Their decline was a blow to the north but they were quick to name Robb (and then Jon after Robb’s death) as the King in the North.
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The northern kingdom in Westeros is full of stubborn but fiercely loyal people who considered the Starks the protectors of the north. Their dedication to honour and loyalty ultimately resulted in the devastation of their family. The Starks are a tragic family from the Game of Thrones universe. His character and values are represented well by the music, as are the repercussions for those who do not play the game. Djawadi succeeds in creating a piece of music that sounds just as scheming and deceitful as Littlefinger himself. Without such perfect corresponding music for this scene, the impact would not have been anywhere near as strong. This gradual increase emphasises Littlefinger’s ideals that those who climb will win and those who choose dreams, like Sansa, will fail. The sinister theme has gotten much stronger at this point. The scene comes after Sansa finds out that she is to marry Tyrion, further strengthening the hold the Lannisters have on her. 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.” Littlefinger had given Sansa a chance to escape but she turned it down with the hope that she could marry Loras Tyrell and thus allow her to be taken away from Lannister rule. In the show, we see Sansa in tears as Littlefinger’s ship sails away from Kings Landing as the music plays. The music starts off slowly and somewhat creepily, building and becoming stronger but in a subtle manner. He considers chaos as a ladder where those who can play along will climb and those who cannot fall. 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.
That character is Petyr Baelish, otherwise known as the conniving Littlefinger. This particular piece of music could be interpreted as a character theme. It is a great theme for a great character.
Whilst it could be considered a theme for both Jon and Ygritte, I think it represents Ygritte more so. There is also a hint of the Stark theme within her music, linking her closely to Jon. 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. The music starts off with a quiet and growing strength, similar to Ygritte as a character. Her strength is clear within the theme but there is also a sense of softness to it.
Ygritte is a strong and sometimes vicious character who is willing to kill and pillage to survive beyond the Wall. “You Know Nothing” is a theme for Ygritte, the wilding firecracker who captures the heart of Jon Snow in season three. One of Djawadi’s talents is being able to not only capture the feel of a whole house with a piece of music, but also being able to capture every single character with small but effective melodies to represent them. I won’t be including songs with lyrics so you won’t find “The Rains of Castamere” (version with lyrics) or “The Bear and the Maiden Fair” on this list.
Please note that this list will only be based on the instrumental musical score. Due to the huge array of music that Djawadi has provided, I have no doubt that there will be tracks that I have left out so let me know if you have a favourite piece that I haven’t mentioned here. With the final season underway, I thought it would be a good time to have a look back through the years of wonderful music and make a list of the top twenty best tracks from Game of Thrones. Composed by Ramin Djawadi, the score encapsulates everything within the epic fantasy perfectly. It excels in many aspects but one of the features that I find the most impressive is the musical score. Game of Thrones is a television show which has become a pop cultural phenomenon during its eight-year run. Warning: What follows features Game of Thrones spoilers for seasons one through to eight.