GAME OF THRONES Soundtrack (2011)

GAME OF THRONES

Ramin Djawadi
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June, 2011
29
66:00
Varèse Sarabande

GAME OF THRONES Soundtrack: Season 2 (2012)

GAME OF THRONES: Season 2

Ramin Djawadi
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May, 2012
21
56:44
Varèse Sarabande

GAME OF THRONES Soundtrack: Season 3 (2013)

GAME OF THRONES: Season 3

Ramin Djawadi
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June, 2013
19
53:12
WaterTower Music

GAME OF THRONES Soundtrack: Season 4 (2014)

GAME OF THRONES: Season 4

Ramin Djawadi
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June, 2014
22
60:40
WaterTower Music

GAME OF THRONES Soundtrack: Season 5 (2015)

GAME OF THRONES: Season 5

Ramin Djawadi
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June, 2015
18
58:40
WaterTower Music

GAME OF THRONES Soundtrack: Season 6 (2016)

GAME OF THRONES: Season 6

Ramin Djawadi
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June, 2016
26
90:25
WaterTower Music

GAME OF THRONES Soundtrack: Season 7 (2017)

GAME OF THRONES: Season 7

Ramin Djawadi
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August, 2017
24
74:12
WaterTower Music

Game of Thrones (ENGLISH)

Game of Thrones (Ramin Djawadi). Probably, Game of Thrones is the TV series that lets the composer to create the music in a film score way, due to be a fantastic fiction with a continuous plot along the seasons. And Ramin Djawadi composes a robust score splashed with some good enough melodies. Really, the musical setting that Djawadi proposes is almost atmospheric in many cases, but the composer demonstrates to have a great background on having composed themes for places and singular characters which demonstrate that this soundtrack does not live only from the nice main theme, probably the most important theme of all, since it had to be capable of agglutinating the universe of the families, the places and the perfidies that George R.R. Martin was creating for Game of Thrones.

The general tone of the score set the tension of the constant conspiracies between the multiple families and protagonists, being King’s Landing the epicenter of the same ones, but without obviate other places as Dragonstone, The Eyrie, Moat Cailin, Harrenhal, The Inn at the Crossroads or Craster's Keep.

In the first season stands out King Of The North, a good theme to crown Robb Stark as king of the North, together with Finale, the ending theme that allows Djawadi to compose a brilliant theme while we see Daenerys surviving to the funeral pyre, leaving the fire unharmed with her three newborn dragoons.

But to be able to enjoy what the soundtrack of Game of Thrones offers, it is necessary to listen to all the seasons as a whole. Though the listening of the first season does not seems to have listened a great album, as we are adding seasons, the global note of the score grows without any doubt. Left the first season of the series, the second one grows in interest and form is giving to what Game of Thrones really is, and that is scarcely watched in the first season: a medieval series, with supernatural touches and, especially, full of conspiracies that make it tremendously addictive. The Throne Is Mine is the main conspiracy theme, probably the best and the most recognizable of the second season, and where, definitively, Djawadi's music gives the jump quality with regard to the listened in the first season. In this point of the soundtrack, the series has already started showing the conspiracies for the Iron Throne and increases the interest of the spectator in an exponential form, something that, in the first season, there could probably only experience after Eddard Stark's death to hands of newly crowned king Joffrey. As the interest is growing in the series, the soundtrack is growing too. What Is Dead May Never Die is the prayer used by the inhabitants of the Iron Islands, another attractive theme that is giving form to the score as advancing. Winterfell is a sad theme that exposes what Winterfell was and left to be after its destruction to hands of Theon Greyjoy, the ally and traitor of Robb Stark. Pay The Iron Price shows us for the first time the theme in strings and metals of the highest betrayal lived in Game of Thrones, whereas Mother Of Dragons centers on Daenerys Targaryen, creating a nice theme for this character since it also was happening with her in the first season. To finish, the sung theme The Rains Of Castamere performed by The National closes in the end credits in a melancholy way, with a melody that will acquire all its importance in the third season: the theme tied to the Lannister's family.

And after beginning the disc of the third season there appears the one that probably is the most attractive theme of the whole soundtrack in the set of the seasons, A Lannister Always Pays His Debts. This theme is undoubtedly the soundtrack of the Lannisters, and uses as melody to The Rains Of Castamere, theme that appears in the soundtrack of the second and fourth seasons, and composed in honor to Tywin Lannister, his legend and his victories. And its performance at the end of the third season is the sign for the soldiers of Lord Walder Frey, while they have dinner at The Twins with the Stark family, to attack Robb and his troops, turning the celebration into the known as Red Wedding. Chaos Is A Ladder returns the melody listened in The Throne Is Mine, Dark Wings, Dark Words brings one coral and slow version of the main theme, one of few themes that do it in a so clear form. It's grateful not having had exploited up to the fill the presence of the main theme along the soundtrack that, on the other hand, is already listened in the initial credits of every chapter. I Have To Go North presents another beautiful melody full of hope that enlarges the melodic content of Game of Thrones. The Lannisters Send Their Regards, finally, is the theme of the moment of the betrayal during the Red Wedding before mentioned. To end the season, Djawadi presents the theme of the last episode, Mhysa, another nice track for Daenerys Targaryen, seeming to insist on ending every season with the more audible theme dedicated to the same character.

The fourth season probably turns out to be less attractive but it does not stop being interesting for the follower of the series and the soundtrack. Breaker Of Chains, with its ethereal melody of violin, Watchers On The Wall, with its rhythmic percussion, begins the disc after the second version of The Rains of Castamere, this time performed by Sigur Rós in an interesting way with more voices than The National version of season two. Thenns, The Biggest Fire The North Has Ever Seen and Let's Kill Some Crows contribute with a clear difference to make the music of the roughness of the peoples of the north of the Wall with forceful effects of bass metals, while Mereen takes us to the town of slaves with more ethnic percussions and wind instruments. First Of His Name changes the style with a few ecclesiastic choirs and coronation fanfares that contrast with the previous themes located in points very removed from the map of Seven Kingdoms and the lands at the other side of the Narrow Sea. Three Eyed Raven is a "magic" theme and Two Swords shows us the Lannister's theme in an epic version. The Children finishes the season with the already used coral piece with that Djawadi chooses to finish every season. Between this themes there are others more intimates, shaded, melodies strengthens the intrigue, and other action themes with background ostinatos that leave to guess the main theme.

In the fifth season, the conspiratorial level diminishes significantly, probably because the great majority of the characters of the diverse families and plot slopes of the series are already dead, besides the relocation of others, as Tyrion Lannister, fled from his powerful family after murdering his father, or both Stark sisters. And reflection of it, the music of this season turns out to be slightly different. The soundtrack offers an interesting theme in House of Black and White, with the habitual conspiratorial touches that Djawadi has managed to dominate. In the line of the rest of seasons, several tracks stand out over a musical base, like the epic Dance of Dragons, the exciting Atonement and the sad I Dreamt I Was Old. In general, Djawadi changes a bit the register with regard to the previous seasons, uses the choirs otherwise, like in the whispering Son of the Harpy, or the vocal version of the main theme in Throne For the Game, but it continues being interesting if we follow the plot with the attention of the listening.

Continuing with the intrigues of Game of Thrones, season 6 begins strong nothing more and nothing less than seeing resurrect Jon Snow. And it is particularly novel in a series that is characterized to see dying virtually all of its main characters.

Musically, Ramin Djawadi composes a score generally more calm and peaceful than other seasons, and pure action tracks are quite small. But the aftertaste of conspiratorial atmosphere remains being perfectly palpable on the soundtrack and the musical essence of the whole series. Summarizing by type, in this regard the music of the sixth season continues the pattern of previous seasons, and basically find epic tracks like Blood of My Blood, intimate tracks like the beautiful Light of the Seven, thriller tracks like The Red Woman, action tracks like Let's Play a Game, absolutely tremendous tracks like Reign, and tracks for extremely significant moments for the film and television history such as the powerful Hold the Door.

For the sixth season, WaterTower Music does something unprecedented in the previous 5 seasons: publish a digital and vinyl extended edition, featuring 18 minutes of music more than the CD edition, divided over 7 bonus tracks. The total of 26 tracks from the soundtrack of season 6 reaches 90 minutes, exceeding by far the average of 60 minutes from the previous seasons. But the peculiarity of this issue is that in the 3-disc vinyl version could fit the 7 extra tracks, not happening the same in the limited minutes of the CD version. While these extra tracks can be obtained with a download code included in the CD version, this seems a not very successful aspect as the fan who buys the physical disk is not intended to have to get part of the soundtrack in a different format.

After the already well-known main theme of the TV series, the soundtrack of season 7 begins with Dragonstone and The Queen's Justice, that take us back to the well-known themes of the series, the one of Daenerys and its dragons and the other of the Lannister family respectively. One track that stands out in the picture is Casterly Rock, with the army of the Unsullied positioned in front of the castle, where the male choirs stress the scene that will end in battle against the Lannister’s army. Meanwhile, No One Walks Away from Me proves the wickedness of Queen Cersei who threatens her brother Jaime if he disobeys her, in one of the most stressful scenes of the season. Truth brings the most emotional component of the soundtrack to musicalize the moment the truth about the lineage of Jon Snow is revealed. Brandon Stark and Samwell Tarly conclude that Jon the son of Rhaegar Targaeryn and Lyanna Stark, which makes him the legitimate heir to the Iron Throne. One of the themes that breaks with the musical scheme of the ensemble is the theme dedicated to the White Walkers, The Army of the Dead, with sound effects, increasing string and percussion tension and a torn choir that musicalize the terrible invasion that is already producing. A sad Winter Is Here covers the main theme in piano, and ends the soundtrack with the Stark’s motto fulfilled, leaving for the eighth and final season the outcome of the Seven Kingdoms invaded by the cold and death coming from the north.

 

In short, Game of Thrones (seasons 1 to 7) is a great soundtrack listened in set. The first season begins seemingly weak but because the plot is also the most weak of all seasons. Among the second one and the third seasons, it starts taking form and level, where the most recognizable themes of the series are presented, and the fourth one rounds the good composite work realized in the previous seasons with more lugubrious versions of the most known melodies. The fifth season takes a new route, and explores new situations, as the alliance between Tyrion Lannister and Daenerys Targaryen, the public humiliation of Cersei Lannister in King's Landing or Arya Stark's new life in the temple of the Faceless Men. The sixth season uses some familiar themes, but without abusing, which gives a high degree of originality, this time returning to the musical representation of Winterfell, again located at an important point in the story after many seasons of absence, and the use for the first time in the whole series of the piano as the main instrument, this time in the track Light of the Seven. The seventh season does not contribute any new remarkable theme, perhaps something evident if the protagonists of the series have been dying season after season and its themes with them. The newest ones could be the themes dedicated to the White Walkers. Still, it retains the essence of the houses that still remain, Stark, Lannister and Targaryen.

Another point that makes this soundtrack very advisable is the continuous trip for the map of Westeros and Essos, a trip that makes enjoy to the listener of the continuous changes of musical location between Wintefell, King's Landing, Castle Black, the Wall, the north of the Wall, Pyke, Astapor, Qarth, Braavos, etc., apart from the multiple places discovered in the paths crossed by the numerous characters along the series.

All that is left to do is wait for the last season to close this great musical chapter in which the work of Djawadi for Game of Thrones has become.

Juego de Tronos (ESPAÑOL)

Juego de Tronos (Ramin Djawadi). Quizás Juego de Tronos sea la serie que más se presta a una musicalización cinematográfica, al tratarse de una ficción fantástica de hilo argumental único. Y Ramin Djawadi compone un score robusto salpicado con algunas melodías bastante buenas. Realmente, la ambientación musical que propone Djawadi es casi atmosférica en muchos casos, pero el compositor demuestra tener un gran recorrido al componer temas para lugares y personajes singulares que demuestran que esta banda sonora no vive en exclusiva del bonito tema inicial, quizás el tema más importante de todos, ya que debía ser capaz de aglutinar el universo de las familias, los lugares y las traiciones que George R.R. Martin creara para Juego de Tronos.

El tono general del score ambienta la tensión de las constantes conspiraciones entre las múltiples familias y protagonistas, siendo Desembarco del Rey el epicentro de las mismas, pero sin obviar otros lugares como Rocadragón, Nido de Águilas, Foso Cailin, Harrenhal, la Posada de la Encrucijada o el Torreón de Craster.

En la primera temporada destaca King Of The North, un buen tema para coronar a Robb Stark como rey del Norte, junto con Finale, el tema final que permite a Djawadi lucirse mientras vemos sobrevivir a Daenerys de la pira funeraria saliendo ilesa del fuego junto a sus tres dragones recién nacidos.

Pero para poder disfrutar de lo que la banda sonora de Juego de Tronos nos ofrece, es necesario escuchar todas las temporadas en conjunto. Si bien la escucha de la primera temporada no parece dejar el poso de haber escuchado un gran álbum, según vamos añadiendo temporadas, la nota global de la partitura crece sin ninguna duda. Abandonada la primera temporada de la serie, la segunda temporada crece en interés y va dando forma a lo que realmente es Juego de Tronos y que apenas se atisba en la primera temporada: una serie medieval, con tintes sobrenaturales y, sobre todo, plagado de conspiraciones que la terminan haciendo tremendamente adictiva. The Throne Is Mine es el tema conspirativo por excelencia, quizás el mejor y más reconocible de la segunda temporada, y donde, definitivamente, la música de Djawadi da el salto de calidad respecto a lo escuchado en la primer temporada. En este punto de la banda sonora, la serie ya ha empezado a mostrar las conspiraciones por el Trono de Hierro e incrementa el interés del espectador de forma exponencial, algo que en la primera temporada quizás solo se pudo experimentar tras la muerte de Eddard Stark a manos del recién coronado rey Joffrey. Según va creciendo el interés en la serie, va creciendo la banda sonora. What Is Dead May Never Die (Lo que está muerto no puede morir) es la oración utilizada por los habitantes de las Islas del Hierro, y otro tema atractivo que va dando forma al score según avanza. Winterfell es un tema triste que expone lo que Invernalia fue y dejó de ser tras su destrucción a manos de Theon Greyjoy, el aliado traidor de Robb Stark. Pay The Iron Price nos muestra por primera vez el tema en cuerdas y metales de las más altas traiciones vividas en Juego de Tronos, mientras que Mother Of Dragons se centra en Daenerys Targaryen, la Madre de Dragones, creando un bonito tema para este personaje como también sucediera con Finale, en la primera temporada. Para finalizar, el tema cantado The Rains Of Castamere interpretado por The National cierra en los títulos de créditos de forma melancólica, con una melodía que adquirirá toda su importancia en la tercera temporada: el tema ligado a la familia Lannister.

Y nada más comenzar el disco de la tercera temporada aparece el que quizás sea el tema más atractivo de toda la banda sonora en el conjunto de las temporadas, A Lannister Always Pays His Debts (Un Lannister siempre paga sus deudas). Este tema es sin duda la banda sonora de la familia Lannister, y sirve de melodía a Las Lluvias de Castamere (The Rains Of Castamere), tema que aparece en la banda sonora de la segunda y cuarta temporadas, y compuesto en honor a Tywin Lannister, su leyenda y sus victorias. Y su interpretación al final de la tercera temporada es la señal para los soldados de Lord Walder Frey, mientras cenan en Los Gemelos con la familia Stark, de que ataquen a Robb y sus tropas, convirtiendo la celebración en la conocida como Boda Roja. Chaos Is A Ladder nos retorna la melodía escuchada en The Throne Is Mine, Dark Wings, Dark Words hace lo propio trayéndonos una versión más coral y pausada del tema principal, uno de los pocos temas que lo hacen de forma tan clara y que resulta de agradecer al no haber explotado hasta el hartazgo la presencia de dicho tema que, por otro lado, ya se escucha con los créditos iniciales de cada capítulo. I Have To Go North presenta otra bella melodía llena de esperanza que agranda el contenido melódico de Juego de Tronos. The Lannisters Send Their Regards, finalmente, es el tema del momento de la traición durante la Boda Roja antes mencionado. Para acabar la temporada, Djawadi presenta el tema del último episodio, Mhysa, otro bonito tema para Daenerys Targaryen, pareciendo empeñado en acabar cada temporada con el tema más escuchable dedicado al mismo personaje.

La cuarta temporada quizás resulte menos atractiva pero no deja de ser interesante para el seguidor de la serie y de la banda sonora. Breaker Of Chains, con su etérea melodía de violín, Watchers On The Wall, con su rítmica percusión, comienzan el disco tras la segunda versión de Las Lluvias de Castamere, interpretada por Sigur Rós, en una interesante versión del tema con más voces respecto a la versión de The National de la segunda temporada. Thenns, The Biggest Fire The North Has Ever Seen y Let's Kill Some Crows nos aportan una clara diferencia al musicalizar la rudeza de los pueblos al norte del Muro con contundentes efectos de metales graves, mientras Mereen nos lleva al pueblo esclavista de la mano de los temas con percusiones e instrumentos de viento más étnicos. First Of His Name nos cambia de tercio con unos coros eclesiásticos y fanfarrias de coronación que contrastan con los temas anteriores ubicados en puntos muy alejados del mapa de los Siete Reinos y de las tierras al otro lado del Mar Angosto. Three Eyed Raven es un tema "mágico" y Two Swords nos muestra el tema de los Lannister en versión épica. The Children finaliza la temporada con la ya acostumbrada pieza coral con la que Djawadi elige finalizar cada temporada. Entre medias, temas más intimistas, sombríos, melodías potenciadoras de la intriga y otros de acción con ostinatos de fondo que dejan adivinar el tema principal.

En la quinta temporada, el nivel conspirativo se reduce significativamente, quizás porque la gran mayoría de los protagonistas de las diversas familias y vertientes de la serie están ya muertos, además de la deslocalización de otros, como Tyrion Lannister, huido de su poderosa familia tras asesinar a su padre, o las dos hermanas Stark. Y reflejo de ello, la música de esta temporada resulta algo diferente. La banda sonora ofrece un interesante tema en House of Black and White, con los habituales toques conspirativos que Djawadi ha llegado a dominar. En la línea del resto de temporadas, varias pistas destacan sobre un fondo, como lo son la épica Dance of Dragons, la emocionante Atonement y la triste I Dreamt I Was Old. En general, Djawadi cambia un poco el registro respecto a las temporadas anteriores, utiliza los coros de otra manera, como en la susurrante Son of the Harpy, o la versión vocal del tema principal de Throne For the Game, pero sigue siendo interesante si seguimos la trama con la atención de la escucha.

Continuando con las intrigas de Juego de Tronos, la temporada 6 comienza fuerte nada más y nada menos que viendo resucitar a Jon Nieve. Y es especialmente novedoso dentro de una serie que se caracteriza por ver morir a la práctica totalidad de sus personajes principales.

Musicalmente, Ramin Djawadi compone un score en general más calmado y sosegado que el de otras temporadas, y las pistas de pura acción quedan bastante reducidas. Pero el regusto de ambiente conspirativo sigue siendo perfectamente palpable en la banda sonora y la esencia musical de toda la serie. Resumiendo por tipologías, en este aspecto la música de la sexta temporada continúa con el patrón de temporadas anteriores, y básicamente encontramos pistas épicas como Blood of My Blood, pistas intimistas como la bonita Light of the Seven, pistas de suspense como The Red Woman, pistas de acción como Let's Play a Game, pistas absolutemente apoteósicas como Reign y pistas para momentos tan extremadamente significativos para la historia del cine y de la televisión como es la potente Hold the Door.

Para la sexta temporada, WaterTower Music hace algo inédito en las 5 temporadas anteriores: publicar una edición digital y en vinilo extendidas, que incluyen 18 minutos más de música respecto a la edición en CD, repartidos en 7 pistas extra. El total de 26 pistas de la banda sonora de la temporada 6 alcanza los 90 minutos, rebasando con creces la media de 60 minutos de las temporadas anteriores. Pero lo peculiar de esta edición es que en los 3 discos de la versión en vinilo cupieran las 7 pistas extra, no sucediendo los mismo en los limitados minutos de la versión en CD. Si bien estas pistas extra pueden obtenerse con un código de descarga incluido en la versión en CD, esto parece un aspecto no muy acertado, ya que el aficionado que compra el disco físico no pretende tener que obtener parte de la banda sonora en un formato diferente.

Tras el ya archiconocido tema principal de la serie, la banda sonora de la temporada 7 comienza con Dragonstone y The Queen's Justice, que nos retrotraen a las temáticas ya conocidas de la serie, la de Daenerys y sus dragones y la de la familia Lannister respectivamente. Una pista que destaca nada más verla en imagen es Casterly Rock, con el ejército de los Inmaculados apostados frente al castillo de Roca Casterly, en el que los coros masculinos tensionan la escena que terminará en batalla frente al ejército de los Lannister. Mientras, No One Walks Away from Me demuestra la maldad de la reina Cersei que amenaza a su hermano Jaime si la desobedece, en una de las escenas con más tensión de la temporada. Truth aporta el componente más emocional de la banda sonora para musicalizar el momento en el que se revela la verdad sobre el linaje de Jon Nieve. Brandon Stark y Samwell Tarly concluyen que Jon es hijo de Rhaegar Targaeryn y Lyanna Stark, lo que le convierte en el legítimo heredero del Trono de Hierro. Uno de los temas que rompe con el esquema musical del conjunto es el tema dedicado a los Caminantes Blancos, The Army of the Dead, con efectos sonoros, tensión de cuerdas y percusión crecientes y unos coros rasgados que musicalizan la terrible invasión que ya se está produciendo. Un tristísimo Winter Is Here versiona el tema principal en piano, y finaliza la banda sonora con el lema de los Stark cumplido, dejando para la octava y última temporada el desenlace de los Siete Reinos invadidos por el frío y la muerte que vienen del norte.

 

En resumen, Juego de Tronos (temporadas 1 a 7) es una gran banda sonora escuchada en su conjunto. La primera temporada comienza aparentemente floja pero porque la trama es también la más floja de todas las temporadas. Entre la segunda y la tercera temporada empieza a coger forma y nivel, donde se presentan los temas más reconocibles de la serie, y la cuarta redondea el buen trabajo compositivo realizado en las anteriores temporadas con versiones más lúgubres de las melodías más conocidas. La quinta toma una nueva vía, y explora nuevas situaciones, como la alianza entre Tyrion Lannister y Daenerys Targaryen, la humillación pública de Cersei Lannister en Desembarco del Rey, o la nueva vida de Arya Stark en el templo de los Hombres sin Rostro. La sexta temporada utiliza algunos temas ya conocidos, pero sin abusar, lo que le confiere un elevado grado de originalidad, esta vez volviendo a la representación musical de Invernalia, de nuevo situada en un punto importante de la historia tras muchas temporadas de ausencia, y a la utilización por primera vez en toda la serie del piano como instrumento principal, en la pista Light of the Seven. La séptima temporada no aporta ninguna temática nueva destacable, quizás algo evidente si los protagonistas de la serie han ido muriendo temporada tras temporada y sus temas con ellos. Los más novedosos pudieran ser los temas dedicados a los Caminantes Blancos. Aun así, conserva la esencia de las casas que aún perduran, Stark, Lannister y Targaryen.

Otro punto que hace muy recomendable esta banda sonora es el continuo viaje por el mapa de Poniente y de Essos, un viaje que hace disfrutar al oyente de los continuos cambios de ubicación musical entre Invernalia, Desembarco del Rey, el Castillo Negro, el Muro, el norte del Muro, Pyke, Astapor, Qarth, Braavos, etc., aparte de los múltiples lugares descubiertos en los senderos recorridos por los numerosos protagonistas a lo largo de la serie.

Ya solo queda esperar a la última temporada para cerrar este grandioso capítulo musical en que se ha convertido el trabajo de Djawadi para Juego de Tronos.

GAME OF THRONES (2011)
Total Time: 66:00
  1. Main Title (1:46)
  2. North Of The Wall (3:48)
  3. Goodbye Brother (3:07)
  4. The Kingsroad (2:06)
  5. The King's Arrival (3:34)
  6. Love In The Eyes (4:00)
  7. A Raven From King's Landing (1:16)
  8. The Wall (1:59)
  9. Things I Do For Love (1:52)
  10. A Golden Crown (1:38)
  11. Winter Is Coming (2:42)
  12. A Bird Without Feathers (2:02)
  13. Await The King's Justice (2:00)
  14. You'll Be Queen One Day (1:36)
  15. The Assassin's Dagger (1:19)
  1. To Vaes Dothrak (1:29)
  2. Jon's Honor (2:35)
  3. Black Of Hair (1:40)
  4. You Win Or You Die (1:57)
  5. Small Pack Of Wolves (1:57)
  6. Game Of Thrones (1:18)
  7. Kill Them All (2:35)
  8. The Pointy End (3:16)
  9. Victory Does Not Make Us Conquerors (1:35)
  10. When The Sun Rises In The West (2:40)
  11. King Of The North (1:28)
  12. The Night's Watch (1:44)
  13. Fire And Blood (4:30)
  14. Finale (2:31)
GAME OF THRONES: Season 2 (2012)
Total Time: 56:44
  1. Main Title (1:46)
  2. The Throne Is Mine (3:15)
  3. What Is Dead May Never Die (2:06)
  4. Warrior Of Light (3:03)
  5. Valar Morghulis (2:59)
  6. Winterfell (2:42)
  7. Qarth (2:11)
  8. Wildfire (3:39)
  9. I Am Hers, She Is Mine (2:17)
  10. Pyat Pree (2:12)
  11. Don't Die With A Clean Sword (3:22)
  1. We Are The Watchers On The Wall (2:37)
  2. Pay The Iron Price (2:32)
  3. One More Drink Before The War (2:05)
  4. House Of The Undying (5:02)
  5. Stand And Fight (2:04)
  6. The Old Gods And The New (2:38)
  7. Mother Of Dragons (2:34)
  8. I Will Keep You Safe (2:17)
  9. The Rains Of Castamere † - Performed by The National (2:23)
  10. Three Blasts (2:40)

†Written by Ramin Djawadi and George R.R. Martin

GAME OF THRONES: Season 3 (2013)
Total Time: 53:12
  1. Main Title (1:44)
  2. A Lannister Always Pays His Debts (2:51)
  3. Dracarys (2:53)
  4. I Paid The Iron Price (3:16)
  5. Chaos Is A Ladder (2:58)
  6. Dark Wings, Dark Words (2:48)
  7. You Know Nothing (3:20)
  8. Wall Of Ice (3:20)
  9. 9. Kingslayer (2:11)
  10. I Have To Go North (1:23)
  1. White Walkers (3:21)
  2. It's Always Summer Under the Sea (Shireen's Song)
    Performed by Kerry Ingram (1:18)
  3. Reek (2:42)
  4. The Bear And The Maiden Fair - Performed by The Hold Steady (2:56)
  5. The Night Is Dark (2:56)
  6. The Lannisters Send Their Regards (5:44)
  7. Heir To Winterfell (2:14)
  8. Mhysa (3:55)
  9. For The Realm (1:31)

“It’s Always Summer Under The Sea” (Shireen’s Song). Written by Ramin Djawadi, George R.R Martin, Bryan Cogman
“The Bear And The Maiden Fair”. Written by Ramin Djawadi, George R.R Martin
“For The Realm” – guitar performed by Ramin Djawadi

GAME OF THRONES: Season 4 (2014)
Total Time: 60:40
  1. Main Titles (1:43)
  2. "The Rains Of Castamere" - Performed by Sigur Rós (2:42)
  3. Breaker Of Chains (4:05)
  4. Watchers On The Wall (2:11)
  5. I'm Sorry For Today (2:09)
  6. Thenns (1:43)
  7. Mereen (2:53)
  8. First Of His Name (3:52)
  9. The Biggest Fire The North Has Ever Seen (1:56)
  10. Three Eyed Raven (3:58)
  11. Two Swords (1:50)
  1. Oathkeeper (4:31)
  2. You Are No Son Of Mine (4:29)
  3. The North Remembers (2:33)
  4. Let's Kill Some Crows (3:36)
  5. Craster's Keep (2:06)
  6. The Real North (2:03)
  7. Forgive Me (2:31)
  8. He Is Lost (3:37)
  9. I Only See What Matters (1:25)
  10. Take Charge Of Your Life (2:05)
  11. The Children (2:41)

“The Rains of Castamere”
Written by Ramin Djawadi and George R.R. Martin
Performed by Sigur Rós

GAME OF THRONES: Season 5 (2015)
Total Time: 58:40
  1. Main Titles (1:45)
  2. Blood Of The Dragon (1:33)
  3. House Of Black And White (5:08)
  4. Jaws Of The Viper (2:31)
  5. Hardhome Pt. 1 (5:06)
  6. Hardhome Pt. 2 (4:31)
  7. Mother’s Mercy (2:14)
  8. Kill The Boy (2:07)
  9. Dance Of Dragons (3:08)
  1. Kneel For No Man (4:45)
  2. High Sparrow (3:23)
  3. Before The Old Gods (2:37)
  4. Atonement (2:54)
  5. I Dreamt I Was Old (2:16)
  6. The Wars To Come (4:48)
  7. Forgive Me (3:17)
  8. Son Of The Harpy (5:17)
  9. Throne For The Game featuring Bradley Hanan Carter (1:20)
GAME OF THRONES: Season 6 (2016)
Total Time: 90:25
  1. Main Title (1:51)
  2. Blood of My Blood (3:35)
  3. Light of the Seven (9:49)
  4. Needle (2:56)
  5. Coronation (1:46)
  6. Feed the Hounds (3:08)
  7. My Watch Has Ended (2:54)
  8. The Red Woman (3:17)
  9. Hold the Door (7:21)
  10. Khaleesi (3:05)
  11. Maester (2:52)
  12. A Painless Death (3:22)
  13. Reign (3:16)
  14. Let's Play a Game (5:51)
  1. Bastard (5:05)
  2. Trust Each Other (3:09)
  3. Winter Has Come (3:14)
  4. Hear Me Roar (2:16)
  5. The Winds of Winter (3:29)

  6. BONUS TRACKS:
  7. Lord of Light (4:16)
  8. Service of the Gods (2:48)
  9. I Need You by My Side (2:36)
  10. The Tower (2:33)
  11. Unbowed, Unbent, Unbroken (1:44)
  12. I Choose Violence (1:48)
  13. Hodor (2:24)
GAME OF THRONES: Season 7 (2017)
Total Time: 74:12
  1. Main Titles (1:53)
  2. Dragonstone (5:06)
  3. Shall We Begin? (1:24)
  4. The Queen's Justice (1:21)
  5. A Game I Like To Play (1:45)
  6. I Am The Storm (6:25)
  7. The Gift (2:03)
  8. Dragonglass (4:19)
  9. Spoils Of War (Pt. 1) (3:54)
  10. Spoils Of War (Pt. 2) (4:03)
  11. The Dagger (2:34)
  12. Home (2:30)
  1. Gorgeous Beasts (2:11)
  2. The Long Farewell (2:46)
  3. Against All Odds (7:48)
  4. See You For What You Are (2:09)
  5. Casterly Rock (2:23)
  6. A Lion's Legacy (1:34)
  7. Message For Cersei (1:43)
  8. Ironborn (2:19)
  9. No One Walks Away From Me (2:11)
  10. Truth (3:31)
  11. The Army Of The Dead (5:26)
  12. Winter Is Here (2:54)

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Publication date: July 2014. Last update: 9/3/2017.
Página publicada: Julio 2014. Última actualización: 03/09/2017.