How A Knight of the Seven Kingdoms reimagined the sound of Westeros

This is read by an automated voice.Please report any issues or inconsistencies here.

“Game of Thrones” was known as the fantasy show for people who don’t like fantasy, thanks to language and graphic content akin to HBO’s contemporary dramas.But it also endeavored to sound different from previous fantasy media, replacing twee flutes with composer Ramin Djawadi’s deep strings, rhythmic drumming and a theme song that sought to inspire its audience to battle.Spinoff series “A Knight of the Seven Kingdoms” is not trying to be “Game of Thrones.” Nor is it trying to emulate the high court drama and mysticism of “House of the Dragon,” also scored by Djawadi.

Instead, the story of a lone knight and his young companion forges a new tonal path in the “Game of Thrones” universe.And it has the music to match.“We had mashed up this medieval western cowboy feeling,” says series creator Ira Parker — and after bringing in composer Dan Romer, “A Knight of the Seven Kingdoms” possessed “that little bit of sparkle in there that gives you coming-of-age childlike hope… It’s an adventure story.”Music is intertwined with the story.

The first season takes place during a tournament in which lonely knight Ser Duncan the Tall (Peter Claffey) finds an apprentice in the young Egg (Dexter Sol Ansell).Their journey highlights the smallfolk of Westeros more than the previous installments.Music supervisor Alex Stacey says Parker knew from the beginning that songs would be central to the show.

“He was like, ‘I just wanna hear music at all times because a festival is happening.Anytime Dunk is walking through the village, we should hear a fiddle player playing somewhere,’” he says.Stacey and fellow music supervisor Evyen Klean came on board in the script phase to help plan out the multitude of songs that are heard as the characters travel through the tournament.“Your brain starts forgetting if it’s part of the score or if it’s actually happ...