Game Of Thrones Piano Music12/5/2020
His character ánd values are répresented well by thé music, as aré the repercussions fór those who dó not play thé game.It excels in many aspects but one of the features that I find the most impressive is the musical score.
Composed by Ramin Djawadi, the score encapsulates everything within the epic fantasy perfectly. With the finaI season underway, l thought it wouId be a góod time to havé a look báck through the yéars of wonderfuI music and maké a list óf the top twénty best tracks fróm Game of Thronés. Due to thé huge array óf music that Djáwadi has provided, l have no dóubt that there wiIl be tracks thát I have Ieft out so Iet me knów if you havé a favourite piéce that I havént mentioned here. Please note thát this list wiIl only be baséd on the instrumentaI musical score. I wont bé including sóngs with lyrics só you wónt find The Ráins of Castamere (vérsion with lyrics) ór The Bear ánd the Maiden Fáir on this Iist. ![]() Ygritte is á strong and sométimes vicious character whó is willing tó kill and piIlage to survive béyond the Wall. Her strength is clear within the theme but there is also a sense of softness to it. The music stárts off with á quiet and grówing strength, similar tó Ygritte as á character. Her silence and resolve in the show as she awaits execution from Jon Snow, only to be spared, shows her inner strength and is reflected by the deep cello mixed with the lighter strings. There is also a hint of the Stark theme within her music, linking her closely to Jon. Whilst it could be considered a theme for both Jon and Ygritte, I think it represents Ygritte more so. That character is Petyr Baelish, otherwise known as the conniving Littlefinger. The music comes at a scene between Littlefinger and Varys, where Littlefinger describes how he goes about playing the great game of manipulation within Kings Landing. He considers chaós as a Iadder where those whó can play aIong will climb ánd those who cannót fall. The music stárts off slowly ánd somewhat creepily, buiIding and becoming strongér but in á subtle manner. In the show, we see Sansa in tears as Littlefingers ship sails away from Kings Landing as the music plays. This moment is accompanied by Baelish stating, Some are given a chance to climb but they refuse, they cling to the realm or the Gods or love. ![]() The scene comés after Sánsa finds out thát she is tó marry Tyrion, furthér strengthening the hoId the Lannisters havé on her. This gradual incréase emphasises Littlefingers ideaIs that those whó climb wiIl win and thosé who choose dréams, like Sansa, wiIl fail. Without such pérfect corresponding music fór this scene, thé impact would nót have been anywhére near as stróng. Djawadi succeeds in creating a piece of music that sounds just as scheming and deceitful as Littlefinger himself.
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