Game of Thrones: How to Write a Good Musical Arc (Season 8)
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An analysis of the soundtrack from Season 8 of Game of Thrones
This video:
2:18 - Boratheon or Royal Theme
3:40 - Haunting Dead Theme
4:05 - Night's Watch Theme
4:55 - Melisandre Theme
6:05 - Arya Theme
7:02 - Theon Theme
7:45 - Cersei's Power Theme:
8:27 - Lannister Theme
10:20 - Jonerys Jon and Daenerys Theme
11:35 - Dragons Theme
13:20 - Stark Theme
15:40 - Game of Thrones Theme
This is a follow up to my video on Game of Thrones, Seasons 1-7, and their music and soundtrack, by composer Ramin Djawadi. Sorry to miss of The Night King Analysis - it was a timing thing.
You can find my first Game of Thrones video here:
• Game of Thrones: How t...
The first of my videos on Lord of the Rings is here:
• Lord of the Rings: How...
The first of my videos on Harry Potter is here:
• Harry Potter: How NOT ...
It is impressive that the soundtrack managed to stay consistently fantastic across all eight seasons. It's nice to see someone on TH-cam recognizing the amazing amount of talent and hard work that went into the soundtrack. Most people just focus on the, admittedly rather bad, writing in season 8 and proclaim that the whole season sucked.
To be fair soundtrack alone cannot save any series. If that would be the case, than prequels SW would be faaaaar better than originals.
@@rjofusetsudzin8011 I agree that a great soundtrack was not enough to save the overall product, I just wish people would recognize the amazing work and passion that went into season 8, even if the end product was not what we had hoped for.
@@rjofusetsudzin8011 While I agree the soundtrack in the prequels is amazing, but Empire Strikes Back is just the bombest soundtrack
@@InsidetheScore I know its matter of prespective, but for me preuqels still has superior music compare to EBS ost. Pieces like Anakin vs Obi-Wan, Anakin´s betrayal, Battle of the Heroes or Duel of the Fates are faaar better. But thats just me ;)
@@kirstenpaff8946 I think most everyone agrees the music for season 8 is fantastic. Good music does not excuse bad writing however. Given the choice the vast majority would have preferred a well written ending with a mediocre track.
Milesandre's theme is highly underrated imo
Warrior of light is my favorite score
Melisandre was one of the best characters and had one of the best musics.
'Lord of Light' theme would be more fitting since it was used for Stannis too.
Melisandre as a character is highly underrated!
Because no one really rocks with her enough to pay attention all that went into her themes and arcs 😭😭 I’ve yet to meet anybody who was an og milesandre stan but we all agree that she got points for trying to give us some lights during that dark af battle🤣 we was like oh yeah she can do real mag- oop she dead....ok 😒👌🏾
The "Haunting" Dragons theme is actually a callback to the very first episode, when Daenerys gets the dragon eggs. Interestingly, the theme has never been used when the dragons were not on screen before - until the last episode. I think this signified that Daenerys had finally "become the dragon". The callback to the original version may even relate to something Emilia Clarke said: she chose to play the final scene with Jon like the "innocent" and "childlike" Daenerys from season 1, to show that she still had that part inside her.
I can talk about the soundtrack for days. The "Adventuring" Stark theme you mentioned actually combined the theme with Arya's own theme; a combination that in itself is a reference to the scene of Arya on the boat in "The Children". Even Sam's theme, when he arrived at the Citadel, got a darker treatment when he learned Daenerys had killed his brother.
One of my favorite parts in the finale is the harp melody playing during Bran's coronation, which is a very short bit of music that played as Maester Luwin stated "a different time, a different king" in the first episode of the show.
Oh awesome - nice catch!
"The Bells" theme plays a horrific, dark twisted version of Dany's theme that absolutely gives the feeling of dread and of course; fire and blood.
I was very unhappy with season 8 but Ramin Djawadi never disappoint me
His score tells a better story then that of the senarists
Just listen to "Master of War", "Be with Me" and "The Iron Throne" in ORDER
I agree. The music surrounding Dany's final moments better conveys the story of her tragedy than the scenes themselves do. I genuinely still tear up when hearing the haunted tune of Dany's theme (the one that plays when she enters the throne room).
@@elrilmoonweaver4723 and after her death, after drogon burns the throne it's even more heartbreaking as we hear motives of her theme.. it sounds broken, haunted and dying, which is fucking genius
Hello --- Originally this video could have been close to twice as long, but I hit some technical snags and actually thought that maybe a shorter video (still almost 19 mins...!), following one thread, might actually be better. Here are some of the points that didn't make the cut, and perhaps you can see why I decided to stick with one central theme: How Djawadi developed his motifs and themes to completion, some of which he had been nurturing throughout the series, all the way from Season 1 Episode 1. If you're interested in my Lord of the Rings or Harry Potter videos, links are in the description, and more is on my channel.
Also, something noticed by Esteban Singh:
What I label as "Starks adventuring" also has Arya's theme accompanying it, in a far more jaunty and adventurous setting. Very cool variation on Arya's theme. Can't believe I missed that. Thanks Esteban!
What this video did not include:
Pod's Song - a lightweight(?) version of the similar moment from Return of the King, where Pippin sings in that amazing and dramatically effective montage scene before the battle of Gondor (Here: th-cam.com/video/zmj25u5mVvg/w-d-xo.html ). Or the Nearer My God to Thee scene in the Titanic, probably that film's most redeeming scene. (Here it is: th-cam.com/video/tCS7ReJphu4/w-d-xo.html )
Djawadi's influence from Hans Zimmer - this series more than any other used lots of Zimmer classics. Very taut string/electronic wire in much of the Battle of Winterfell, and Kings Landing, which reminds us of the Joker's theme from the Dark Knight. A metric shit tonne of tick-tocking time bombs, which might remind us of Interstellar, or Dunkirk, as the faster the ticking, the faster our hearts beat. And also a mimicry of the Shepard Tone, which Zimmer uses in Dunkirk; Djawadi uses this in the Battle of Winterfell. Djawadi also uses much more fully electronic pulsing in his score than in any series before it - at times he just goes full badass electronica (listen to the music whenever the Night King appears, for the majority of episode 3. Not including that final piano track)
Here's a video I made on Hans Zimmer, where I talk about all of these things in Zimmer's music:
th-cam.com/video/hl9oSbB9z8Q/w-d-xo.html
And finally, the piano track, The Night King. 12 million views on TH-cam. Goodness it's popular. It's probably for the best that I left my opinions unstated. In my last GoT video, when I said I didn't think the Sept of Baelor music was the strongest point in the soundtrack, it received a lot of backlash. But there were also many individual comments saying they agreed. And the same happened here - some people saying The Night King took them right out of the moment, sounded too much like Westworld, and stripped the scene of tension. Others saying it is the most badass, emotional, moment, where Ramin goes full God-like. One Redittor even saying it was the "best piece of classical music he had ever heard".
I've thought about this for a while - I think the reason for this divisiveness (with the majority loving it, of course), comes from what kind of music you listen to most. Those who listen to pop music most listen for a vibe, a beat, a catchy riff, the mood of the piece, the colours and sound production, etc. Those who listen mostly to classical listen for the expressive contours of melodies, but also how the composer takes these themes or ideas, develops them, plays with them, gives them an interesting musico-dramatic arc. You'll notice that that is precisely what this video focuses on. I'm not saying one way of listening is empirically better than the other - but it shows in this divide of taste. I had the mixed blessing of watching Episode 3 with a bunch of music students, and I found it hard to disagree with one who said that The Night King sounded like a 90s/00s pop ballad, only following the action on screen a bit more closely (specifically, from around 6:30 to the end). Obviously many loved it for its Vibe. But it lacks that kind of expressive musical contour, or musical development of thought, that classical listeners are used to listening for. Classical music listeners normally play the longer game, patiently sitting through long swathes of music (sometimes hours long) to hear how a longer tapestry of music will unfold, whereas pop songs are often shorter, and have a fairly continuous vibe. It's something I've been thinking a lot about and I know as soon as I put it into words I risk coming across like a twat. But compare the Night King with say, how Melisandre dies, which has gorgeous harmony and expressive melody. Heck, that whole cello riff once the battle is over lasts several minutes, through Jorah dying etc. And it's SO expressive. But this obviously shows a significant difference in listening.
I'm sure 90% of you will disagree. But I think it's hard to disagree there is a difference; some people love Rihanna, some people can't listen to it. Some people think Bach is the greatest composer to walk this Earth, others will sleep through an entire concert. But I'll put out more videos on melody and expression in the next few weeks.
Also, to note - The Night King music comes back, pretty much in full, but orchestrally as a funeral dirge, at the beginning of Episode 4, as they burn the bodies to the unenchanted line: "We are gathered here to say goodbye..."
Cheers!
Interesting take on 'The night King'. I never thought of it that way, but I think your comparison of pop vs classical is spot on. I really like the track, but less as a piece of music by itself and more the way it is used in the scene. I always love it when movies or TV shows put their music front and center, letting it dictate the rhythm of the entire scene and driving all the emotions. GoT only does it twice, once with the Sept of Baelor scene and then again here. Whether or not it fits the GoT style is for everyone to decide for themselfs. I personally really like it, but I understand why it's out of place for many people.
When it comes to listening to the score by itself however, I fully agree with you. The more complex themes are way more interesting to listen to.
You make an interesting case on the "Night King" piece. But now I'm really puzzled as to why I find "Light of the Seven" awesome in context and why "The Night King" took out me of the episode.
Such an insightful explanation (and an amazing video in general)! The Night King does feel especially static when compared to the more developed themes and most classical music in general. If there's any classical comparison I would argue it's to minimalism because that genre also makes use of vamping melodies and harmonies to create a relatively static atmosphere. Even still, Djawadi makes good use of dynamics, tonal color, and orchestration to vary what's already there. Without a clear sense of structural movement and musical development, I see why you argue The Night King goes more off of "vibe" like popular genres do. In my opinion (feel free to disagree), I feel like Djawadi chose this path for the sake of dramatic effect in the episode. As the Night King approached Bran, the sound effects cut out, and the army of the dead slowly continued to overwhelm the living, this musical piece provided an infernal and almost suffocating feeling that perfectly captured the essence of the scene. It looked like the Night King might just succeed at bringing death to all. If death is a cessation of activity and individuality, then what better way to represent the approach of death personified than to use a foreboding and static piece of music? To me, this represents the totality of death and cessation of life. It's much like the artist Gustav Klimt's painting Death and Life, in which he contrasts a grim reaper figure (death) made of dark, consistent patterns and colors with a group of people (life) made of light, varied patterns and colors. The Night King musical piece is a representation of the cold, dark, uniform, static embrace of death which appears right at the moment it seems death may conquer all.
@@grungeguy97 Very well put. 'The Night King' is definitely more about mood than about theme. A fitting comparison might be Philip Glass vs. John Williams. Both can achieve great emotion, but they do it very differently. I think 'The Night King' works very well in the scene and you do a great job of explaining why it works. But I can understand why it's weird for some people to hear a Philip Glass like piece in an otherwise John Williams like score.
@@theomnitorium7476 Philip Glass is exactly who I was thinking of when I referenced minimalism. Definitely a different way of experiencing music!
Great video and analysis! From season 1 on, Djawadi's score elevated GoT to a whole new level, more than many people may realize. I find it a great feat how he managed to develope, combine and transform over a dozen memorable and instantly recognizable themes while also constantly intoducing new ones.
Thank you for putting a spotlight on his work!
One thing I wish he mentioned was when Drogon burns the throne. It's such a powerful variation of the throne theme that plays at that moment, and it's honestly pretty awesome. Despite me disliking the episode's writing, that moment really caught me off guard by just how gorgeous the music is.
Goodbye Brother/Stark Theme is just fantastic. Then there’s the opening theme, Dany’s theme, Melisandre’s theme... just wow
Goodbye Brother is maybe one of the best pieces of music, other than Light of the Seven and Night King.
Amazing job ! You can also more generally hear that the standard Stark theme is sad, and in the end, like you've said it's finally uplifting and becomes prouder, and stronger, which creates a feeling of satisfaction and facilitate the goodbye between the spectators and the series.
Djwadi is the MVP of the show
Regardless of the writing issues, watching this video took me away from those issues, and brought me back to the fact that the actors really gave it their all to deliver their best performances with this season.
Ramin’s transformation of the jon/dany theme this season gives me CHILLS. What a genius
Very good video! Djawadi literally saved the season for me. This guy is such a mastermind and one of my favourite composers ever.
When Melisandrestheme played in major key after she lit the trenches I had instant goosebumps. As that theme was always associated with evil and darkness for it to suddenly change was so satisfying. Dare I say the most satisfying arrangement of any piece in the whole show. If only the writing of the series reflected the major changes the music went through.
I love the music of this last season. The final note when it cut to black was outstanding
Could you do a complete analyze on "How to train your dragon 1, 2 and 3" score?
A french did a 2 parts video (english subtitles are available) and he went really deep. It's only about 1 and 2, though...
th-cam.com/video/LEBxV2O_Rs8/w-d-xo.html
I’m glad there are people out there willing to take the time to truly go in depth, and explain to everyone why music is such a crucial part of any form of media, whether it be a movie, short film, video game, or in this case, a television series.
Without music the world becomes much more dull and gray. Ramin Djwadi did a phenominal job bringing the world of Game of Thrones to life, and his compositions are one of the things I’ll remember the most about the show.
It's so often overlooked. I often compose for short films and media and when you're given the product, with no music and just people speaking, it often feels so strange to watch, almost embarrassing watching these actors in a room getting heated over nothing, with no soundtrack there. It's amazing how it can glue everything together and make it somehow feel more real
Ramin Djawadi is brilliant at establishing themes and making variations that are powerful. As an aspiring composer I look up to this guy, he's inspired me. Even though the story of the show just kept going downhill, the music was always amazing throughout.
So true. The Night King track still sounds like it belongs to an all-time great climax scene despite knowing exactly how that all went down visually.
@@JohnnyZism I was so upset with this season. It actually broke my heart because I love game of thrones, how could they end it like that.
Imo the soundtrack for season 8 was really good
Ah good to see that you managed to solve the problem concerning this video. Looking forward to watching it. Love your channel, very insightful content :D
15:18-the road goes ever on=LoTR
I always thought of the "Dany's theme" as more like a "Dany+Jon theme" as it appeared in the show only after Jon and Dany became close. I thought of the "Dragons' theme" as the "Dany's theme" as that theme has been around I think since season one(?)
Goosebumps all over the video. AMAZING SHOW. Ramin is a God. Perfect soundtrack.
"the bells" is probably the most evolved version of dannys theme
I do hope you cover Chernobyl, with a lesser composer I think it would have been full of bombastic “Soviet” themes what was done is not that and I think works wonderfully.
So good. Thank you so much for helping me understand the subtlety of the score.
I think you also hear GOT theme when drogon is burning the iron throne.
Yeah but you couldn't really hear it very much over the SFX so I didn't include that example; it wasn't one of the more interesting variations anyway
Well, I think music for "Dark" is current great example of thematic continuity. How composer manage to continue his motiffs and signatures during episodes, how he musically describes all timelines, how all important character gets own signatures and motiffs.
Video game music is never fully appreciated when done well. There are some amazing pieces that are well developed and monumental in video game culture. If you would like to broaden your scope, the Legend of Zelda uses themes that date back to the original game, using callbacks in the newest. Food for thought.
You could have mentioned also how in the final stark song while the camera is on Arya we hear a combination of Stark theme + triumphant Arya scale playing together. This resolves her lone wolf vs pack conflict and resolves the song The Children in which the stark theme is played at the beginning, symbolizing her leaving her identity in Westeros, and the Arya theme is played separately at the end of the track, symbolizing the start of her journey as an assassin.
2:56 but Joffrey and Tommen are Baratheons therefore making it a Baratheon theme. It’s even played when Gendry finds out that his father is Robert Baratheon
And Jon and Dany, they're Baratheons too?
The last scene of the Starks moving on (nice transformation - adventuring) makes my heart soar. The music of Game of Thrones pulls you into their world and envelops you. If only season 7 and 8 in particular could have matched the same perfection as the ost.
Excellent video my man!
This video just makes Ramin Djawadi ten times cooler
Wonderful! Thank you so much!
The music storytelling in GoT is brilliant. So you can think of season 8 like for big musical video :D Cersei's theme hit me in a heart really hard. It's so beautifully executed so in the moments of her theme I forget the bad writing, because music tells story on it's own and that's story is amazing
I think “The Night King” by itself is accurately described in your comment. But I personally feel that with the return of the melody in “farewell” (the funeral track) it makes the piece much more impactful. Of course as a viewer who isn’t paying attention to music all to much they’ll notice the similarity but not really think about it.
But if you look at it you’ll soon see that it was likely meant to show the lasting impact of the NK. His attack on Westeros will be engrained in history and the memories of those that lost loved ones in the battle. But more importantly on us. Who are meant to feel shocked by the NK’s attack. Djawadi wants us to remember these scenes and the sacrifices the characters made.
That was my take on the 2 tracks at least. It’s a short time to develop a theme for sure. But Djawadi did what he could.
Side note: “Farewell” is a very nice tune. Nothing complicated like “The Night King” just a simple cello melody with amazing harmonies that carry so much emotion. Without that track I wouldn’t have felt anything for the characters that died.
I completely agree! In the funeral it worked much better (in my opinion)
Ever thought of a video on Battlestar Galactica by Bear Mccreary? Wonderful music, give it a listen.
GREAT video!
Well done!!! I've never watched GOT but I really enjoyed the video and getting some exposure to it's musical themes. I might consider watching it some day if I get the chance.
I'l glad you figured out how to fix your editing problem. Great job!
I would recommend it. Although if you watched this video in its entirety, you just spoiled the entire series on yourself lol
Great Video.
I would love to see an analysis of the "The Legend of Korra" Soundtrack.
The last airbender too. Zuckerman did a great job on both.
Positiv content about GoT season 8? Yes, please!!!
I did have my issues with certain scripting things, if I'm honest. But the music, and many other features of production, were fantastic
@@InsidetheScore Fair. There cerntainly are problems with the writing in season 8. One would be a fool to deny it. There are also many, many really great things in season 8, but those got mostly ignored over the last few weeks because everyone was hellbound on negativity. People claim the it's one of the worst endings ever and it's really not. It's just internet hyperbole out of control. Over the last few weeks, my youtube feed got absolutely flooded with hot takes on why season 8 was the worst thing ever and it got really annoying. So, I'm really glad you chose to talk about something positive.
It'll probably be a few years before people calm down and are able to judge the finale objectivly. It wasn't the best, it wasn't the worst. It had low points, it had high points. Overall, it's a good ending to a great series.
@@InsidetheScore I really appreciate how most have understood the problems in the writing, while nearly every other aspect of the show (including and especially Djawadi's score) have been highly praised for the fantastic work that was done. I also appreciate what you're doing here on the channel as it's taught me to listen to the score for its own form of storytelling, rather than simply a garnish that accentuates the visuals. Keep up the great work.
@@theomnitorium7476 Yes, its one of the worst endings ever. Music stayed fantastic though.
Thank you for this video!
I've never been particularly good with understanding music. So I don't always understand why a piece of music makes me feel a particular way. When I was watching Season 8 that lead to some moments of real confusion for me, like when Drogon sees the dead Daenerys. I didn't understand why I got the feeling that this giant fire-breathing lizard-beast was grieving.
Your video really cleared up some of that confusion for me. So thank you for sharing your thoughts and insight!
I’ve always loved Mel’s and Stannis’s themes.
Another great thimg is the White Book - a mix between the wedding And the honor theme - Ramin said he tried to tell a stoty of what It could've been with the Music And he did
Still can't believe this show is over, the last season fell so short of the epic finale we had been expecting
This music deserved a better season
Awesome video
If you watch Avatar the Last Airbender, it would be awesome if you did a video on it!
Amazing! I've always said that the soundtrack to GOT was it's own entity altogether. It has a complete stand alone life of it's own. No one ever really notices the complexity and variations of different themes that are played throughout and at certain times. One thing I failed to notice that you brought light to was the Dragon's theme segway into the Main Game of Thrones theme when Drogon flies away with Daenerys; I've always thought the Dragon theme was an epic masterpiece and watching this I am very happy to hear all the variations of it in Season 8....See y'all, Season 8...not a complete bust right? :)
My favourite is always dany's and dragon's themes.
awe I wish he did a bit on the children theme which is called back to in the final shot of the show and credits
Excelent work!!
Have you noticed that the Stark Theme is the inversion of the Main theme?
Would love to see a look at the Hanz Zimmer score from the Pirates of the Caribbean or a look at the work of Danny Elfman.
So your telling me the music had a better arc than it's characters
Do you think Djawadi's back hurts from carrying the show for so long?
Could you do a video on the shortcomings of Marvel's score?
As much as I love the Marvel films, the only scores I remember are the variations of the Avengers theme and the ACDC songs from Iron Man
Marvel failed to have memorable musical scores for it's characters. Only later succeded with the Avengers themes, Porch and Portals and the Wakanda theme. I love Doctor Strange's and Ant Man's but they weren't used that much outside of their origin stories which is a shame
@@ruxi2327 Very true. There is so much good music in the movies, but they are never used enough.
They also just have the Harry Potter problem. Basically 22 composers with 22 films. Since every movie has a different theme, it's hard to set in stone a theme for a hero or a group, with the exception of the Avengers theme and the GOTG. Hell, Iron man didn't have a super heroic sounding theme till his third movie.
@@ruxi2327 I had the exact same thoughts! The porch and portals songs are AMAZING. I loved how the porch was carried out through both movies.
subscribed
Ramin Djawadi is the real Bran, then. The memory for us all.
I wish arya had a full piece in s8. I love s6 Needle. And same about theon. S7s greyjoy theme was incredible!
I'm surprised you didn't analyse The Night King theme!
HotD definitely corroborates the point you made at 2:46. Pretty sure I heard it during Aegon's Coronation.
It's also heard in "Protector of the Realm", the scene in which Viserys takes the throne to defend Rhaenyra. Does seem to be a general "royalty" theme, and it's very good!
Nice video...... Are you a composer?
Do you know these challenges of working out themes, developing themes, and redefining them? I sometimes wonder if people who analyze / criticize music understand what a composer goes through. Beethoven explains most of us, Wagner defines us with drama, Stravinsky broke our harmony, the minimalist pushed us.. but where are we now?
Since you totally left out my favorite Ramin music from episode 3... The Night King music, I'm guessing you didn't like that episode personally. I love that song and quite frankly Ep 3 was 75% of people's favorite. The Night King music was PERFECT for the ending and one of my favorite of Ramin's work along with The Sept of the Seven (what you call Cercie's song). I loved ALL the music even though the final episodes of 4, 5, and 6 nearly destroyed the whole journey we all went on.
See my pinned comment above..!
Great stuff man, if I may, I would suggest something on the scores of the MCU (specifically the Avengera movies), would love to hear your take on those
I'd have to watch them first. Aren't there like 20?
@@InsidetheScore 22 to be precise. You could just focus on the Avengers movies since they're probably the most consistent with their score. Also, thanks for replying
@@AceTheSkylord those movies aren't really famous for their scores. Meaning there is practically no score significant enough except the Avengers main theme which is also very short . Mostly their music is just white noise. No offense
If only the writing of the show stayed that focus, this show would have end beautifully, at least music wise totally did, fantastic work.
Great video! Ramin is one of my favorite composers. Maybe do video on his Westworld music?
I'll have to watch Westworld first... Is it worthwhile?
@@InsidetheScore It certainly is in my opinion!
@@InsidetheScore Totally worthwhile. However the themes are not developed the same way in Westworld, but it would be interesting to explore it.
Each character/location/concept tend to have a main theme cue which is played entirely the first time, then bits of it are directly reused through the two seasons. Some themes have one or two other versions for specific scenes (action sequences, climax etc), but it's like entire pieces based on the theme (because the sequences are generally longer, the music spend more time on a single idea). But in "normal" context, it's mostly the main pieces re-edited into context. Otherwise, the rest of the soundtrack is pop/rock covers and unique contextual music.
To summarize : lots of non-reccurring music, lot of repetition of theme suites, and less custom arrangements of leitmotivs. That's because there's more work put into sound design, instruments and orchestration. They become as much important and memorable as melodies, and thus it becomes harder to just reuse melodies with brand new accompaniment each time. So they just had to rely on the depth and versatility of the main music pieces. The themes are used like fixed songs, more than leitmotivs. In this aspect, it's not as subtle or diverse as Game Of Leitmotivs, but I find the music itself way more sophisticated and I think it's Ramin's best work to this date. There are still some things to talk about (like the parallel between Sweetwater and Pariah, or occasionnal leitmotivs that I may have missed), but it's not as prevalent as in GoT
Yes, to echo the other responses, definitely worthwhile. Great breakdown by R2MI390!
@@InsidetheScore It is, in a twisted way. The Night King theme reminded me so much of the score Ramin Djawadi wrote for that series that I completely rejected it at first. After watching the episode multiple times and then listening to it separately, I changed my mind.
I’d love for you to review the music for the show West world, which was also composed by Djawadi
I believe that the part about Cersei's coronation is incorrect- that theme is HEAR ME ROAR, and when they die it's a medley of BLOOD OF THE SEVEN and a new theme for their death. I think their is also a great video on it. The Lannisters theme is REIGNS OF CASTAMERE, but HMR is heard more prevalent I noticed.
I have several questions
- I, and many other fans, found similarities between Light of the seven and the night king theme. Can you analyze them?
- the next one is about the white book music. Ramin said he mixed the wedding theme I am her and she is mine with the honor theme, used before in Brienne's knighting scene. I think this honor theme is somehow integrated into Jaime's theme as well. Am I right?
4:58 That's "the Warrior of Light" theme , which is more of a Stannis theme than a Melisandre theme
It's a shared theme, and when Stannis dies it evolves into Melisandre's
Maaan instead of Starks adventuring is Arya's theme sneaking in Winter has Come, I thought you of all people would notice that
Hahaha true! Shit! I'll put that in the pinned comment.
3:00 the theme is still Baratheon because Tommen and Joffrey are both Baratheon. You also hear it when Gendry finds out he’s Robert Baratheons son.
Joffrey and Tommen aren't *really* Baratheons, though. And Dany and Jon are definitely not Baratheons. I think this theme makes more sense as the "royal" theme - which is why it was played when Gendry learned that he was heir to the throne.
Melisandre's Theme (I'd say it's more like a leitmotif than theme) isn't hers. It's the Lord of Light's. You hear it in relation to the Lord, even when Melisandre isn't involved, for example, when the red high priestess in Mereen meets Tyrion and Varys.
Leitmotifs by Richard Wagner!
Would you mind covering the music from the Man of Steel and/or the music from the new King Arthur (the Guy Ritchie one)
Hey bro I’m a huge fan, have u heard the soundtrack of Final Fantasy XV by Yoko Shimomura? It’s incredible and evolves as the story continues and develips
I would like an Amelie musical review, it's a great soundtrack and I think you would have interesting comments about it
About time I rewatch that!
Really enjoyed “sept of baelor”, hated “the night king”. I think it would have been much more powerful with the white walker theme or even no music at all. The piece sounded like a cover of a contemporary song - like a westworld cover of rolling stones. I spent a good bit of the scene trying to pin the tune to an actual song, and it really broke my immersion.
A few days after release and I still had 2 ads
Djawadi is something else
Season 8 is great and the score was superb
Season 8 sucks donkey balls and the score was superb
Composers using past very well
Why would this video be demonetized....
Have you ever done anything on blade runner?
I might in future
This isn't the Baratheon theme
*shows Baratheons doing stuff*
Yeah, except Joffrey and Tommen are only Baratheons in name, never by blood, by blood they were Lannisters
"The King Joffrey Baratheon is neither a true King, nor a true Baratheon."
🤔🤔🤔🤔why didn’t Jon light the trench??
Leitmotifs with arc. I'd like to thank Richard Wagner. The arc-itect. The arc-etype composer. How much do and will film score composers owe to this guy?
I'll be sure to do a video on him one day... Only where the f*** do I start
@@InsidetheScore Das Rheingold would be my best guess. I ain't no music pro though.
I played Beethoven as I took a big dump one time. Same thing as a Ramin Djwadi score over GoT Season 8.
Dracarys!
TH-cam: Your video has been demonetized....
Haha literally though
The Jenerys theme is inspired (ripped off) of Far Horizons by Jeremy Soule.
No it's not, there's some similar notes, but it's not the same theme at all
@@hannahsmart4494 By some similar notes you mean the central theme of both? The core progression? I won't say that he has stolen per se (might have been independent), but I would argue that the resemblance is more than uncanny!
I've always appreciated how shows developed a soundtrack overtime as the sagas go on and it's cool to see you bringing that to peoples attention. The show that first turned me onto this was my childhood show, Dragonball Z. Totally exhausting ost, but as a kid it was magnificent. A show like GoT and a movie trilogy like LOTR absolutely need a killer soundtrack. Ramin has set the bar high for the upcoming epic fantasies and that's a good thing because an epic fantasy deserves greatness on all fronts and studios will look to see that through as GoT did. Music, cinematography, acting, writing. We need a new hope, Game of thrones was demolished by incompetent writing.
like #999
Dany isn't a "self-proclaimed" royal but go off lol
Yes she is
J
Thank you. The whole "D&D bad" circlejerk has just gotten excessive at this point; it's a breath of fresh air to see some positivity in the fandom again (even if it's just for the score.)
The only negativity has been for D&D. Everything else has been praised from the acting, music, special effects and props.
when the composer makes a better work of the narrative than your lead writers,..... you know you've screwed it up big time.
Nighthawk
#StarWarsPrequelProblems
@@thebacons5943 Definitely. Williams' score for Revenge of the Sith is my personal favorite even though the movie's not the best
To be fair - John Williams' score was ALWAYS better than the narrative, in ALL of the Star Wars films. Sometimes the composer is just unbeatable :)
Very good video! Season 8 soundtrack is amazing. But I still think white walkers/wights theme was a little forsaken in this season, just like their plot
Dany/Jon may have been 🤢 but god their theme goes hard
This video actually highlights one of the issues I've had with the GoT score: Most of the themes are really not that memorable.
Sure, we have the Starks, the Lannisters, Melisandre and of course the GoT theme, but those aside, most of it just feel like different cultural textures. That's not necessarily a problem in itself, but consider LotR, which had distinct cultural tapestries centered around highly memorable themes.