And under all of this music plays that has up till now been associated (or so we thought) with generic intrigue - here, Djawadi gives Baelish this music to indicate that at this precise moment, he holds all the cards. The scene begins with Baelish confronting Varys in the throne room, and as he keeps speaking the camera cuts to Ros, murdered by Joffrey, and then to Sansa, sobbing. This is revealed in one of the series’ very rare moments of voiceover. Sansa and Cersei’s plans are thwarted by Tywin demanding they marry Tyrion and Loras respectively, which turns out to have been masterminded by Baelish. We get what seems to be, at the time, music that’s unassociated with any particular house or individual:īut in season three this music is clearly associated with Baelish, in S03E06. Take S01E01, when Catelyn gets a raven from King’s Landing announcing the death of Jon Arryn. Season eight opens with a King returning to Winterfell - it’s the beginning of the end.īut in Game of Thrones music is power, and sometimes the cues can be very revealing. Season one started with a King riding to Winterfell, setting off a sequence of events that sparks the whole show. Maybe this is all just to highlight the similarities between the two scenes, and to give an overall sense of symmetry to the show. He hears the army, runs to see them, and then climbs a tree to get a better view. In season eight when Daenerys and Jon approach, the scene’s also shot from a child’s perspective, and follows a similar sequence of events in reverse. He jumps down from the tower, and runs into the courtyard to see the King and his entourage. When Robert rides in, the scene is introduced from Bran Stark’s perspective. Not only is the music similar, but so are the visuals. What?! The whole scene is strongly reminiscent of waaaaaaay back in season one, when Robert Baratheon rides to Winterfell: But instead, Djawadi gave us hints of Daenerys’s music - but the most dominant music was the Baratheon theme. So I was expecting to hear a combination of Daenerys’s music and the Stark theme for the entry to Winterfell. After a close-up of Daenerys, the Greyjoy theme gets added in to the mix in the lower strings: As the camera pans over the Iron Fleet, we hear Daenerys’s music. Take for example season six, when Daenerys teams up with the Greyjoys. Usually when there’s a union between houses, Djawadi combines the themes of these houses. Season seven closed with Jon and Daenerys riding North, and S08E01 opens with them riding into Winterfell to a characteristically frosty reception from the sceptical Northeners. But was a musical moment episode that made me raise an eyebrow, in the opening scene. ‘Winterfell’ lays out all the plot lines that are going to be crucial for the coming season, so we’re music-light in this episode and dialogue heavy. Not just because the music in this show is awesome, but also because sometimes composer Ramin Djawadi leaves intriguing musical hints in episodes. As the final season airs I’m going to try and keep up with a musical analysis of each episode as we go along. So the final season of Game of Thrones is off to a flying start, with more intrigue than you can shake a stick at in the first episode, ‘Winterfell’.
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