The ‘GoT’ Soundtrack Drops Some Big Hints On How Jon & Dany End Up

The just-released soundtrack for Game of Thrones‘ seventh season teases some clues about the Jon / Daenerys incest we’ve all been weirdly rooting for.

As always, HBO waited till towards the end of the season to release the soundtrack. No one is more careful about spoilers than the people making the spoilers, and since each track title is usually taken from a line of dialogue, it makes sense to keep this information on lockdown.

But it’s out today – and the 24 track soundtrack offers some insight into Jon and Dany’s blossoming romance. Two tracks, ‘See You For What You Are‘ and ‘Truth‘, seem to play on the themes of ‘Dragonglass‘, first heard when Jon and Dany were exploring the dragonstone caves. ‘See You For What You Are’ is a direct quote Jon says to Dany, after he bends the knee. ‘Truth’, appearing as the third last track, looks like it might hint towards Jon learning the truth about his parentage in the season finale.

Vanity Fair spoke to composer and Game of Thrones fan Brenna Noonan, who provided some deadset genius insights into how GoT composer Ramin Djawadi has been setting Jon and Daenerys up.

She says that the Jon / Dany love track ‘Dragonstone’ drew on older tracks in the series, specifically the Dany / Khal Drogo love theme ‘Love in the Eyes‘, and the Jon / Ygritte love theme ‘You Know Nothing‘. Noonan points out that these tracks start on a droning G and C respectively, which when put together, kick off the Game of Thrones opening credit song. They are literally the song of ice and fire.

She also says that the three tracks are similar in ways you may or may not need a strong musical background to fully understand. As Vanity Fair paraphrases, they both feature the “same motif of E-F-G transposed up and down various keys”. It might not parse with non-musical folk, but we can all understand what Djawadi is trying to achieve.

Noonan says:

“[All three tracks] feature a lot of stepwise motion, meaning there are few large leaps between intervals. [It] brings a feeling of closeness, of steps leading and retreating seemingly nowhere, sometimes hesitant. This works well with the otherwise claustrophobic settings of Dany and Drogo’s tent, and Jon’s caves.

“‘Dragonglass’ is really a love theme for two damaged people who are desperately trying to put the pieces of their past back together and getting what is essentially a musical lithograph, a transference of memory and emotion. It is a song of ice and fire, but it is also a song of quiet desperation.”

The point is: Djawadi is way, way more talented than any of us realise. If you want the full breakdown (and music nerds will love it), head to Vanity Fair right the hell now.

Meanwhile: the final two tracks on the soundtrack are ‘The Army of the Dead‘ and ‘Winter Is Here‘, so it looks like this season’s finale is heading towards a final, furious clash with the Night King.

Oh lord. Here we go.

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