Adblocker detected! Please consider reading this notice.

We've detected that you are using AdBlock Plus or some other adblocking extension which is preventing the page from fully loading. We don't have any banner, Flash, animation, obnoxious sound, or popup ad. We do not implement these annoying types of ads! We need money to operate the site, and almost all of it comes from our online advertising. Please add wow.affcart.com to your ad blocking whitelist or disable your ad blocking extension.

img

13 Facts About The "Game Of Thrones" Music You Might Not Know

/
/
/
13 Views

Didgeridoos and cellos and pianos, oh my!

If you love Game of Thrones, you know that a huge part of what makes the show so captivating is the music. From the iconic theme song to the dreaded “The Rains of Castamere,” composer Ramin Djawadi has spent the past seven seasons carefully honing the show’s signature sound.

If you love Game of Thrones, you know that a huge part of what makes the show so captivating is the music. From the iconic theme song to the dreaded "The Rains of Castamere," composer Ramin Djawadi has spent the past seven seasons carefully honing the show's signature sound.

HBO

And now Djawadi is gearing up to take the Game of Thrones music on an international arena tour beginning in May.

And now Djawadi is gearing up to take the Game of Thrones music on an international arena tour beginning in May.

The immersive show, Game of Thrones Live Concert Experience, will travel to Europe over the summer, then return to the US in September. A full list of dates and ticket availability can be found here.

HBO

The first time show creators David Benioff and D.B. Weiss showed Djawadi the opening credit footage, he was so inspired he started composing the opening song in his car right after he left.

The first time show creators David Benioff and D.B. Weiss showed Djawadi the opening credit footage, he was so inspired he started composing the opening song in his car right after he left.

“The initial melody came to me [and] I hummed it in the car,” Djawadi said, “and I fleshed it out later. I rushed back and started writing it.”

HBO

Benioff and Weiss wanted the theme to capture the overall mood of the show. Since so many of the characters travel so much, Djawadi wanted it to “sound like a journey.”

Benioff and Weiss wanted the theme to capture the overall mood of the show. Since so many of the characters travel so much, Djawadi wanted it to "sound like a journey."

HBO

He decided to use the cello in the main theme because he’d already started composing for the first two episodes of Season 1 when he wrote it, so “the sound of the show was already kind of established.”

He decided to use the cello in the main theme because he'd already started composing for the first two episodes of Season 1 when he wrote it, so "the sound of the show was already kind of established."

“The cello was kind of the dominant instrument already. I wanted to represent that in the main title.”

HBO

As characters progress and change on the show, so do their musical themes. Some characters progress so much, Djawadi writes them an entirely new theme.

As characters progress and change on the show, so do their musical themes. Some characters progress so much, Djawadi writes them an entirely new theme.

HBO

For example, the Stark Theme used to be associated with Arya Stark. But now her character has changed so much, she has an entirely new theme that has nothing to do with the signature Stark sound.

For example, the Stark Theme used to be associated with Arya Stark. But now her character has changed so much, she has an entirely new theme that has nothing to do with the signature Stark sound.

“As she’s developed, there’s a whole new theme with her now that has nothing to do with the Stark theme anymore.”

HBO

The most challenging piece Djawadi’s composed for the show is Season 6’s nearly 10-minute-long song, “Light of the Seven,” aka that creepy/gorgeous song that plays under the “Oh shit, run, Cersei’s gonna blow up the Sept of Baelor” sequence.

The most challenging piece Djawadi's composed for the show is Season 6's nearly 10-minute-long song, "Light of the Seven," aka that creepy/gorgeous song that plays under the "Oh shit, run, Cersei's gonna blow up the Sept of Baelor" sequence.

HBO

It was such an undertaking that he began composing it at the very beginning of the season.

It was such an undertaking that he began composing it at the very beginning of the season.

“I normally compose in chronological order, but that one I started on Episode 1. It took a while to write. It’s a very long piece. It was one of the first songs I started composing for Season 6.”

HBOHBO

That song was the first time he used piano instrumentals in the show, to signal to the viewer that something wasn’t right.

That song was the first time he used piano instrumentals in the show, to signal to the viewer that something wasn't right.

HBO

Certain instruments are associated with different characters, and perhaps the most unexpected is the instrument associated with the Wildlings: the didgeridoo.

Certain instruments are associated with different characters, and perhaps the most unexpected is the instrument associated with the Wildlings: the didgeridoo.

“It’s an instrument I’ve always wanted to use, and we tend to use instruments in the show you might not expect. It has that raw sound that just fits the Wildlings really well.”

HBO

Djawadi is primarily inspired by visuals, and hasn’t read any of the A Song of Ice and Fire books — but he’s going to once Season 8 ends.

Djawadi is primarily inspired by visuals, and hasn't read any of the A Song of Ice and Fire books — but he's going to once Season 8 ends.

“At the time I was brought onto the show there was not enough time for me to read them,” he explained. “Now I’ve decided to just wait until everything is finished and go back and read all of them. I like to be led by how David and Dan are adapting the books for the show, that’s my guide right now.”

HBO

Speaking of Season 8, no, tragically, he hasn’t seen any scripts. He has no idea what’s going to happen.

Speaking of Season 8, no, tragically, he hasn't seen any scripts. He has no idea what's going to happen.

“I don’t know any plot, nothing. I’m completely in the dark, just like everybody else.”

HBO

But once he does, he’ll go through the same composing process as previous seasons. He’ll get an early cut of an episode and watch it with Benioff and Weiss. They’ll discuss music timing and creative direction.

But once he does, he'll go through the same composing process as previous seasons. He'll get an early cut of an episode and watch it with Benioff and Weiss. They'll discuss music timing and creative direction.

Then, Djawadi will go and compose the music for the episode, come back, and then watch it again with Benioff and Weiss for tweaks and suggestions. Djawadi calls it “a constant process” and a “close collaboration.”

HBO

And even though he doesn’t know what Season 8 will bring, if he had to choose a way to end the series musically, it would be the same way it all began: with that iconic theme song.

And even though he doesn't know what Season 8 will bring, if he had to choose a way to end the series musically, it would be the same way it all began: with that iconic theme song.

“The main title is a theme for everybody. Maybe the final piece could incorporate the main title. I hope to incorporate the main title in Season 8 somehow.”

HBO

Source Link

Create a shortened URL

  • Facebook
  • Twitter
  • Google+
  • Linkedin
  • Pinterest

Leave a Comment

Your email address will not be published. Required fields are marked *

It is main inner container footer text

Hey there!

or

Sign in

Forgot password?
Close
of

Processing files…