Music composition in Game of Thrones plays its own part in propelling the story and foreshadowing future events. For instance, Arya Stark’s ‘Needle’ soundtrack gave us hints about where her story was headed next. The only person to be credited for all this here is Ramin Djawadi. He not only has done a splendid composition but has also made the entire TV series palimpsest to the fans.
He recently attended an interview by the Variety, where he talked about ‘the Truth’ soundtrack composed for the seventh season. He also discussed the part played by the soundtrack in foretelling Jon Snow and Daenerys Targaryen’s love story.
“When we first play it during one of their meetings, you sort of pick it up as a new theme, but it really doesn’t put, in one way or another, of what’s to come…We definitely didn’t want to establish right away that there’s going to be this love relationship coming out of it, so it gets played differently — a lot less emotional — until there’s more and more hints of their relationship. Then the melody develops further,” he told the Variety.
This wasn’t easy for Djawadi. This soundtrack was not only meant to signify a particular scene but to propel the entire love tension building between Jon and Dany. Also, at the same time, it had to build up to the big reveal of Jon’s heritage. For this, he had to look out even further in the plot of the seventh season.
“What I actually did was, I went all the way to the seventh episode and wrote the boat scene first, and that’s where I established this theme,” he said.
Djawadi also discussed how hard he had worked to compose the main title theme for HBO’s another fantastic TV series – Westworld. He added:
“There’s an element of synthesizers and organic instruments, so the acoustic guitar representing the Western world, and then the piano actually, I feel, is always the glue between the two sounds..But the main title really captures the overall mood of that by having all those kinds of instruments play together.”
Djawadi has been nominated for a total of six Emmys including one each for Game of Thrones and Westworld this year. He believes that music played in the background plays a vital role in glorifying the story just like the dialogues. He ended by saying:
“It really is a big part of storytelling — be it either in the background, under dialogue, or when there’s no dialogue, and you really have music in the foreground…Both those approaches are a way of storytelling and pushing the story forward. I always like to think of music as if you were to turn the picture off, actually. Just by listening to the piece of music, there’s a story there and a connection to the characters and the plots and all of that.”
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