what he was doing since the very first episode!
Fun fact: Ramin Djawadi has Synesthesia, which means he sees colours as sound and vice versa.
@19:14 Brilliantly observed! He used the same technique at the close of S8.E3 'The Long Night'
The love theme, "See You For What You Are", and "Truth", heard at the end of season 7 as Bran and Sam realise who Jon really is with scenes that cut between Rhaegar and Lyanna, and Jon and Daenerys, is one of my favourites. Again, the solo cello is prominent. Great score.
This was probably the most interesting video I've seen about game of thrones so far, thank you for putting so much work and passion into it!
I disagree with you, Light of the Seven is a hell of a piece. It is perfect for the montage of the trial, creates uncertainty of what is about to happen.
There’s so many of those leitmotifs, i always find myself loving the Stannis/Lord of Light theme, and how it evolves and changes depending on the scene.
I almost included that one as well but for time I didn't
One additional point, the ring cycle also features incest between nephew and aunt. And they ended up both dead.
By the way its pronounced DjaVadi. I was at the GOT Concert and he was the conductor for it. That's how he introduced himself
one of the most beautiful for me was when Jon and Ygritte look over the wall after the climb
Yes!
And after the last two days spent to study piano transcription of the light of the seven by Patrik Pietschmann .... a note on my mobile phone said new video from inside the score with the perfect subject!
You always break the hair in four parts! Great!
Thank you very much, brilliant analysis, you’re a gifted person.
Somehow all fantasy seems to connect back to Wagner! The similarities between Wagner and LOTR are often as apparent as those between LOTR and GoT/ASOIAF and I love how you bridged that connection
Tolkien isn't the start of fantasy. Neither is Wagner. Dwarfs and Giants, fantastical worlds. These are all much older. Don't make one person the creator, don't turn them into a God. There is no creator!
Tolkien doesn't have to copy from Wagner to get similar results. He can have the same source of inspiration which must lead to some similarities. Just as nowadays people aren't copying Tolkien by having a dragon or friendship be part of their creation.
Good point! Fantasy has varied roots that can be traced back to many places like the folklore of different cultures. I just think it's interesting when some of those particular connections are laid out. Like when Wagner writes an opera (Der Ring des Nibelung) about a thief who uses a magic ring to exert his power over others, it's hard not to think of Tolkien. That being said, Wagner's whole Ring Cycle is very blatantly based on Norse/Germanic mythology so it's obvious that Wagner is definitely not the origin of concepts like giants or dwarves.@@MrAllallalla
The song that is played during the swords training, is called "Needle". So it is hard to tell which tune is a Jaqen or a Arya theme.
I agree that the piano felt very out of place at first, but I think that's what made it so brilliant. You could immediately sense that something was off. It was a bold move from Ramin but it worked out quite well.
9:50 don't you dare make me dream and hope Syrio Forel could still be alive
I think the music was hunting that Jacquen was Strip Corel in early disguise. Notice that Jacquen left kings landing as a captured thief at the end of season 1... What was jacquen doing in kings landing in the first place unless he was searching for some'one'?
Thank you for this! The soundtrack was the first thing that turned me on to this tv show, even tho I’m a massive fantasy fan and love music. The live concert was the highlight of last year for me. I could eat this kind of stuff up! Genius work, don’t be hesitant to do these kinds of videos. They’re amazing
My music teacher in high school always told me that music is made from silence.
Man, I LOVE these videos. Keep it up. No matter what music you do, I always love it
Great analysis! Thank you!
Going to see Ramon djawadi once again this Friday can’t wait, absolutely love his music
I agree that the piano was out of place in light of the seven, BUT It totally got the message across, something's totally wrong... Its also one of the best pieces the show produced..
Ramin Djawadi is a genius, pure and simple.
Just the video I needed to get me hyped for tonight. Less than 6 hours to go now! Amazing video and work, love videos like this, keep it up!
I’m late, but:
“Fewer.”
These type of videos are so much fun to watch, keep up the great work!
Thanks so much for this video! Ramin's music is really moving and fitting. I admire your look further into his music.
Can't believe how this has less than 10k views... Most interesting video I watched this year. Your attention to detail is incredible. Please keep the videos coming!
Very well analysed!
Awesome video! I learned a lot from this!
Really good work!
fantastic analysis as always
Your videos are so well made and enriching. Thank you for making them, please never stop.
Thank you!
Having just re-watched the series, listening more carefully to the music this time, I must say that I nearly rolled out of my sofa when the Light of the Seven started playing.
I don't have any issue with the piece in itself. It's really good on it's own.
I think the central issue for me is that the music signals a radical change that we have yet to witness, step by step, on screen. By the snap of a finger Cersei has decided to blow up a whole lot of characters. While she makes sure that Tommen remains at a safe distance from the blast - showing that she cares about him - she also seems unsurprised and straight up unconcerned about his suicide.
Maybe her blowing up a bunch of people she hates isn't that far out (even though it lacks proper build up in my mind), but being indifferent about her son seems to come out of blue for me.
My interpretation is that the creators left it to the music to signify this sudden mental shift in Cersei instead of properly building up to it. And build is something the series has been so meticulous about earlier. There's not as much payoff as much as there is just pure surprise.
With a proper build up and time to actually hint on the theme in The Light of the Seven would probably have been more satisfying for me. Piano and everything.
This is absolutely brilliant. Great content.
Thank you for this.😍😊
Thank you!
When you were talking about Jaqen and Arya’s themes, you didn’t even mention The Children (from the end of season 4). Its one of my favorite pieces in GoT and it has that rising theme prominently in it.
4:25
Holy crap, I just realised that motif is the initial interval from the version of the main theme that plays at the end of season 2 (the sort of corrupted, minor key one that accompanies the White Walkers). That's awesome.
Great great great video. All of this was very interesting and it made me appreciate GoT a bit more than I already did, thanks!
Interesting video thank you for the effort
Can you please analyze the s08e03 soundtrack, especially the Night king theme
I really love this side of the show, Ramin had definitely done a good job and it´s kinda sad not a lot of people really pay attention to it :(
Bull, he's widely celebrated in every reddit/youtube/Twitter thread I've ever seen. He's beloved by showrunners, fans, and HBO alike. He's won countless awards for his compositions. The GOT symphony orchestra sells out globally when they play venues.
Most of the later seasons steering more towards typical fantasy tropes with neigh invincible main characters while side characters are rounded up and killed off in clinical fashion is, I feel, due in large part to the TV series branching away from the books.
The first season is a near perfect book-to-TV adaptation, with maybe a couple of minor scenes left out, while the last season to follow the books at all was season 5, with season 6 having some loose ends to close off but mostly beginning to write their own material, without GRR Martin's original writing to guide them. Compare Tyrion in season 1 talking with Jon Snow vs Tyrion in season 7 talking with Jon Snow, the dialogue just isn't as smoothly polished, to say nothing of the storyline's large, web-like structure of intrigues, alliances and betrayal's shrinking down to the core cast united together in common cause with no infighting at all and a couple of naysayers outside the group stirring up shit for limp drama.
It's still good TV, produced well with all the needed build up and climaxes to make for satisfying viewing, but the magic of seeing a huge, deep, complex fantasy epic made real has been lost by the change in hands from GRR Martin to Benioff and Weiss, who are fantastic television producers but only average writers. Still, first three, four seasons, excellent stuff.
I wish you could talk about that incredible theme at the end of episode 3, when the music seemed to convey the idea that there was no hope left, just as the white walkers were dangerously approaching Bran. It looked like there was no way out. It was the end.
awesome video so good :)
The quality of this video analisys is outstanding, hope it will reach as many fans of GOT as possible, I've enjoyed it very much possibly more than others of your work
Man... thats a hell of concentration and constructive work............. very well put together and explained.........
absolute mad lad, what a video man.
I was hoping for someone who would do a video about game of thrones' soundtrack. Actually really glad I found this video. :)
I really didn’t like the piano at first, but now it has grown on me. The out-of-placeness of it creates a real feeling of unease even though most of that scene is simply domestic getting dressed montages. Even that piano theme isn’t that tense, but something about it is really off-putting. It’s wrong, which is so right for the secene
Exactly
Great analysis as always!!! Share share share..
Bravo!
Incredible study. Impressive. Wish to hear some more. :)
Thank you
I agree with you on that piano thing. The first two minutes I was literally waiting for vocals, because I actually believed it would be some kind of feature soundtrack thing like . Into the west or something along those lines.
I'm sure Djwadai would be proud of you!
I literally jumped in my place when I heard the piano in the beginning of "The light of the seven", and I thought it was a leak draft of the episode (previous season had a few episodes leaked and it's been said it wasn't the finale version).
I absolutely love it, BTW. It seem to me very modern, minimalist music, and I really appreciate it. I think it works very well with the editing of the scene.
I think at 9:30 when you talk about Jaquen's theme changing and adding the same instruments as Syrio's theme it is probably something to do with Braavos. Arya is in Braavos when she see's Jaquen again in Season 5 and Syrio was the first sword of Braavos.
Great video
Good job
شغل أي باينة , شكرا على مجهودك
17:55 You say the piano in "The Light of the Seven" feels out of place bu that's exactly why he did it. It's to make you feel like something's wrong, which it is.
Some songs like “Like blood of my blood” are very unique. This song, for example, uses the enigmatic scale. Which is one of the weirdest and hardest to use scales as it doesn’t have a perfect 4th or 5th. This makes it harder to establish the key. It also has 4 notes that are right next to each other.
The most famous Leitmotif is undoubtedly the Lannister theme, the Rains of Castemere. It has been covered by the National, Sigur Ros, and Serj Tankian.
21:38 This always makes me sit up straighter. It's one of my favourite moments from the show, it feels so ethereal and otherworldly.
I think you’re feelings on the introduction of piano is valid, and the desired effect of the composer. And what you said about the stagnic feeling is literally what the piano is (especially early piano which only had one pedal, and it dampered not blended). It’s so dry compared to the fluidity of cello. I noted it the moment the piano came in. Cersei is going to compose things her way, against the grain and tradition (much like composers who fell in love with piano, think Beethoven). I ADORE the music in this series so much that one day I want to teach a form and analysis class based on cinematic examples, particularly this show.
I have to disagree with you on what you call the dragon leitmotiv. If you go back to the tracks "Love in the eyes" and especially "Fire and blood" (both S1 and the second one is the pyre scene) you can hear that leitmotiv already, before the hatching of the eggs, hence why I believe it's Daenerys' theme more than the dragons theme. However, the "flutter" you hear before the Dracarys scene in S3 and the loot train attack in S7 are very much announcing the arrival of dragons.
You clearly have watched closer than me! Bravo - happy to be corrected.
I had to make a judgement call whether I had time to rewatch all 67 episodes closely before making this or not - and I decided to watch some key episodes from each season, and also some pivotal scenes from the series. So you're right I must have missed some great music along the way
@@InsidetheScore you are giving me way too much credit 😂 I just happen to really enjoy the score in general but Dany's theme in particular (went to the Live Concert Experience last year - best day of my life) hence why I know how that leitmotiv is shaped and how it changes throughout the seasons. Btw, the dialogue has been "americanised" - the rich vocabulary gone, concepts and phrases simplified ("She's the smartest person I know" for instance) etc... having started to fall out of love with GoT, one of the only things still attaching me is wanting to know how the musical story told by Djawadi will end
@@oliviaalves3559 That's a very very good point! I'm currently reading the books (on A Storm of Swords Book 1) and it occured to me how the language used sort of elevates and enchants the world. Turning something like menstruation into "Has your red flower bloomed?", having quasi-religious sayings like "Valar morghulis" or "What is dead may never die". That kind of poetic distance, like saying "She is fat with child" (that's terrible I just made that up) instead of "she is pregnant", just elevates and enchants the story
And that's what's missing from the scripts now I think. You're right! Though yes I've invested enough time in it now that I need to see it to the end
@@InsidetheScore I think I do remember seeing that exact phrase "she is fat with child" or stg very similar in the books though!
Yes, I feel the same. I do not mind (all of) the changes themselves, it's an adaptation from the book saga, and GRRM built his world with the intention of it being impossible to translate onto television (we all know how that turned out). But I do wish they kept the richness of the vocabulary as that is what makes the show faithful to the source material.
brilliant
How does this video not have more views? wtf! Subbed!
my favorite musical phrase is that cello glissando whenever the dragons are about to blow something up
Oh it's so cool
Yess my favourite thing about this show is the music! 🎶 And that’s still not even the best thing about the show 🤯🤯
GoT 👑 🐐
Super cool
Silence can enhance the impact. Tell Howard Shore that.
I loved this analysis, it's great. I'd love to see you do one on the season 8 game of thrones soundtrack, since that was probably one of the few best things about that season. definitely the The night king theme, to me it rivalled the light of the seven score.
It's an excellent video
The Piano: I didn't notice it by first time watching but after listening the music very often I must say I understand your thinkings. But it is also great music and I accept it, because at that time it wasn't natural that there is only a queen without a king. The piano is much moderner and so is Cersei with being queen.
Would love for you to cover the two Blade Runner movies
That would be awesome! :)
That would be very cool!
I am just gonna debate your first point: I'm pretty sure the most famous leitmotif from GOT is either the main theme (though I'm not sure whether that counts as it doesn't seem to represent anything specific and I am sure you will get to that) or the Lannister theme.
I mean...the Lannister theme is played as source music IN THE SHOW with lyrics and whatnot. Every single fan knows the Lannister theme but not all of them know the Stark Theme.
You're right the main theme is pretty bloody famous! And that appears everywhere in the soundtrack. Though not sure it's a leitmotif - it appears so often, that it feels like more "the main theme", rather than "a leitmotif symbolising xyz".
About Lannister vs Stark... I can't comment. But glad you feel differently. I just felt the Stark was most familiar
@@InsidetheScore oh agreed on the main theme, that's why I said I wasn't sure about that one.
Lannister however...I mean, I like the Stark Theme more (though I think it's more violin than cello, at least it was so at Djawadi's concert) but I truly believe if you would go around humming these 2 to people, more would recognize the Lannister theme, simply because it appears so often as diegetic music which always connects more with general audiences
Late, but I totally understand what you mean about the piano. I loved it and the way it was edited personally. the switch is what made me like it so much. Like I knew it was Cersei’s trial coming and this drastic auditory difference plus seeing her essentially first means she is 100% in control. This is her scheme and no one else’s. She wins this time and no one can do anything about it.
You should do a how to train your dragon score analysis.
👍👍🙌🙌👌
I've not seen it but seems to be a common theme... I'll have to watch it
@@InsidetheScore Honestly, just even listen to the soundtrack. It's amazing!!!! It's also one of the best children movies that I've seen.
@@citlalicervantes6498 Agreed. The soundtrack of the trilogy is breathtakingly great.
@@InsidetheScore Please, do watch and listen "The Forbidden Friendship" from How to Train Your Dragon.
the dragon leifmotif always gives me goosebumps.
Game of Thrones was a cultural phenomenon at the height of its popularity. It is a shame that the Game of Thrones legacy will be remembered more for its disappointing end than for the 6 seasons of greatness that preceded the ending.
But throughout the entire run of the series, the music was consistently good. Ramin Djwadi deserves all the praise he has gotten for his work. The fact that people can hear one of the songs he crafted for the show and instantly know the events that song correlates with is a testament to his skill as a composer. I still find myself going back and listening to his Game of Thrones scores just for the nostalgia.
Very well made video! I would love to see if you did one on another work of Ramin Djawadi: Westworld, because the music there too is pretty well thought of. Here’s a like!
Thanks! I'd have to watch Westworld before I could make a video on it lol