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


Didgeridoos and cellos and pianos, oh my!

whether you worship Game of Thrones, you know that a huge fraction of what makes the demonstrate 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 demonstrate’s signature sound.

whether you worship Game of Thrones, you know that a huge fraction of what makes the demonstrate 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 demonstrate's signature sound.

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

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

The immersive demonstrate, 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.

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The first time demonstrate 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 demonstrate 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.”

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

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He decided to consume 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 demonstrate was already kind of established.”

He decided to consume 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 demonstrate was already kind of established."

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

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As characters progress and change on the demonstrate, so carry out their musical themes. Some characters progress so much, Djawadi writes them an entirely novel theme.

As characters progress and change on the demonstrate, so carry out their musical themes. Some characters progress so much, Djawadi writes them an entirely novel theme.

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

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

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

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

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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.”

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

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

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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 consume, and we tend to consume instruments in the demonstrate you might not expect. It has that raw sound that just fits the Wildlings really well.”

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

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

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

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

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

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

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

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

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

“The main title is a theme for everybody. perhaps, possibly the final piece could incorporate the main title. I hope to incorporate the main title in Season 8 quasi.”

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