#the symbolism of chord progressions and everything

[asurrogateblog]

from an analysis of SOYCD in Roger Waters and Pink Floyd: The Concept Albums by Phil Rose

[eggmeralda]

april 2020

[oldmemoria]

i thought about this last night but um

SPOILERS for True Lives of the Fabulous Killjoys: National Anthem

i love the kind of symbolism we see with mike milligram of all the older more "childish" items he holds onto, hear me out.

So we see Mike holding this cheesy little vampire ring during the gathering scene where we first meet the rest of the killjoys, particularly when we learn that he's in a relationship with Code Blue and want's to take it a step further with marriage. They're all teenagers in this scene, assumedly maybe at least 16 at most 19 (because thats when you arent a teen anymore lol- after 20 you arent a teen duh). He's hiding it behind his back and seems to be just about to pop the question.

then, Blue dies in a standoff, just because he didn't want to move on and comply to the brainwashing tv. Blue literally jumps in front of him and takes the bullet (laser? whatever) for him. When she dies, he lashes out.

later on in the timeskip we see that Mike is basically hooked to the TV. hes fallen asleep to it and is only waken up by a rat chewing on the chords. this isn't entirely important to my point but I still feel like mentioning it because it tells us one thing: Because of Mike's grieving, he basically had no choice but to run back and give everything up. His grief, in turn, is what led him to actually start going back to how he was before, going against an authoritarian government run by a monopoly.

This leads Mike to realize that everything around him isn't what it seems, not only is he withdrawing from The TV, but he's also withdrawing from the effects of the pills he (and the rest of society) is on. He's hallucinating, but not fully. We know as readers that things aren't right in his life -- in anyone's life -- because of this.

once we reach the scene where he learns about his Ramones records being sanitized and the technician here to fix his tv is actually some kind of plant (overall, everyone trying to uphold the brainwashing system is doing so maliciously). Mike kills this plant, and we get to the next sighting of the vampire ring that we saw in that first scene I mention before. He finds it, remembers Blue (also to note theres a paper that says "SO REAL IT HURTS" on it right next to the ring, like thats so obvious that I looked over it), and holds onto it.

lets skip to the climax, where we're revealed to see "Blue" (this time either her reanimated corpse or some kind of clone, it isn't really specified) again, Mike shuts down. almost instantly. He's so close to giving in and going back to being brainwashed, but he stops for a moment. this is the kind of breaking point where we see his arc hit its breaking point and reach its conclusion.

Mike's individual character arc is about letting go. Letting go of grief. Letting go of the past. Progressing forward, no matter how much it hurts.

When he gets his gun back and shoots the clone of Blue HIMSELF, that is him signifying that he has to move on. for the sake of not only himself but for his son, his friends, everyone.

And in this last moment.

He puts her body in the car. and prepares to light it on fire.

and that is the last time we see the ring. He slips it onto her finger right before the car is set ablaze.

UGH ITS BEAUTIFUL. the ending is BEAUTIFUL.

a perfect illustration of how Mike had to get past his grief for the betterment of himself.

and even in the end, he isn't completely forgetting her. He isn't just tossing her aside, he's just saying "It's time I moved on. I won't let my anger and grief drag me down, but I will remember you."

and it's all made clear with that little ring. THE FUCKING RING DUDE.

It's a little plastic ring, usually associated with youth because it's usually found in gift bags or cereal boxes. something synthetic and cheap. Easy to break, usually thrown away right away. Mike is seen not only getting better from his grief but also maturing. Which is great for him. It's something in his past that he had to move on from, but could still hold the memory of.

also like a little side note but vampirism is sometimes depicted as being a kind of toxic, dependent force. A leech. the ring having a vampire on it is like... really good symbolism for that, MAYBE IM GOING TOO FAR IDK IDK-

[ccorinthian]

isnt it funny how copying others is the natural thing to do to socialise and being inspired by other people's art is how you grow your own art and everything you do will be heavily influenced by everything youve seen and heard and done other people do. but bc of the way personality has become a brand on social media and the individualism is bleeding us out, youre not supposed to do that . you cant make that joke bc it belongs to that other guy and you cant draw that way bc it's too similar to that guy and dont use that chord progression bc someone else already did. everything gotta be 100% original or it;s a fuckin ripoff. themes and symbols boil down to tropes and cliches and should be avoided or jerked off to?

[sclfmastery]

the whole "it's a TV show" theory makes some sense to me, but only if they've been in a TV show since just before the bi-regeneration. my idea going forward is this:

at some point during the Giggle, it turns into a TV show because the One Who Waits changes reality. the bi-regeneration signals this (the doctor says that he himself thought it was a myth, aka, a fiction). what i think happened in reality is that the doctor didn't bi-regenerate, he just regenerated into Ncuti normally, but then the One Who Waits usurped the regular reality with a television reality.

the devil's chord has the most obvious collection of hints, which i think you've seen posts of, so i wont mention that. but what i do want to discuss is the weirdness surrounding the master.

there has been a master reference (even if subtle) in nearly every single episode so far. ncuti's doctor isn't exactly hesitant to talk about his trauma, a big difference from thirteen, so it makes sense why we all assume that his constant references to things involving the master but never saying anything actually ABOUT the master are just him avoiding his emotions or talking things out like thirteen does. but what if that isn't the case?

what if he does genuinely think that this Mad Jack dude is actually the worst prime minister ever? because the one who waits has removed his memories of the master?

the last time the doctor heard about the master was when he was still Fourteen, before the bi-regeneration.

i think that the series is going to progress and it will reveal that ruby is the child of the one who waits, and despite being in a tv show, she's uncovering her powers and slowly breaking the illusion (the snow would symbol her slow unconscious attempts to break the illusion).

in the last two episodes, or last one, (it depends on the time of the episodes but i hope its either longer or a two-episode finale), i think that ruby will make it snow again and somehow something will remind the doctor of the master. and then he'll be like...why am i forgetting something? i know i'm forgetting something. and then he tries to find out what he's forgetting which ends up causing the illusion to be broken and the doctor and ruby to finally face the One Who Waits.

(also, this theory doesn't necessarily mean that everything is fake in this TV reality, more that its all "scripted" and puppeteered by the One Who Waits, including the doctor's thoughts.)

"what if he does genuinely think that this Mad Jack dude is actually the worst prime minister ever? because the one who waits has removed his memories of the master?"

Can't tell you how on-board I'd be with this. It'd give we the lil Thoscheis some solace about the cavalier denial that he exists even when the subject of his existence and impact (good OR bad) is loudly disregarded (when he lists titles Time Lords take on, when he discusses the tragic end of his civilization and uses the passive tense so we can't even tell WHICH TIME he means--"there WAS a genocide"--when he is drawn in under a few hours to spend his lifetime with someone with whom his dynamic is loudly Thoschei-coded, without pausing to think of how and why their chemistry might be so immediately familiar..and so on).

I don't have quite enough faith in almost any writing staff of almost any major-franchise show anymore to believe completely that the Doctor's out-of-character (and sometimes in-character, clothed in different forms of maladaptive coping) behavior, the centering of Ruby's development over his (don't deny it, folks, she's SO much more fleshed-out than he is and it's become a frustrating impediment to the narrative), the way that their bonding and "best friendship" (when? How????) happens so much "off-screen" that it feels rushed and abrupt......are all intentional, because the overarching villain is intentionally warping events like a terrible script-writer.

IF that's the case, it's a very fun metaphysical way to approach the newest season of the show (maybe a bit of an easy copout one???? but still interesting and clever), and I'll be deeply relieved to know I wasn't the only one who couldn't quite vibe with Fifteen yet, despite REALLY wanting to (I love Ncuti Gatwa's work on Sex Education and I was SO excited that he was cast), and that a whole bunch of diehard fans have been creating intelligent theories like this one to explain the Offness they've felt about the show since the Toymaker's exit during final Christmas special.

To clarify, Ive liked MANY things about Fifteen's run, even if the Offness we're feeling has no explanation except "different writing and directing and characterization than the show has had before." My hesitation isn't that it's all trash. It's that I can't tell intentional distortion from weaknesses that needed more workshopping before the final cut. And I don't know that I'm qualified to tell. I'm mostly here for the Master, and the Spymaster in particular.

But thanks for sharing this. It's been truly comforting to consider <3

[tangerinestilettos]

This song is inspired by @mcelhenneyarms 's post. Go read it, it's such a beautiful insight on Dennis' feelings and I felt extremely inspired to write a song about it. So here it is and it's called On Repeat, made by (as previously intended) me. I really hope you'll enjoy this song!

The song is played on an acoustic steel-stringed guitar and doesn't have any other sort of production to it; it's me singing and it's me playing the guitar, simple as that. This, as well as the fact that you can "hear the strings getting played" creates a very raw feeling to it, which I deemed very fitting for the topic. And while I didn't add anything else than that to the recording the dynamic is still purposely changing between every part; in the way I play the guitar and in the way I sing.

It's entirely controlled by feelings, which I hope is evident in the song; the dynamic is closely connected to every feel of the words and to the feel of every line.

The song is in E major and the chord progression is quite easy; it switches between the first chord of the scale (E in this case), to the fourth chord of the scale (A in this case) and back to the first chord.

This progression was inspired by the chord progression in Saturdays by Louis Tomlinson, a very lyrically strong song as well as really cool dynamics.

The song ends on an A major, the fourth chord of the scale, which leaves the ending feeling "unfulfilled" in a way because it doesn't end "at home", which would be an E in this case (the first chord of the scale). I did this intentionally because the lyrics at the end go "now press the button, play it on repeat", which is both a reference to the start of the song when a movie is playing on repeat as well as a symbol for the end of the post that inspired this song, when it's mentioned that these things that happen are reoccurring. This also fits well with the phrase "on repeat", because it feels like the song "should" continue after the chord.

It's not the most "unstable" chord of the scale (which would be the fifth chord, in this case a B, because this chord really "wants to" lead back to the first chord, an E in this case, and usually doesn't stand on its own in that way) but it's not the first chord, so while it's not extremely unstable it's still some sort of longing for a continuation, hence, it playing on repeat.

I also want to say that even though the song is done now, there might (as per usual) be a few changes here and there as I continue to play the song and as the melody becomes more certain and the lyrics too. But this is one version of the song. (This means that I might update it as everything grows even more solid.)

Anyway, I believe that was what I wanted to say theory-wise, so here are the lyrics of the song and the recording is at the top of the post. Once again, enjoy!

***

On Repeat

It's another highschool night of another basement Another time watching the sky turn blue The movie's been hit, once again, on replay And I'm crammed on a couch between you two

The guy on my right never knew his dad His mother's affectionate but most likely sad From his uncle he should stay away Never says a word about it, but I relate anyway

Others call him names and force him to eat spiders I still laugh at the punchline made of his name But I know him as the guy who’s gone through it all We’re the same, in a way

The guy on my left is dealing drugs His mom only speaks through frowns and grunts But he makes himself heard through breaking things Making people sure of what’s happening

A framed photo is placed in the hallway With his dad and his mom who had a smile on her face He tells me his father’s in prison But it’s alright ‘cause there’s love left in their family anyway

I call him annoying every day That I hate him over and over again But I know him as the guy who feels too much but still acts brave We’re the same, in a way

It’s the summer after high school when I was almost sure that I loved them But I’m heading off to college now Don’t wanna leave you two behind

The light catches in streaks on dirty windows Blurs the colors just like tears I’m not even sure that I'm crying Think there’s nothing left in me

So I try to make it up For all the days we’d spend together But it ends with nights in tears And lonely thoughts that last forever

Why couldn’t I have fun without them? Through hazy nights that have been laced with something But twenty girls can’t make up For the lack of two guys who took my heart

And it’s waking up the dormant feelings With nightmare-like thrashing and screaming And twenty girls but just one guy Is enough for me to make me cry

It’s the break between semesters and I’m finally back at home again And they’re hugging me But I just feel sick

But I stuff it down enough for them A make-believe façade because They’d call it something stupid, just like guilt

We decide to buy a bar together I drop out of college for the better Making plans to move in with the guy on my left To finally move out of my parents’ house And hope to never see my dad again

It’s decades later but now I’m watching everything fall somehow The ones I trusted all the time Stole everything that was supposed to be mine

The guy on my right is my father’s favorite They spend every waking minute together But when he finally finds his real dad My own asks me to get his favorite back

And in the grand scheme of things When the guy on my left struggled with his identity His own dad leaves but mine stays right there Has a breakthrough and now he understands

Despite the shit he did to me Blaming me excessively Thin-veiled comments about my style Or makeup and clothes and all that kind

He accepts him for who he is, but never me Wasn’t there to watch it happen But now it doesn’t fucking matter Because he never cared, not about anything

Left me out to dry when I needed him the most When I wasn’t useful anymore he ditched me, but at what cost? Berated, terrorized and emotionally neglected me Don’t you dare to do it anymore

And so the movie ends The story finishes Now press the button, play it on repeat

[sitaramasilamani]

Expressing Yourself: Finding Your Voice Through Songwriting as a Beginner with Sitara

Songwriting is a powerful form of artistic expression that allows individuals to convey their thoughts, emotions, and experiences through music and lyrics. While the process of writing a song may seem daunting to beginners, it offers an opportunity for self-discovery, creativity, and personal growth. In this blog, we will explore songwriting ideas and techniques for beginners, offering practical tips and inspiration for finding your voice and expressing yourself through music.

Tap into Your Emotions

One of the most effective ways to start writing songs as a beginner is to tap into your emotions and personal experiences. Think about moments in your life that have made you feel joy, sadness, love, or anger, and use those emotions as inspiration for your lyrics. Write from the heart and be honest with yourself about what you're feeling. Don't be afraid to be vulnerable or raw in your writing – authenticity is key to connecting with your audience.

Allow yourself to explore a range of emotions as emphasized by professionals such as Sitara, from the highs of happiness to the lows of heartbreak. Each emotion holds its own power and can serve as a catalyst for creative expression. Remember, there are no right or wrong feelings when it comes to songwriting; what matters most is your ability to convey them authentically through your music.

Experiment with Melodies and Chords

As a beginner songwriter, it's essential to experiment with different melodies and chord progressions to find what resonates with you. Start by playing around with simple chord structures on your instrument of choice – whether it's a guitar, piano, or ukulele. Don't worry about making everything perfect right away; the goal is to let your creativity flow and see where it takes you. Try out different rhythms, tempos, and styles as emphasized by professionals such as Sitara, until you find a sound that feels right for you.

Don't be afraid to step outside your comfort zone and try new things. Play around with unconventional chord progressions or experiment with alternative tunings to discover unique sounds and textures. Remember, the beauty of songwriting lies in its endless possibilities – embrace the freedom to explore and innovate as you develop your own musical style.

Find Inspiration in Everyday Life

Inspiration for songwriting can come from anywhere – a conversation with a friend, a walk in nature, or even a fleeting thought that crosses your mind. Pay attention to the world around you and the moments that stir something inside you. Keep a journal or voice recorder handy to capture ideas as they come to you, and don't be afraid to draw from your own life experiences when writing lyrics. Remember, the most compelling songs often come from the most ordinary moments. Sitara Masilamani

Take time to observe the world with curiosity and wonder. Notice the small details – the way sunlight filters through the leaves or the sound of rain tapping against the window – and let them inspire you. Every experience, no matter how mundane, has the potential to spark creativity and ignite your imagination. Trust in your ability to find beauty and meaning in the world around you, and let it infuse your songwriting with depth and authenticity.

Use Imagery and Metaphor

Adding imagery and metaphor to your lyrics can elevate your songwriting and make your songs more engaging for listeners. Instead of stating things directly, try painting a picture with your words and evoking emotions through vivid imagery. Use metaphor and symbolism to convey complex ideas in a simple and relatable way. Play with language and experiment with different word choices until you find the perfect combination that resonates with your message.

Allow your imagination to run wild as you explore different ways of expressing yourself through metaphor and symbolism. Draw inspiration from literature, art, and the world around you to create rich and evocative imagery that brings your lyrics to life. Don't be afraid to take risks as emphasized by professionals such as Sitara and push the boundaries of traditional songwriting – the more creative and original your imagery, the more memorable and impactful your songs will be.

Collaborate with Others

Collaborating with other musicians and songwriters can be an invaluable learning experience for beginners. Working with others allows you to bounce ideas off one another, gain new perspectives, and learn from each other's strengths and weaknesses. Don't be afraid to reach out to fellow musicians in your community or online forums and explore opportunities for collaboration. Whether it's writing lyrics, composing melodies, or arranging instrumentation, collaborating with others can help you grow as a songwriter and expand your creative horizons.

Embrace the opportunity to collaborate with musicians who share your passion for music and creativity. Be open to feedback and constructive criticism, and approach collaboration as a chance to learn and grow as an artist. Remember, the most powerful songs often emerge from the synergy of diverse perspectives and talents. By working together with others as guided by professionals such as Sitara, you can create music that transcends individual limitations and resonates with audiences on a deeper level.

Embrace the Process

Above all, remember that songwriting is a journey, not a destination. Embrace the process of exploration, experimentation, and self-discovery as you navigate the world of songwriting as a beginner. Be patient with yourself as emphasized by professionals such as Sitara and allow yourself the freedom to make mistakes and learn from them. Celebrate your successes, no matter how small, and keep pushing yourself to grow and evolve as a songwriter. With dedication, perseverance, and a willingness to express yourself authentically, you'll find your voice and create music that resonates with others.

Trust in your creative instincts and believe in the power of your unique voice. Remember that every song you write is an opportunity to learn, grow, and refine your craft. Don't be discouraged by setbacks or challenges – embrace them as opportunities for growth and self-improvement. Stay true to yourself and your artistic vision, and never lose sight of the joy and fulfillment that songwriting brings. With time, patience, and perseverance, you'll unlock your full potential as a songwriter and create music that reflects your innermost thoughts, feelings, and experiences.

[sibelius-crack-o3]

Download Sibelius crack (keygen) latest version S4OS*

💾 ►►► DOWNLOAD FILE 🔥🔥🔥 Direct Download Link Avid Sibelius Ultimate Crack is a powerful music notation software that comes with two accompaniment apps that allow you to convert recorded, played, printed, and handwritten music into sheet music. In addition, it offers many new enhancements to improve the efficiency of your composition, arrangement, and music recording. For this reason, the editor has prepared a cracked version. Avid Sibelius Ultimate is a music score creation software that can use software technology to help you design music scores, and print them after the design, allowing you to quickly generate scores when editing songs. The tutorial is as follows. Users who need it can quickly download it! Avid Sibelius Ultimate From interface improvements that are consistent with the native Mac and Windows OS experience to better user interaction, faster performance. Download Pixologic ZBrush Crack. The wonderful development to come has laid the foundation. Avid Sibelius Ultimate Free Download is a music score creation software. It can use software technology to help you design a score, and print it after the design. This program allows you to quickly generate a score when editing a song. Everyone knows the workflow that needs to be performed to create a song There are a lot of songs. This program supports high-resolution monitors and screen readers. Avid Sibelius Ultimate provides a scoring template, directly edits notes and beats, and also provides lyrics editing. You need to write lyrics, compose music, and record songs. Each step takes a long time. Now, song creation is basically done on the computer. For example, you can use the Avid Sibelius Ultimate makes music scores. There are many functions, and friends who need it can download and use it! If this happens, try setting the paper and desktop colors, then quit and start Sibelius again Percussion score step or Flexi-time input translates the notes you enter into different pitches and noteheads on the staff. Set the location to Drum map for instruments, MIDI devices Add chord symbols This plug-in inserts chord symbols by analyzing the notes on your selected staff. Download the installation package, unzip and run the installation, and select the language Simplified English Click Next Check I accept the license agreement Select the software installation location, click Change to change the installation path by yourself Select the start menu folder, the default is OK When everything is ready, click Install The installation is in progress, please be patient for a while If the installation is successful, click Finish to exit the installation wizard Remember not to run the software, Copy the crack patch and ISSetupPrerequisites folder in the Crack folder to the software installation directory After running the software, it can be used for free, remember not to update.

[leggerefiore]

Masters has informed us Emmet likes Piers singing/music and now I have to know what're the twins preferences to music I want to know who I'm holding and swaying with and who I'm singing obnoxiously with

anon you're about to be disappointed with my dad rock collection.

hey I made playlists for them too (ingo and emmet)

▲Ingo▼

● Jazzy kind of guy, he likes music he can unwind and relax to. Plus, they are often romance songs. People walk by his office, hearing John Coltrane, Frank Sinatra, Etta James, and Billie Holiday regularly. (Alongside later groups as the Pat Methany Group, Weather Report and Return to Forever and maybe Bob James, too.) It puts his worried mind at ease and lets him work at a more reasonable pace. (His father often left old jazz vinyls around, which intrigued the young boy. Many hours were spent doing homework, listening to jazz classics from a dated record player his father dug out of their attic for them.)

● Softer progressive rock groups like The Mood Blues, Yes, Emerson, Lake and Palmer and certain Pink Floyd tracks are things he enjoys as well. It was something he listened to in his early twenties as he worked through paper after paper to help mellow him out and keep his wandering mind occupied. He went through many different albums as his four years came and went. Regularly, he'll still turn them on at home to just sit and enjoy them. (Has sat in a relaxing bath for the length of In Search Of the Lost Chord.)

● He also likes some classic rock groups like The Doors, the Beatles, Fleetwood Mac, and Steely Dan. Naturally, some of these were things he listened to his parents play when he was younger, but later revisited them as an adult with fresh eyes. He enjoys their more easy-going tracks, but if he needs to burn some energy, he'll listen to higher energy tracks.

● Will never admit it but during his awkward emo phase he 100% listened to My Chemical Romance, Fall Out Boy, Panic! At the Disco, Linkin Park, and Evanescence. He revisits them sparingly, but never in public. His teenage trauma must be handled alone. (Emmet is not allowed to see either.)

● Overall, Ingo leans toward calmer, relaxing songs. His stress gets to him, and he doesn't have a lot of energy to exude. He quite enjoys acoustic tracks as well. Classic love songs have a special place in his heart. (He would attempt to croon a song for his partner if they wanted. Ingo was a beautiful singing voice, as it turns out.)

▽Emmet△

○ He is an anomaly with his music taste. The twin doesn't settle easy. He leans more into upbeat, higher energy tracks that help keep him moving at a fast pace. Genre doesn't matter, Emmet needs to be able to move to it.

○ That isn't to say he doesn't have favourites. I think he likes Funk and Disco, as they tend to be a perfect pace for him. People catch him with an ear bud in his ear, tuning out the station noise as he hustles to wherever he is needed listening to KC and the Sunshine Band, Earth, Wind and Fire, Jamiroquai, and the Gap Band. He hums lightly to himself, usually. (His mom used to play everything but Jamiroquai for him when he was younger to expend some of his youthful energy. He appreciates her introduction to some of his favourite genres.)

○ Also likes Art Rock and New Wave, strangely. Despite the pain it has caused him, he deeply enjoys Talking Heads alongside Oingo Boingo, Devo, and the Cars. He discovered them during a much-needed break from the radio droning top-fifty-whatevers into a new sound. Their weirdness (well, except the Cars) spoke to him in a sort of quirky way. People look at him like he's insane whenever he plays them because they have a certain sound that is hard to love on first listen. Emmet does not care; he loves them.

○ He also loves Prince, but this is something he never mentions. One day, you just sit near him and hearing P. Control blasting from his earbuds and wonder if the man has ever said the word pussy in his life. It's a mystery how Emmet discovered [Love Symbol]. (He also likes quite a few pop songs, luckily, so he's not entirely unreachable. Usually, they're love songs, however.)

○ Had a terrible weeb phase, which led to him listening to nothing that music for a while. Teddyloid, Perfume, Fake Type, poor guy was all over the place, desperate to fill the niche hole with anything. Emmet still has them in circulation, but never talks about them. (Of course, this includes all the JoJo OPs. He loves Crazy Noisy Bizarre Town the most.)

[writeyouin]

TFP Reader Insert – The Future (COMMISSION)

Word Count – 2101

Request – Optimus Prime notices that the reader isn’t acting like herself. She has lost interest in her friends and hobbies, and is generally having a hard time. When Optimus talks to her about it, she comes clean about everything that she has been going through.

A/N – Hi, I hope this is the story that you wanted, thank you very much for commissioning me.

Warnings – Some Angst.

Rating – T

Loud music blasted through the Autobot base as Miko wailed along to her electric guitar, upon which she played a metal song of her own composition. Raf had somehow tuned her out, focusing on his laptop, and Jack was busy with Arcee, not caring about the noise surrounding him. The only one that seemed bothered by the supposed music was Ratchet, who had little patience for Miko’s vivacious ways.

“MIKO!” He finally exploded, turning away from his work console and pointing an accusatory finger at her, “STOP THAT RACKET IMMEDIATELY!”

Miko stopped playing, retorting cockily, “Relax, old man. Nobody else has a problem with my music.”

“That noise is not music, and some of us are trying to work here.”

“Raf didn’t seem to mind. He was working just fine,” Miko grinned, annoying the old doc-bot further. “Besides, can’t you like turn your hearing off?”

“This is an Autobot base, young human, and I happen to be an Autobot. Therefore, what I say goes.”

Miko shook her head, challenging the old mech, “Only humans have authority over me.”

“And mostly not even them,” Bulkhead chipped in, waking up from his time in one of the stasis pods.

“Yeah,” Miko cheered. “This guy gets it.”

Miko was about to give up the argument to attempt sparring with Bulkhead but Ratchet was not willing to let the quarrel go.

Although you had been sat quietly in the corner, sketching Optimus from memory, Ratchet turned to you for your input; as the oldest human currently in the base, surely you had some authority over the youngling.

“(Y/N), surely you have something to say about this!” Ratchet demanded.

You glanced up from your sketchpad, startled to have so many people looking at you. Since these were your friends, you soon calmed and answered, “Yes, I think she needs an A chord instead of a D chord at the end of the song. Other than that, she’s really progressing.”

“You got it, boss,” Miko shot finger-guns at you, picking her guitar back up.

Ratchet stared at you coldly, “You use you power over that girl for evil.”

With that, he got back to work and everyone returned to their earlier activities. You smiled fondly at the rag-tag group of Autobots and humans. It might have just been you, but there was something intimate and comforting about having a few close friends as opposed to amassing a large group to show off like a status symbol. Ever since you had gotten tangled up with Miko, Jack and Raf as well as the Autobots, your life had certainly changed for the better.

You got back to your sketch, which would soon join the many art pieces that you did on the Autobots, all of which had to stay at the base so you didn’t blow their cover.

You quietly sang along to the song your phone was playing, losing yourself in the melody while you searched your sketch pad for inspiration. Lately, drawing seemed to be more of a strain rather than a pleasure, and you wished to reignite the creative spark that you once had.

“WHOA! IS THAT ANOTHER EARTHLING?!” An energetic voice called out, startling you. You immediately fell silent, whipping around to see a white bot with blue chassis staring down at you. “Oh hey, don’t stop singing, it was nice. Earth has wicked music!”

You opened your mouth, trying to force words to come out, but introductions weren’t your forte. You always tried to be friendly, but the fear of rejection often clawed at your mind, effectively shutting down anything you might say.

“H-Hello,” You finally managed, fighting past your fear to speak.

“Oh good, you do talk, for a minute there, I thought I’d scared the vocaliser right out of you.”

Subconsciously, you took a step back, tripping over the chair behind you and falling to the floor. Your cheeks burned red in a blush, but before you could further embarrass yourself, Optimus came over, placing a servo on the white bot’s shoulder plates.

“(Y/N), this is Smokescreen, a new ally to the Autobots. Smokescreen, you will have to be patient with (Y/N). She is somewhat shyer than our other human associates, but if you give her time to get used to you, she is a most useful ally and a good friend to us all.”

“Gotcha,” Smokescreen beamed at Optimus, starry eyed about the Autobot leader. “Catch you later, (Y/N),” He said before leaving to explore the rest of the base.

“Bye,” You murmured, thankful that Optimus had spoken on your behalf.

Optimus inclined his head towards you in acknowledgement, soon turning to follow Smokescreen out and make sure that the younger bot didn’t get into any trouble. You hoped that the next time you saw the new Autobot, you would be able to prove that you were more than just your anxieties.

Optimus stared at you as you stood at the base’s second floor balcony, overlooking Miko, Jack and Raf, all laughing together. It had been quite some time since he had seen you interact with the children. He had overheard you telling them that you felt rather unwell, and Raf had also informed him that you were coming up to a stressful period in your education; apparently, applying for colleges was a difficult time for young humans. Still, he knew that something more was weighing on your mind when you had stopped talking to him and the other Autobots, shutting yourself away for long periods of time.

“(Y/N),” He greeted you quietly, approaching the balcony.

“Hello,” You proffered a one-word greeting which you usually reserved for those you hardly knew, preferring to converse and joke with those you were familiar with.

Optimus frowned at the step down you had taken from being his friend to being an acquaintance once again. He didn’t wait to see if you would say more, knowing instinctively that you wouldn’t.

“Would you please accompany me outside? I would like to stretch my legs,” Optimus said, his commanding tone telling you that this wasn’t a request.

You nodded meekly, taking your time in going downstairs to catch up to Optimus. You weren’t sure what he wanted to talk about, but a gut-feeling told you that it wasn’t something that you wanted to hear.

He took you to a lift that was big enough for both of you, leading you up to the roof of the base, which was disguised to look like any other part of the Nevada desert. The two of you stood in silence for a while, looking out at the vast expanse of sand and rocky outcroppings before you; the view made you feel small and insignificant in the grand scheme of the universe.

Eventually, Optimus sat down, letting his legs swing over the side of the disguised cliff. He gestured for you to do the same. Seeing Optimus in such a casual position reminded you just how close the two of you were as friends, making you feel all the worse for shutting him out over the past few weeks.

You longed to ask Optimus why you were out there where no one could overhear you but the prospect scared you. Optimus didn’t take people aside without cause. He was a natural leader, always thinking about everything that anyone said or did. If one of his associates was acting unusual, it was up to him to get to the bottom of it; the problem was that you didn’t want to be psychoanalysed, you wanted to be left alone, to hide your fears and insecurities from the rest of the world.

Alas, nobody said no to Optimus Prime, so you sat next to him, wondering what lecture awaited you.

“It is a beautiful night, is it not,” Optimus proffered.

“Yes,” You answered dutifully, looking up at the stars.

Optimus sighed at your mono-syllabic response, “(Y/N), I have brought you out here because I have noticed that you have been acting unusual. Ever since I have known you, you have been so full of wonder, humour and life. You light up a room when you are with those you trust and you have a healthy appreciation for everything around you, but now you are shutting out anyone who tries to get close to you. I’ve seen Cybertronians who lose their way in life, losing interest in the things that once brought them joy, but I have never seen it in your kind… until now. Is something the matter?”

A sudden, raw anger burned inside you. Was something wrong? Of course there was, but why should that be anyone’s business but your own. You didn’t care to have Optimus prying into your personal life when he should have been focusing on his own, much larger problems.

“I was doing alright on my own,” You growled at him, your rage tainting your words with its stinging tone. “I don’t need your help, Optimus. I’m fine.”

“If I have learned anything from my time here on Earth, it is that when Earth females say they are fine, they are not,” Optimus replied sagely. “You may not wish for my help, but I am offering it anyway.”

You struggled with yourself for a while, partially wanting to shy away and hide from the world, yet also longing for the friend you had sorely missed.

“I’m tired,” You finally admitted. At your omission, you felt the sting of fresh tears that you had held back for so long. Naturally patient, Optimus waited for you to tell him all that had been weighing upon you.

“I’m so damn tired, Optimus. I don’t know what to do anymore.”

“Is this about your college applications?” Optimus asked.

You shook your head. While that was a part of the problem, it was only a small fraction of what you were struggling with. “I can’t see my future, Optimus. People ask me where I want to be in five years, and I don’t know the answer. How am I supposed to know what I want to do with the rest of my life? It’s not fair to ask. There’s too much to think about. And I just-”

“Go on,” Optimus encouraged when you faltered.

You took a deep breath, “I wish that my dad was here.”

Sorrow filled Optimus’ spark at the mention of your father. Humans usually had close ties to their families. He had quickly learned that parents traditionally acted as a youngling’s guide, always there to offer their advice and support. The closest thing that Cybertronians had in comparison were their mentors. Optimus sorely missed the guidance of his own mentor Alpha Trion, so he could imagine some of what you were feeling.

You sighed, exhausted by your outburst, “Sorry… You must think I’m selfish. There are people worse off than me, and all I can think about is myself.”

“Everyone has their struggles. They do not invalidate your own.”

For the first time since coming out, you really looked at Optimus Prime, seeing the anguish in his optics. His concern for you was touching, though seeing him worry only served to make you feel worse.

Optimus, sensing your feelings, spoke reassuringly, “If someone is concerned over your wellbeing, it means that you have made a great impact on their life. I hope that I too have made an impact on yours.”

“Of course you have,” You breathed. “You’re one of my best friends.”

“An honour I shall strive to be worthy of.”

“Optimus… What should I do?” You asked, referring to your future.

“I am afraid that is something only you can decide, but if I might offer some comforting words, you should know that I also do not know what my future holds.”

“But you’re Optimus Prime. You’re the leader of the Autobots!”

“Yes, but I have been in this war so long that sometimes I don’t think it will ever end. If it does, I will have to lead my people back to Cybertron, but tell me, how does one rebuild a planet and an entire civilisation with it?”

“…I don’t know.”

“Nor do I, but I do not fear this future. Instead, I embrace it, and lean on my friends for support. Friendships make us stronger; I suggest you remember that when we go back inside.”

You nodded, thoughtfully quiet. Optimus patted your shoulder comfortingly and the two of you stayed there for a while, looking up at the stars; a Cybertronian and a human, unsure of what awaited them in the future, but willing to face it all the same, with each other to lean on.

[softpadawan]

Ezra's Theme

Music & Character Analysis

As promised. I didn't plan to write a essay when I pulled up the Rebels Season One soundtrack on Spotify (I was in the middle of drawing), but once I reached Ezra's Theme, I had to stop everything I was doing and examine all 2:44 of it, it's that good.

0:00 Mysterious sparkly intro, nice parallel to how the audience meets Ezra

0:06 Segue into "Ezra's Theme", which is a variation on "Leia's Theme" with fewer notes. Solo French horn, forte. Bold, powerful and high timber = strength + youth (hint of vulnerability?); flute/woodwinds echo theme at 0:24

0:30 Timpani and cymbal roll leads into minor chord + sombre clarinet solo, almost tragic (molto dolore) string progression in the background (signifying Ezra's tragic life?)

0:37 Flute duet lifts theme out of the dark minor and rises above symphony, literally feels like wings of hope lifting you up (Kanan + Ezra = representation of this duo?); strings continue eerie tension before brass joins in (aka "Empire horns" lol, you only hear these when the Empire is around, the shadows of their ships falling across sunny ground)

0:44 Harp + chimes lead a sparkling path into a few measures of more brass-heavy "Empire shadows" before the "Sensing the Force" theme* begins, a 6-note scale (3 up, 3 down) punctuated by harp while strings sustain high note in background *that's not an official name, it's just what I call it because it plays when Ezra is sensing the Force

1:06 "Empire shadows" overlays "Sensing the Force" theme; possible symbolism of the the Empire dominating (or attempting to dominate) the Jedi?

1:20 New lead-in, solo flute and trumpet, piano (high wind + high brass. Delicate + ambitious?)

1:30 "Light of the Force" theme (my favorite theme in all of Star Wars) on solo French horn; strings sustained, harp glissandos; lower strings join in as theme picked up by solo trumpet, lifts into major chord again (glockenspiel or some kind of other metallophone in bg); this is like the "meat" of the song. It's one all Star Wars fans will recognize, and the fact that it follows the Empire themes could allude to the canon chronology: Empire conquered most of the galaxy in 19 BBY, then the Rebellion was born later

1:59 A few notes of Ezra's Theme from beginning, reminding us of who this song is about ("here's the world we've made, now let's put someone in it")

2:04 Clarinet solo original "Leia's Theme", very feminine: soft strings in background, harp throughout, flute picks up phrase and continues; shimmering, innocent, hopeful, youthful—and lonely (solo instruments impart singularity). Musical personification of Ezra himself.

2:34 Bass strings suddenly "wipe out" the brightness (the death of hope?); solo flute sustains pianissimo note over top of bass strings that bring us downward to a single minor note spanning several measures, quite ominous (tiny hope being overwhelmed by a large, strong, heavy darkness—but the light, while tiny, still endures).

Piece ends on a minor chord.

Why the dark, ominous ending?? Is it foreshadowing Ezra's struggle with the Dark Side? Is it just a convenient way to end the piece when it comes to mixing and editing? I've been asking myself this question for a week now and I have yet to come up with a solid hypothesis.

Synopsis: So many ups and downs in this, it's like a mirror of Ezra's life. Dominated by the Empire but unshakeable and unbreakable, the light that burns within him burns bright and persistent, even though it's small. This is made apparent in the consistent minor themes ending with a solo instrument, usually high timber to signify "small" size, holding on for several measures.

Ezra's theme ties in, probably as it was meant to, with Luke's theme (Light of the Force) and Leia's theme. A blend of the two, not wholly original, but meant to complement rather than compete. Kind of like the character of Ezra—he's not from the original trilogy, but pieces of Luke and Leia are apparent in him. Together they form a kind of Force triad, I think. All born around the same time, all Force-sensitive and powerful, if they had met, they would have wiped the Empire out so thoroughly that there would be no need for the Sequels lol.

In conclusion: Kevin Kiner did such an outstanding job with this soundtrack. I feel like not many people appreciate just how incredible the music is because Rebels is a "kids' show". Yes, many of the themes are preexisting and only some of the music is truly original, but it all bangs. This is the equivalent of reading a great book and then finding really awesome fanfiction of it. It's a love letter written to canon, and I think that's just beautiful.

[ginkgomoon]

Cyril- Character Analysis

This post was based on an ask made a while ago concerning Hypnos’ character. I personally think his appearance enhanced the development of the game for the Winter World chapters, additionally with the depth of MC’s character. Hopefully this post will help clarify some things in relation to who he is and why he is important to the game’s progression. Please enjoy his well-deserved character analysis post. And yes- lots of spoilers! Please don’t read if you don't want to be spoiled on future content from Chapters 19+.

“This is the world you wanted.”

Hypnos first appears in the Epilogue of Chapter 19, when MC escapes her dream (the one with the separate routes of the guys) and begins to enter the Winter World through Black Cabin.

A soft hue appeared amidst this world of frozen white. A handsome, elegant young man walked towards me from the mist. Snow fell upon him, but as if he was protected by some force, none stuck on him. For a moment, I felt that this person looked really familiar, but it was someone I’ve never met. His eyes seemed detached, yet full of pity.

“This world’s pretty interesting, don’t you think?”

I did not sense any direct threat from him, but I was also unable to let my guard down.

“Is this not the world you wanted? You were aware of it long ago. No need to go on deceiving yourself.”

His tone was peaceful, but there was a chill to it that made me shiver.

“In this world, time’s been frozen. Everything you fear hasn't taken place. It was not I who made this world, but you. Everything you have experienced is a product of that which you yearn for the most. If everything could start over, if life could return to normal, if none of this had occurred...”

He saw into my heart effortlessly, tearing down each fragile wall I’d made with each word that he spoke.

The man’s gentle expression turned cold. His smile faded into subdued indifference.

“You think everything you’ve experienced is fake? Everything is real. Everyone in this world had sunken into the same dream. We will forever remain in a dream land.”

The man chuckled gently. Snow and wind blurred his form, blurring my vision. -Chapter 19 (Epilogue)

Some people would probably have the reaction of ??? and others would think he’s a new love interest HAHA.

It’s clear that this section of the chapter does not give much insight into his character, his name or who he is all. But, we can (hopefully) tell from what we are given, that he will play an important role in the future since he has an actual VA, and is (quite confusingly) going on about “the world that she wanted”. Though, this will be all cleared up later. From here, he makes small appearances in the next few chapters, which helps foreshadow and gradually help set the final showdown to conclude the Winter World.

While my mind wandered, I accidentally ran into someone in the corner. Even more unluckily, as I retreated backwards I stepped on a slick patch of ice, almost sending me sprawling.

“Careful.”

A light laughter fell on my ears. Before I could react, I was caught by the person I bumped into.

“Are you okay?”

I looked up and was met with a pair of gentle green eyes. A handsome face filled my vision. For an instant, I felt that he was familiar, and the sight of an ice-covered world seemed to appear before me. He gracefully let go of my wrist in a gentlemanly manner, stepped back to a more appropriate distance. -Chapter 20-17

A man walked out onto a rooftop covered with snow and held out his hand, catching a snowflake falling from the sky. The snowflake in his palm turned into an exquisite, white robin with its eager wings spread as if escaping a prison and flying into the sky.

He looked down from on high, surveying the city blanketed in dazzling white snow, a faint smile on his face.

“Truly something to look forward to- a long cold winter.” -Chapter 21-25

At this point, we still don’t even know who this man is. Or if he even has a name! But finally, the chapter after reveals a little bit more to help us come to somewhat of a conclusion about his character.

Chapter 22-5

The automatic vending machine behind me kept repeating the same sentence. I turned around to find that the machine wasn't on the fritz- there was actually someone continually trying to make a payment. I couldn't help but go over to see if they needed help.

A pair of eyes clear as glass turned on me. Although there was a gentle look in his eyes, there was a subtle feeling of distance.

I suddenly recognised that face! It was that famous piano player- Cyril!

MC: “Excuse me, do you need help?”

A hint of warmth suffused his cold eyes, as he gestured in frustration at the vending machine.

Cyril: “Just want to buy a bottle of water, but I don’t know how to use these machines.”

(*Intense vending machine purchase in process*)

Instead, I decided to just point at the app on my own phone and give him a brief explanation, afraid that I would miss my bus.

MC: “This time, I’ll buy for you. This is the one you want?”

Cyril: “Right, thanks.”

When I accidentally brushed against his long, slender fingertip, there wasn’t even a hint of warmth.

MC: “Your hand is ice cold. How about I buy a warm drink for you?”

He seemed a little hesitant, but he gave a slight nod and accepted my proposal with a smile.

The drink thunked down into the dispenser, and before I could react, he already bent down and retrieved the bottle and mine from the machine.

When he extended the drink to me, I realised that at the bottom, there were two kinds of paper, which appeared to be tickets of some kind.

I lifted them up and carefully looked at them. They were tickets to an upcoming and very sold out piano tour. Moreover, this was for the final VIP performance aboard the HMS (Abbreviated for “Her Majesty’s Ship”) Victoria.

He may not look like it, but he’s actually quite a warm, kind person.

The silver haired man watched as the bus drove away, and the drink in his hand turned solid ice without him noticing.

As snow drifted down around him, a faintly perceptible smile formed on his lips.

“I’m sure you’ll enjoy it.”

We find out that the young man’s name is Cyril, a famous piano player. During this exchange, Cyril is taking his time to observe MC and how she’s responding to the Winter World. He appears to be genuinely surprised about MC’s display of kindness, even though she’s been tossed out by the men most important to her, and into a foreign world wreaked of havoc.

He lets MC purchase the warm milk tea for him, and they both talk about the most mundane things ever. This may seem like just filler conversations, but actually holds importance because it actually influences how he views the world and MC in the future.

Cyril then uses this chance to extend his invitations to his sold out piano performance on the HMS Victoria. MC thinks he’s “quite a warm, kind person”- to which, we will find out if she’s wrong later. We also can confirm that he is an Evolver as we watch him turn his drink into solid ice, as well as the same man who was left unidentified in the previous chapters.

Chapter 23-13

??: “At this point, we’re all certain that the one behind this “Eternal Winter” is one of our former members.”

??: “Another traitor?”

??: “One with the power to traverse time and construct dreamscapes. There's only one that it could be.”

??: “The traitor code-named Hypnos?”

With those words, a deathly stillness fell over the air, as if some indescribable darkness had stolen into the room.

True name: Unknown. Age: Unknown. Evol: Time travel, dream construction.

Pitifully few clues to go on, not even a single photograph.

Was that person who trapped me in that dream and the traitor the same? If it was true that everything before happened on another world’s timeline, then does that mean this person had jumped through into this world timeline?

??: “Just what is he planning to do?”

??: “Whatever it is, since he’s a traitor to the organisation, it’s bound to be contrary to our goals. We must put a stop to him.”

??: “Continue the investigation. We must find the satellite coordinates. We cannot let him interfere with our plan.”

If this mystery mastermind had such powerful abilities, then what chance do I have at stopping him?

The hexagonal crystal symbol wasn't a major part of their discussion, but it stuck a faint chord with a hazy part of my memory. I finally remembered- that ticket to the concert!

They consider this powerful Evolver- Hypnos, a traitor to Black Swan and the individual behind the Eternal Winter incident. But nobody knows what he looks like. However, MC notices that the hexagon design is seen similar to the tickets that Cyril gave to her for his performance on the HMS Victoria. She now knows that Cyril is Hypnos, then realises that the satellite launch isn’t on land, but on sea. She knows how to stop the winter from spreading.

Here we automatically assume that he’s another Black Swan bad-guy-turned-traitor. What is his true goal? And why does it have to be that handsome piano player, out of all people?

Chapter 24-5

Before we could enter the main hall and check out the situation, a sonorous piano melody was belated through the ship’s speakers over that whole patch of sea.

The gentle tune formed an invisible yet unbreakable net in the air. Everyone in proximity to it became the piano music’s prisoner, unable to escape.

I felt a strong feeling of drowsiness. I tried to stop it but it seemed to have already gotten into my veins. Every cell in my body reverberated with it.

Everyone in the hall was swaying like soulless puppets, and on the stage, Cyril held his eyes slightly closed as he played the last requiem for them.

Chapter 24-7

MC travels to confront him on his ship, and watches him entrance people with his piano playing. This is how he got his code-name “Hypnos”. (Similar to how Kiro can charm and control people). Thankfully, Helios appears, his Evol is powerful enough to command MC to escape this.

“Why can’t a lie... be a good thing, too? Is this not the world you wanted?”

An anonymous voice seeped into my consciousness, accompanied by a dim, far away sounding piano.

The false warmth swooped in, and exhausted as I was, I chose to accept it.

My hand was originally grasping at air, but just then I distinctly felt the touch of something solid and warm. I could faintly feel someone grabbing onto me tight.

I forced open my heavy eyes, and a familiar outline filled my blurry vision.

“K- Kiro...?”

For a second, I couldn’t tell if I was in a dream or reality. His face was in shadow, and those usually sea blue eyes now flashed golden, as beautiful as the night stars.

He shouted at me, loud enough to hear over the inescapable piano music-

“I command you to awaken!”

Although without a hint of warmth, his eyes were like the first rays of dawn filtering through the curtains, melting away the fanciful dreamworld clouding my brain.

-

“I’m not like Ares. I don’t care about any Queen. If you want to influence the outcome, you have to do it your own way.”

Cyril still didn't stop playing, and instead kept moving his fingers across the key in a self-satisfied manner. The audience were completely under the spell of his melody, sunken into the deepest depths of a dream.

A black pistol was pointed straight at him, but the enraptured pianist did not let that stop his performance. Helios wasn’t in a hurry either, waiting quietly for the perfect, culminating core for this piece.

Just as the final note was stuck, Helios resolutely pulled back the tigger. A stream of smoke rose from the gun, but Cyril was somehow unharmed, blocked by an invisible force field.

Helios: “You constructed this dreamscape long before.”

Cyril: “I just don’t want this performance to have any interruptions.”

He rose elegantly from his piano bench and took a deep bow toward the hall absent of applause. Then he sauntered off the stage and looked at me.

Cyril: “You finally came.”

Chapter 24-9

Cyril: “Thank you for teaching me how to use the vending machine.”

I didn't expect him to speak up first, much less did I expect him to bring up that. As if we weren’t staring into the upcoming apocalypse, but just another utterly normal day.

Cyril: “It was you who showed me a different side of life. Although I still think, milk tea tastes better iced.”

MC: “But that doesn’t mean you have to wipe out the people who prefer drinking it hot.”

Cyril: “I think you misunderstood me. Just like you, I love this world. I love the complexity and uncertainty humanity has brought to it. I just think, it just doesn't have to move so fast.”

The smile he had showed- made me believe that from the bottom of his heart, everything he did was to make the world better, and that he should not recover any blame or interference from anyone.

Cyril: “Before one fully understands oneself, power beyond control can only be dangerous. Just like if I were to ask you now, do you truly understand yourself? How would you answer?”

He chuckled at my inability to respond.

The thoughts in his heart were hidden beneath a glacier, and all it showed on the surface was the very tip of it, preventing me from ever getting a clear idea of what he was thinking.

Cyril: “I’ve prepared a little gift for this kind of world.”

A giant steel tower shot upwards and stood tall between the water and sky. The satellite launch tower!

Cyril took hold of my hand and causally moved the key from his own hand. Before I had time to stop him, I saw crystal clear ice form at his fingertips. Pure and unblemished, but also dead. Just like this world before us.

Cyril: “Isn’t this a nice way to end things? This. Is the world you want.”

He then hands MC to press the button for him, then freezes the key to the Black Cabin. Cyril here genuinely believes that what he is doing is good for MC, as he uses the satellite launch platform from the ocean to spread the “Eternal Winter”- the “perfect world”.

Black Swan still pursues evolution of all humanity, but Cyril doesn’t agree with their methods. He knows MC is the Queen and thinks that in this Winter World, this is how she will only grow- without those she loves- if she had not known the boys and everyone she cares about. "If none of those things in the original world had occurred..."

What Hypnos stated reminds me of the Winter World Helios and what he said from when he saved her in Chapter 21.

“The weak should learn to survive on their own. No one will help them. Do everything you can, by fair means or foul. Give up everything in your past… even yourself. If you can’t do that, then go back to the world you came from.”

Which is a little nice touch because Helios appears to save her again with his Evol- but this time, MC is saving the world in her own way. She is not identifying with QUEEN first- but as herself. She had seen and been through so much pain to grow her mental and emotional strength to persevere and save this world with her kindness and love for humanity. MC, herself, has evolved.

Chapter 24-10

Cyril: “Not going to give the button to the launch a push? Perhaps you’ve forgotten, this is only my dream. Any decision you make here won't affect the outside world. Aren't you at least curious? The perfect world I wanted.”

What is the meaning of existence in a world of unrealistic perfection!?

MC: “If I do that, wouldn’t I be like an ostrich, sticking my head into the sand?”

Cyril: “If people found the perfect pile of “sand”, who knows if they’d stick with reality- and choose not to escape? After all, in reality, no one can predict what's going to happen from second to second. But in a perfect dream, everything always unfolds exactly as people desire.”

MC: “I can’t answer that for others. But it shows that the decision for how to answer should be left for each individual person.”

Cyril: “The way I see it, those who have no ability to judge never had the right to choose in the first place.”

Naturally, traitor though he was, he was still like others in Black Swan, holding a disdain for normal people, deep in his bones. When he rebelled against wasn't the thinking of the organisation, but their methods. But no matter which method of theirs it was, they all wanted to force their ideology on the whole world.

Did the world really need their brand of reason? Did humanity really need their idea of progress?

Everything in existence follows its own, original path, with absolutely no need for human intervention. And what I had to do was to maintain this balance.

I abruptly placed the remote back in his hand and told him my final decision.

It’s clear that Cyril doesn’t have that much experience with normalcy or identifies with at least humanity. He believes that it’s better to ignore reality and to live in a dream without the memories of the past or mourn the loss of others. Frozen without emotions, pain, or progress- the “perfect world”.

Chapter 25-4

After MC accepts her QUEEN identity, she finally uses that power to unite all timelines ultimately defeating Cyril, then returns back to the original world. Weirdly, he appears in front of her when she wakes up.

Cyril: “I believed I warned you long ago, no matter what world it is, it doesn't make much of a difference. You assume too much. In this world, I am just like you, a normal person. Think of it… as the price I’ve paid. My choice… was made for you. You were growing too slowly. Maybe that world was best suited for you after all. Too bad, you were too muddled to realise it. This world may soon experience a change, and it’s the kind of change that has nothing to do with you.

Time Subway

Time Subway takes place before Cyril leaves, after MC is hospitalised in Chapter 32. It reveals more about MC’s power and spiritual connection to Loveland City, the rest of the worlds and their timelines.

They meet on the train, though MC can’t remember meeting Cyril before. His piano music continues to play as the train moves backwards. (And that’s the thing about the subway- the train goes in cycles to each station, to the memories and worlds MC has previously lived in.)

Chapter 5

MC: “This train is really strange. It’s going backwards.”

Cyril: “Does the direction really matter? Though, I’ve never been on a subway train. Perhaps, there are a few imperfections.”

MC: “How did you get on the train?”

Cyril: “Same as you, I guess.”

MC: “Do you know where this train is going?”

Cyril: “To a place you want to be. So embrace your imagination. Think of everything you ever wanted. Eventually we will arrive at the perfect ending you’ve longed for.”

Chapter 6

MC: “I feel like I’m forgetting something. My memory has been foggy ever since I boarded this train.”

Cyril: “You do know me. You have to recall those memories on your own. Do you want to remember everything? Or, do you prefer to give up the past and start again right here?”

Cyril seemed to be hinting something, I felt that he’d always use such implicit language, but I couldn't remember when…

Chapter 7

Somehow this train gave me a sense of security. I could feel a familiar resonance between us. As if it was closely linked to me in the first place.

A thought slowly came to my mind, maybe I could decide on its direction at some point in time.

MC: “Why do you want me to go to the past?”

Cyril: “Back to when everything hadn’t taken place, isn’t that what you wanted? I’m only doing this for you. Sorry I didn’t ask for your permission. But you’ll be my best work.”

Chapter 8

Cyril: “This world belongs to you. My power doesn’t work here. I’m nothing more than a normal person in the real world. I’m going to use my power one last time. And this will be my final work. A perfect world is still what I’m after. It was you who broke free from the world I created. You showed me my limit. Indeed, the power triggered by your emotion outshined my skills. That’s why I chose your spiritual world, as the raw material of my final work.”

MC: “So this is just an infinite cycle within my spiritual word, isn’t it?”

Cyril: “I won’t say you are wrong. In this train, you can choose any stop and choose any exit you want. When you step out, this world becomes more complete. Meanwhile, this dream will continue the everlasting cycle, which is also your karma.”

MC: “So do I stay here?”

Cyril: “You can choose to leave… if you have the power to battle yourself. If you leave, this world will continue to exist all independent from all time space.”

MC: “How do I leave?”

Cyril: “You have to discover that for yourself.”

MC: “...Cyril, I need to go. If there’s really a perfect world you want, just take this world as my gift to you.”

Cyril: “I see, thank you... If only you could eventually put an end to this cycle.”

Chapter 32-1

Cyril- “I came to say goodbye.”

MC: “All that stuff that happened to me after losing my Evol has something to do with you. Starting from when “I ran into you” on the train, it was all a part of your plan.”

He smiled slightly, met my hostile gaze without a hint of displeasure. He didn’t deny it, but he didn’t admit it either. There was an undercurrent of tension to the stillness, but also some unusual and subtle peace.

This pianist… I’ve never seen anyone so out of touch with the world.

MC: “The vending machine, the scammer in the square, thorns on a flower, you don’t have much experience with everyday things, do you?”

Cyril: “However, it really has been a long time since anyone’s talked with me about such things.”

I may have been imagining it, but I seemed to detect a hint of nostalgia in his voice.

MC: “Just what are you after, coming here to see me like this?”

As he spoke, he reached out and put his hand at the back of mine. His fingers were ice cold.

But in this brief moment, a flurry of images flashed before my eyes.

Four white walls, an empty room, a triangular piano of translucent crystal placed in the corner. The figure of a man gradually emerged before the piano bench.

His thin graceful fingers danced daintily across the keys as snowflakes fell upon him and settled undisturbed.

That gentle piano melody reverberating in the shadows also came out as a muttered groan from the girl as pain hit her.

Suddenly, the piano playing intensified, the tempo building to a frenzy like a subway train rattling through a tunnel.

I saw a boy get up from the piano, walk to the front of the stage, and take a bow to the thunderous roar of applause.

The scene shifted. The boy was once again standing in the gloomy storm, holding a white rose to his chest, listening in silence to a priest delivering a eulogy.

??: “Keep playing, Little Cyril. Use your power and help Mummy make the perfect world.”

Cyril: “A perfect world… I’ve got it.”

I saw his past, present and future. I saw the boy slowly growing up and playing that final melody in the centre of a frozen plain. He played tirelessly, as if he’s trapped inside in a world of memory.

Cyril: “Can you tell me what you saw?”

In those crystal clear eyes, I saw my own expression, and there was an ineffable expression of sadness to them.

MC: “Is a perfect creation… really that important?”

Cyril’s eyes were flat, like the negative space in an ink wash painting.

Cyril: “The sad fact is that they will never be able to achieve it.”

MC: “But absolute perfection doesn’t exist. Everything has blemishes and faults. But that doesn’t mean that they’re not good enough, and it certainly doesn’t mean that they don’t have a right to exist in this world.”

Cyril: “Perhaps. You’ve certainly proven that point yourself. One final thing before I go, of course, you can choose not to believe it. Perfection has never been an illusion; everything in this world has a singular, perfectly-suited exit. Although, I think you already found it.”

MC: “Where are you going?”

Cyril: “A world that belonged to you, but now belongs to me. Thank you for the world you’ve given me, and the interesting memories. And that bubble tea, I quite like the flavour.”

His words fell softly, as if shrouding me in a tranquil, pure white dream.

Upon seeing his past, present and future, all that MC sees is Cyril playing the piano. It turns out, his true motivation for creating the “perfect world” was for his mother when she passed. With MC’s help, he finally admits that it cannot be achieved. He isn’t directly hostile like the other Black Swan members either, and calmly admits his defeat and accepts MC’s decision.

Behind the Curtain- 6 (Chapter 28)

??: “If you want to see it, go. The door being opened will be closed soon.”

The black box grows bigger, and fills the entire vision in black-

Cyril: “Do you know the origin of the name BLACK SWAN?”

I see an elegant young man standing inside a luxury gift shop. There, piano pieces are playing. He looked down at me. The black box reflects in the cool eyes looking a lot like snow.

MC: “Am I inside the box?”

Cyril: “BLACK SWAN” is a word that means an unexpected event. Humans have no way to predict the impact of the event. When I first heard their name, I immediately saw the appeal. I also wanted to be a part of it. But…the majority of them still live in this illusion. Only a few were aware that humanity is ignorant. They can't help me to complete my work.”

While speaking, he pressed the crystal piano keyboard. The jolting sound echoes—

Cyril’s Mum: “With your power, continue this and please show me the perfect world.”

The woman lies on bed, looking at him with those beautiful eyes that looked a lot like that boy’s. There’s no strength in them.

Cyril’s Mum: “For one last time, I want to experience the beauty of this world with my whole being. That’s also the reason for your existence.”

The boy then grows up in the snowstorm and turns into an innocent boy. His outline became sharp, becoming an elegant young man.

The snowy wind pushes the window open and surrounds his mother. She then transforms into white snow and suddenly disappears.

The man doesn’t notice the occurring snowstorm, but instead concentrates on the graceful piano playing.

A piece of glass shatters and lands on the piano. The young man engrossed in playing keeps an eye on the keys.

MC: “Look out!”

The piece of glass cuts the young man’s long finger. A line of blood flows, on the skin like ice and snow.

The young man finally stops. As if time had been frozen, the lingering sound of the piano remained in the room covered with heavy snow.

He looks up. Like an innocent puzzled child who touched the piano for the first time, those eyes come into mind.

Cyril: “Who…are you?”

MC: “...who am I?”

Cyril had been stuck all this time within his memory of his promise to his mother- in pursuit of the “perfect world”. His world was biased upon thinking that humanity- even Evolvers, were ignorant and unable to help him achieve his goals. This demonstrates the divide and individuation between each Black Swan member of not being able to work together effectively to achieve the collective goal- of the “New World”.

It was nice to see MC being able to overcome her self-doubt and enter Black Cabin by accepting the QUEEN title in a world so foreign to her. Her hope, love and determination had saved the world again. Cyril played a huge part in this chapter of her life, almost like prepping her for the final prophecy of fate.

And “Doomsday” is coming.

[souryogurt64]

I’ve been looking but I can’t find much about Patrick talking about this except for when he released Soul Punk and said his mom told him it finally sounded like him 🥺

But idk do you think Patrick had kind of like impostor syndrome at least when the band first started out? Like I’m sure he had girls throw themselves at him thinking that Bc he was the lead singer those were his words and they… weren’t, like they were Pete’s and idk if he felt like he was voicing someone else’s image like Pete was using him to speak in a lot of ways - like I know Pete did most of the promo bc patrick was shy but like idk. I feel like casual listeners (unless they were super into tabloids) would just assume and think he was this sexy depressed emo boy who wrote about lying in the dark on top of girls and telling girls to keep quiet because nothing comes as easy as them snd.. Patrick was not like that as evidenced by Soul Punk.

Idk it’s like he’s very different from Pete so I feel like that would result in some cognitive dissonance at least at first esp when all these people sssume he wrote the words. And I’m not saying he didn’t contribute at all like obviously he’s the reason most of the music sounds the way it does bc he is an amazing composer but like the words aren’t his and that’s a huge part of FOB too and like no girl is gonna come up to him and be like “omg I love the way you decided to use this chord progression here” (I mean maybe there would be but it’s less likely than “omg I love how you understand me, like yes put the doctor on the phone cause I’m not making any sense” and he’s not the one responsible for that). Idk. I mean I get why he wouldn’t talk about that like that’s uncomfy bc pete would’ve been right there and like I���m sure Pete didn’t love being overshadowed just bc he didn’t sing the words. I mean Pete did his best to make sure he wasn’t overshadowed lmao, if anything Joe and Andy are the underrated members of the band but I’ve been thinking about this whole Patrick/Pete recognition thing a lot lately. I think now they’re cool I mean if this was an issue they wouldn’t still be making music together but I feel like it would’ve had to have been an issue at some point during the first few album cycles

Also I think this is why Patrick is very upset over Soul Punk’s reception and it makes me sad :/

oh absolutely i agree with everything you said re:words v music. pete doesnt even believe girls actually want to fuck him let alone patrick. like obviously theyre celebrities so nobody really knows them but i mean purely physically, like i think its clear patrick doesnt think girls want to screw him purely based off of looks and pete doesnt think that either even though he was a sex symbol because hes like 5’5” and has huge teeth and chubby cheeks

i also think that patrick and joe have literally no concept of a normal life because pete just kind of swooped in and took them on tour when they were 16 and they were barely ever home, and pete who was 21 engineered this whole thing and then by the time folie failed and the band broke up patrick was literally only like 25 and he had been in this band for almost a decade and went from being a kid from the suburbs to super famous to this washed up celebrity. could not imagine. like what would you even do. how would you even live. the you liked me better fat essay is so desperate

same with panic at the disco honestly, ryan was only 24 and the same thing had happened and in the only TYV interview hes wearing a suit and talking with this pretentious wannabe british affectation and trying to look so suave and like he has his shit together but he cant stop fidgeting and theyre asking him about tanking record sales etc and hes clearly freaking out, tyv also kind of failed and then he ended up hooked on coke. its so sad honestly

[authorofemotion]

3, 10, 15, 17, 27, 34, 42 for the bookish asks!! hehe sorry that's kinda a lot <333

thank you for the ask friend!!!

3. What book are you planning to read next?

Well approximately 10 minutes ago I finished This Savage Song by Victoria Schwab and it was SO GOOD and i’m still processing the EMOTIONS but I’m reading the sequel next!! It’s called Our Dark Duet. Good spooky vibes :)

10. Sci-fi or fantasy? why?

Definitely fantasy. I do like sci-fi, it’s just not my go-to. It might be because I don’t like science in general so I tend to stay away from it, but when I do read/watch anything sci-fi I tend to enjoy it.

15. What book changed your life?

Oh, so many have. All of Lewis’ books have to some extent (ESPECIALLY The Great Divorce) but I’d actually have to say one of these three: The Lamb’s Supper by Scott Hahn (it’s about the Catholic mass and how it connects to the Bible), Behold Your Mother by Tim Staples (gives a REALLY good explanation of the Catholic image of Mary. It might have been the one that converted me), or A Father Who Keeps His Promises by Scott Hahn (it’s about the Old Testament and how you can see God working towards the salvation of humanity through all of it. really mind-blowing. this one isn’t inherently Catholic and I’d really recommend you read it if you’re interested!!) I know I cheated a lot and didn’t pick a book but yeah

17. If you owned a bookshop what would you call it?

Hmm well I kinda want to sell books at my tea shop (when I get it), but if I were to own specifically a bookshop, I’d call it The Book Nook (but with a cool logo) because l’m not good with names

27. If you could change one thing about mainstream literature what would you change?

I’d really like to change people’s taste in books because the number of adults I see complaining about Jane Austen being a symbol of the old white male patriarchy who decides what books are famous makes me irrationally angry and I can go on a whole rant if you want me to (honestly it might be therapeutic) but I won’t bother you with that now. don’t even get me STARTED on the people who think SJM is the height of literature

That doesn’t answer the question though so I think I’ll go with the themes in modern literature. Like Bridgerton is like Jane Austen except take out all the deep themes and make it about sex. And everything has to be high stakes and everyone has to lose their moral compass. I want people to actually be saying something with the story they’re telling me. Like yesterday I finished The Goldfinch by Donna Tartt. It 800 pages long, dense writing, almost no plot, and the main character was following a corruption arc. But I read all the way to the end. Why? Because she built the story up by themes. Reading the book was like listening to someone go up a major scale, or a chord progression, and setting the book down would leave me with a sense of incompletion. I had to get to the end and hear that last note. and it was worth it.

34. List five OTPs.

huge shift in tone lol but Kaider (The Lunar Chronicles), Tavik and Gelya (Soulswift), KANEJ (Six of Crows), ZOYALAI (King of Scars), Peter and MJ!! (Spider-man: Far From Home)

42. What was the best book you had to read in school?

My assigned readings have all been really bad but a couple times in 8th grade we were just assigned to “read a classic” so I technically read both Pride & Prejudice and The Hound of Baskervilles for school and those were obviously so good

[sitaramasilamani]

Expressing Yourself: Finding Your Voice Through Songwriting as a Beginner with Sitara

Songwriting is a powerful form of artistic expression that allows individuals to convey their thoughts, emotions, and experiences through music and lyrics. While the process of writing a song may seem daunting to beginners, it offers an opportunity for self-discovery, creativity, and personal growth. In this blog, we will explore songwriting ideas and techniques for beginners, offering practical tips and inspiration for finding your voice and expressing yourself through music.

Tap into Your Emotions

One of the most effective ways to start writing songs as a beginner is to tap into your emotions and personal experiences. Think about moments in your life that have made you feel joy, sadness, love, or anger, and use those emotions as inspiration for your lyrics. Write from the heart and be honest with yourself about what you're feeling. Don't be afraid to be vulnerable or raw in your writing – authenticity is key to connecting with your audience.

Allow yourself to explore a range of emotions as emphasized by professionals such as Sitara, from the highs of happiness to the lows of heartbreak. Each emotion holds its own power and can serve as a catalyst for creative expression. Remember, there are no right or wrong feelings when it comes to songwriting; what matters most is your ability to convey them authentically through your music.

Experiment with Melodies and Chords

As a beginner songwriter, it's essential to experiment with different melodies and chord progressions to find what resonates with you. Start by playing around with simple chord structures on your instrument of choice – whether it's a guitar, piano, or ukulele. Don't worry about making everything perfect right away; the goal is to let your creativity flow and see where it takes you. Try out different rhythms, tempos, and styles as emphasized by professionals such as Sitara, until you find a sound that feels right for you.

Don't be afraid to step outside your comfort zone and try new things. Play around with unconventional chord progressions or experiment with alternative tunings to discover unique sounds and textures. Remember, the beauty of songwriting lies in its endless possibilities – embrace the freedom to explore and innovate as you develop your own musical style.

Find Inspiration in Everyday Life

Inspiration for songwriting can come from anywhere – a conversation with a friend, a walk in nature, or even a fleeting thought that crosses your mind. Pay attention to the world around you and the moments that stir something inside you. Keep a journal or voice recorder handy to capture ideas as they come to you, and don't be afraid to draw from your own life experiences when writing lyrics. Remember, the most compelling songs often come from the most ordinary moments. Sitara Masilamani

Take time to observe the world with curiosity and wonder. Notice the small details – the way sunlight filters through the leaves or the sound of rain tapping against the window – and let them inspire you. Every experience, no matter how mundane, has the potential to spark creativity and ignite your imagination. Trust in your ability to find beauty and meaning in the world around you, and let it infuse your songwriting with depth and authenticity.

Use Imagery and Metaphor

Adding imagery and metaphor to your lyrics can elevate your songwriting and make your songs more engaging for listeners. Instead of stating things directly, try painting a picture with your words and evoking emotions through vivid imagery. Use metaphor and symbolism to convey complex ideas in a simple and relatable way. Play with language and experiment with different word choices until you find the perfect combination that resonates with your message.

Allow your imagination to run wild as you explore different ways of expressing yourself through metaphor and symbolism. Draw inspiration from literature, art, and the world around you to create rich and evocative imagery that brings your lyrics to life. Don't be afraid to take risks as emphasized by professionals such as Sitara and push the boundaries of traditional songwriting – the more creative and original your imagery, the more memorable and impactful your songs will be.

Collaborate with Others

Collaborating with other musicians and songwriters can be an invaluable learning experience for beginners. Working with others allows you to bounce ideas off one another, gain new perspectives, and learn from each other's strengths and weaknesses. Don't be afraid to reach out to fellow musicians in your community or online forums and explore opportunities for collaboration. Whether it's writing lyrics, composing melodies, or arranging instrumentation, collaborating with others can help you grow as a songwriter and expand your creative horizons.

Embrace the opportunity to collaborate with musicians who share your passion for music and creativity. Be open to feedback and constructive criticism, and approach collaboration as a chance to learn and grow as an artist. Remember, the most powerful songs often emerge from the synergy of diverse perspectives and talents. By working together with others as guided by professionals such as Sitara, you can create music that transcends individual limitations and resonates with audiences on a deeper level.

Embrace the Process

Above all, remember that songwriting is a journey, not a destination. Embrace the process of exploration, experimentation, and self-discovery as you navigate the world of songwriting as a beginner. Be patient with yourself as emphasized by professionals such as Sitara and allow yourself the freedom to make mistakes and learn from them. Celebrate your successes, no matter how small, and keep pushing yourself to grow and evolve as a songwriter. With dedication, perseverance, and a willingness to express yourself authentically, you'll find your voice and create music that resonates with others.

Trust in your creative instincts and believe in the power of your unique voice. Remember that every song you write is an opportunity to learn, grow, and refine your craft. Don't be discouraged by setbacks or challenges – embrace them as opportunities for growth and self-improvement. Stay true to yourself and your artistic vision, and never lose sight of the joy and fulfillment that songwriting brings. With time, patience, and perseverance, you'll unlock your full potential as a songwriter and create music that reflects your innermost thoughts, feelings, and experiences.

[rainhadaenerys]

Analysis of the Game of Thrones Soundtrack: House Targaryen

This an analysis of the music of House Targaryen by Jordi Maquiavello. I really love his videos, I think his analyses are brilliant, but unfortunately, a lot of people don't know them because they're in Spanish. So I decided to try to translate this video, one of my favorites, in which he talks about the music of House Targaryen, mostly about Dany's themes. By the way, before I start, I must warn that I don't actually speak Spanish. But I'm a Portuguese speaker and the two languages are very similar, so I think I could understand most of what was being said. If I commit any huge mistake, feel free to warn me. Also, I might skip some parts of the video like jokes or other parts I didn't think were essential, but I tried to keep the translation mostly faithful to what was being said. Anyway, let's start.

Before we start, the Game of Thrones Soundtrack can be found in the public articles of Wikipedia (HERE).

Season 1

House Targaryen has themes related to three characters: Daenerys and Viserys Targaryen, and Jorah Mormont. The first theme we hear in the show is Viserys' theme, "A Golden Crown". Later we will see why Viserys has his own theme and what's the meaning for Dany's character development. What we hear is a harp as the main instrument, and the theme contains several rests (pauses). It's a theme with a mysterious sonority, and finally, a group of violins joins when Daenerys enters the bathtub. It's a very different theme from the intense ones we will later see with Daenerys.

(Link to A Golden Crown)

(Link to the bathtub scene)

In the next scene, we see the first appearance of the Dothraki. Their theme will also influence a lot Dany's theme in the future. The theme is called To Vaes Dothrak, and starts with a duduk. It's an Armenian wind instrument, and it's the main instrument of the Dothraki theme. This duduk is accompanied by drums that play in the rhythm of a horse ride, obviously because a huge symbol of the Dothraki people is the horse:

(Link to the theme To Vaes Dothrak)

(Link to the scene where Dany meets Khal Drogo)

Again, when Viserys whispers in Dany's ears, Viserys' theme plays again, this time with a distant violin. And in this scene, Dany and Drogo's romantic theme, Love in the Eyes, plays for the first time. But the theme plays in an accelerated rhythm, because in this scene, the theme is from Drogo's perspective [I didn't understand everything Jordi said here, but that's the gist of it]. The drums sound progressively, until Drogo and his bloodriders ride away.

(Link to the theme Love in the eyes)

In Dany and Drogo's wedding, Drogo gives her a white mare, and we hear the theme (Love in the Eyes) because Daenerys is grateful for the gesture, but we hear it distant because she still sees Drogo as a brute barbarian and she doesn't like him very much.

It's important to talk now about the musical theme of the fucking dragon eggs, which are chords in a metal wind instrument (brass instrument) that appears every time the dragon eggs appear. It's the "Finale theme", theme of the birth of the dragons, but played softly here in the beginning. (This sound appears in this scene the moment the dragon eggs are shown)

During the rape scene, the theme that starts playing is Love in the eyes, but the scene ends with the theme playing in a minor tonality, because obviously, Daenerys isn't happy.

(Link to the wedding scene)

The next episode starts with the dragon eggs. Again, the fucking eeeeeeh sound. Here, the composition is very interesting, because we hear very distant chords very, played with a duduk of what will be the final composition, because, for the first theme, we are told directly about the dragons, instead of just showing the damned eggs.

When Doreah teaches Dany how to please Drogo (he starts a small rant of why he hates Dany x Drogo), "Love in the Eyes" plays, to prepare us for the next scene. (Jordi then remarks on how incredible Dany's evolution is, when Dany is here timid even though Doreah is her slave, and later she will be confident with Daario). During Drogo and Dany's sex scene, Love in the Eyes plays, but it sounds perfectly melodic now, because they are finally both in love with each other (he then starts to rant against Jonerys haters that say Jonerys was rushed even though Dany goes from being raped by Drogo to being in love in an episode and a half).

(Link to the dragon eggs scene, Doreah teaching Dany, and Dany and Drogo sex scene)

Let's skip some scenes that don't go anywhere and start again our analysis in Viserys' death. When Viserys threatens Dany, we hear some chords that intensify to generate expectation, fear, unease. When Viserys believes he got what he wanted, the theme Golden Crown plays, because he believes he finally got what he wanted. But things get twisted, and we hear minor chords, and meanwhile we see Viserys beg for his life. It's pertinent to remark something very cool, that the theme doesn't change while the gold pours on Viserys, and the theme stops playing just as Viserys dies. Viserys' theme goes with him just as it came.

(Link to Viserys' death scene)

I'm going to skip the parts before Drogo's death, because they have nothing important, and won't influence the soundtrack in any important way. When Daenerys kills Drogo, the theme "When the sun rises in the west" plays. This theme starts with recycled chords from a previous scene, in which the Maegi tells Dany for the first time the famous phrase, "when the sun rises in the west and sets in the east, blah, blah, blah… I am a witch", and then Love in the Eyes stars to play, but there's something important in this composition, this theme lacks something: the drums. The duduk will even play the theme faster, the melody is modified because Drogo has died. The drums that evoked a horse's gallop no longer are here, and the theme is not sounding in a moderate tempo (tempo is the rhythm, how fast a music goes), but at an accelerated tempo. We could almost say it's Presto (a faster tempo), but I'd say it's an Allegro tempo.

(Link to "When the sun rises in the west")

(Link to the scene where Dany kills Drogo)

Let's talk about the scene of Drogo's pyre. The scene uses three themes. First place, the fucking metal wind instrument sound of the dragon eggs that drive me crazy (when we see the dragon eggs). In second place, Love in the Eyes plays for the first time associated with the love theme from Jorah's point of view, when Daenerys kisses his cheek. Here is the first time Dany shows affection to Jorah. Before this, we knew Jorah liked Dany, but this is the first time Jorah receives a show of affection on Dany's part. The theme Love in the eyes plays solemnly, with inverted chords.

In the continuation of the scene, the drums come back, because Daenerys has established her own leadership position over the remaining khalasar, combining with the theme of the dragon eggs. It's in this scene that the theme Love in the Eyes becomes Dany's theme permanently, dissociating the theme from Drogo. Love in the Eyes intensifies as Dany enters the fire and dies. (Basically, Dany has taken over Drogo's role, which is why the drums are not just for him, but for her)

(Link to the theme that plays in the scene, Fire and Blood)

(Link to the scene)

In the next scene, finally, we see the dragons, and the metal wind instrument sound that we we hearing since the fucking first episode. And when Dany starts to get up, this theme used for the dragons starts being played by strings, growing and growing with major chords, until the composition explodes and we wear the theme Finale (basically, the small dragon egg sound evolves into the theme Finale). He hear the strings section together with strong and clear vocals. The vocals will be very important in Daenerys' themes, because they symbolize all the people that follow her and are loyal to her, from here on. The metal wind instrument sounds converge in a composition combined with the Main Theme, with strings, drums and choir together.

(Link to Finale)

Season 2

During this season, the soundtrack almost doesn't evolve. It evolves only in the last episode in an important way. But during the entire season we will have two themes: Qarth, the theme used during the entire season, since we are in Qarth, and Pyat Pree, Pyat Pree's theme. The Qarth theme utilizes an oriental touch of Essos, also represented previously in the Dothraki theme, and later, in Yunkai and Meereen's themes. This preference for wind instruments and exotic scales, especially oriental ones, is due to the fact that Essos is completely different from Westeros. They are different cultures, have different customs, different armies, different economies, and different politics, like how in Essos slavery is legal and in Westeros it’s forbidden. Even Syrio Forel, in the first season, showed us the difference between the two continents in the fighting style. This is why the soundtrack of Westeros is completely different from the Essos one. The contrast between the compositions gives life to the series, making counterpoints between the different plots, Jon Snow’s plot in the North, the different plots in the South, and Daenerys’ plot in Essos. This contrast gives us the feeling of plausibility of the world and the show, and very different tones in the soundtrack, that we are able to associate unconsciously.

(Link to the Qarth theme. It uses a wind instrument and percussion in an exotic scale, in this case, an oriental scale.)

The second theme we see in this plot is Pyat Pree’s theme, the wizard that kills the Thirteen and kidnaps Dany’s dragons. His theme is a dark version of the Qarth theme, with a lot of percussion with a mystical and magical touch. It’s a perfect theme for this character, because he is the magical and mystical side of Qarth. And it’s dark because he’s an evil wizard with not very ethical intentions and methods to get to power, killing innocents and all the Dothraki khalasar that accompanied Daenerys, bringing Dany to the House of the Undying.

(Link to the theme Pyat Pree)

For weeks, I’ve been bombarded by people asking me to make an analysis of the House of the Undying scene, and sincerely, no. The best analysis channel of GOT has done it, and hundreds of channels in English and Spanish have analyzed this fucking scene. Gods! Enough! According to the soundtrack, what is the House of the Undying scene? Just one more scene of the show. Zero musical complexity. It’s Daenerys’ theme, Love in the Eyes, playing with vocals, and when she sees Drogo, it plays the version of the theme from when Dany killed him, When the Sun Rises in the West. And that’s it! Nothing more!

Now this scene is what’s interesting (referring to the scene when Dany finds her dragons chained). Pyat Pree chains Daenerys, and soon Daenerys will say the magic word. Is it the theme Dracarys that will sound? No! Dany’s dragons have evolved throughout all seasons together with Daenerys, so their soundtrack also evolves with her. The first theme of the dragons is Finale, that relates to the brief sound of metal wind instrument, because it evokes their roar and their minuscule size, it’s a birth and growing. But then, this is the first moment when we are shown that the dragons are very dangerous, which is why the theme that plays in this scene for the first time is Mother of Dragons, because the dragons have just demonstrated their power for the first time, and Daenerys has demonstrated her power too, since the dragons have obeyed her orders (Mother of Dragons is an evolution of that first sound used for the dragons). So while this is the second evolution of the dragons (like Pokemon), it’s important to emphasize that this version, Mother of Dragons, is a more accelerated version, with vocals, and with major chords of the theme Love in the Eyes, Dany’s theme.

(Link to the House of the Undying scene)

(Link to the theme Mother of Dragons)

It’s important to emphasize that every season finale of Daenerys, with the exception of season 5, is with her power growing. In the first season her dragons are born. In the second she recovers her dragons and becomes rich by sacking Xaro’s house. In the third season she has a legion of soldiers and people. In the fourth season she is queen of Meereen. In the sixth she has her army and navy ready. And in the seventh season she is fucking Aegon Targaryen. Yes, very powerful finales. But there is something to be explained.

Game of Thrones’s Main Theme has a meaning. And it’s this one: the fight for power, the ascension to the throne, and the fall.

Exactly. The second season ends with Mother of Dragons combined with the Main Theme because 1) Daenerys has demonstrated to have enough power over her dragons and 2) because her power has increased considerably, from a nomad with newly born dragons and on the verge of death, to a rich traveller with powerful dragons and a ship. They are huge differences. That's why the Main Theme of Game of Thrones intensifies, because her power has grown, just like in the first season, from a khaleesi with nothing to a Mother of Dragons.

(Link to Dany's last scene in season 2)

Season 3

During this season, Daenerys gains two new themes, and it’s probably the season in which her power grows the most. When she’s in Astapor, and we see the scenes with the Unsullied, we hear drums and distant vocals, because they are preparing us for what’s to come. We will associate these drums to the Unsullied’s army.

Like I have commented, when it comes to the soundtrack, Daenerys is a sponge. She absorbs musical themes that are utilized in other themes associated to her, like what happened with the melody Love in the Eyes, that is inspired by Dothraki themes, her several Targaryen themes, like the previous chords of the theme Mother of Dragons, which are inspired by an inversion of Viserys’ theme, etc, etc. When Daenerys obtains the Unsullied and executes her master power play, we hear for the first time this wonderful “drop” (when Drogon sets Kraznys on fire), that we will hear in each season. This sound is obtained with a cello and a double bass and a a tremulous effect. It’s a sound that evokes the roar of a dragon. In first instance, I associated the theme to the title of the theme itself, Dracarys, that is, the theme would play when a dragon would set something on fire after Dany says the word dracarys. This way, it would have a complete meaning. But it isn’t like that. The “drop” sounds twice without this happening. When Daenerys orders the catapults to fire in Meereen, and when she kills the Dothraki khals (in season 6). This… doesn’t make much sense. So… is this Dany’s theme when she’s a badass? Maybe, but then Ramin Djawadi puts the theme in the scene when Drogon kills the Sons of the Harpy in Daznak’s Pit. Daenerys doesn’t order anything, Drogon simply burns the Sons of the Harpy. So this is not the Daenerys badass theme. So what is it? It’s the Targaryen battle theme, both for Daenerys and for her dragons. It’s a drop that sounds before an imminent attack, besides being the theme of when Daenerys takes the Unsullied from Astapor.

Here we have to have something very clear. The theme Love in The Eyes is Daenerys main theme. This theme will sound in all of Dany’s themes. Well, since all of them are variations of this theme, Mother of Dragons is the theme of Dany’s dragons. Dracarys is the theme of the Unsullied first, and later the Targaryen battle theme (to make it clear, when I say Targaryen I include the Unsullied and the dragons, basically Dany’s army, including her).

Dracarys uses Mother of Dragons in a descending scale accompanied by ascending and descending chords.

(Link to the theme Dracarys)

(Link to Dany's scenes in Astapor)

After this wonderful episode, let’s go to the next, when we first see Grey Worm. In this very beautiful moment (when Dany asks the Unsullied to choose their names and Grey Worm says that he will choose Grey Worm, because it's the name he had the day Dany set him free), we hear very soft chords of the theme Mhysa, that will play when she takes Yunkai, giving us a hint of Dany’s position of mother (and a hint of the Mhysa theme that will come).

(Link to the scene)

In the Mhysa scene, the Mhysa theme plays for the first time, one of my favorite themes of the series. The choir starts with a children’s choir. When Daenerys is lifted up by the slaves, it intensifies, and a woman’s choir starts to sound. And when the theme breaks in its climax we hear a men’s choir. And in the credits, the three choirs unite. This refers to Mhysa’s own theme: Daenerys has united men, women and children that now follow her, and is a mother for them all. We leave aside the male choirs, because now, there are civilians following her, not just soldiers. It’s a wonderful composition, an interpretation of Love in the Eyes, combined with the Main Theme in a natural major scale with choir. One of the best Ramin Djawadi has composed in Game of Thrones.

(Link to the theme Mhysa)

(Link to theme Mhysa with lyrics - I've seen different versions and fan translations since we don't have an official lyrics and Ramin himself said that the song doesn't exactly mean anything, it's kinda gibberish, but that's the best I found from what the fans could make. But the translation could very likely be wrong)

(Link to the Mhysa scene)

Season 4

During this season, we have to have something very clear: it’s the season Daenerys takes Meereen, but at the end, things get twisted, and Daenerys takes, at least in my opinion, bad decisions: exiles Jorah and chains her dragons. And the soundtrack warns Daenerys of this. But let’s start from the beginning, Meereen’s theme:

(Link to the theme Meereen)

Remember the oriental and exotic touch we mentioned in the previous seasons? It’s the same. But this city has something special: it’s the older, biggest and most powerful of the previous cities. Which is why the theme has such large notes, it’s a grandiloquent theme compared to the previous ones. When Dany takes Meereen, and we see this magnificent shot of her looking over Meereen from the top of the pyramid (after she takes the city and crucifies the masters), we hear Mhysa, on the scale of Meereen’s theme, as the theme of Dany’s triumph.

(Link to the scene of Dany taking Meereen)

When Dany learns of Jorah’s treason and exiles him, we hear the love theme of Jorah to Dany, when he says he loves her. But when she finally decides to exile him, the theme starts to play with minor chords, and converts into a heartbreak theme, one of the saddest themes of the show.

(Link to the scene Dany exiles Jorah)

(Link to the theme Forgive Me)

And here, it’s where everything goes to shit (scene of Hazzea’s father). One of the last scenes of season 4. The composition that will analyze here is Breaker of Chains. The first part plays when the farmer comes with his deceased daughter to the throne room. What we hear is the theme of the dragons (Mother of Dragons) in a minor scale, with a melancholic touch. The scale continues with a small pause, and the theme restarts when Daenerys chains Viserion and Rhaegal in the catacombs of Meereen. We start again to hear an intensified theme with what seems to be a low trombone with the Main Theme. The entire composition is a negative theme, including making some leaps that the original composition doesn’t do in the same bar (measure), as well as indicating to us that something isn’t well. Like the song’s own title, Breaker of Chains, that reminds us that Daenerys, the breaker of Chains, is chaining her own children. It’s the Mother of Dragons theme in a descending scale with a trombone accompanying it.

(Link to the theme Breaker of Chains)

Season 5

In this season, we will have of one the most complex, brilliant, and better written of the show: Sons of the Harpy. I know this is an analysis of House Targaryen, but I couldn’t not talk about this song, because it’s a constant theme in this season, and its anatomy is brilliant. Remember the scene where the citizens of Meereen hiss at Daenerys when she executes Mossador? According to David J. Peterson, the language used in Slaver’s Bay is Low Valyrian, and specifically in Yunkai and Meereen, Ghiscari. Ghiscari, according to Peterson, is a very sibilant language, since most words have letters pronounced as “S”s. This is why in Mossador’s execution, Meereen’s citizens use this “ssss” sound, that reminds us of a serpent, and the great conflicts in the city start. The slave culture is directed by the mythical figure of the Old Ghiscari Empire, the Harpy. Therefore, the Harpy is the representation of the power of the slavers, their symbol. Which is why in every city of Slaver’s Bay we see in the show, we see the statue of the Harpy. When Daenerys finally takes Meereen, and casts down the Harpy statue from the pyramid, the slavers obviously don’t like it. They create a terrorist group, the Sons of the Harpy, and they have a theme. If we could use a word to define this theme, it’s claustrophobia. It’s a theme that seems like it’s going to trap you, won’t let you escape, an obsessive theme that stalks you. This is why it has chords so firm and loud, the tempo is so Presto (fast), it’s a complete declaration of intention. And this theme starts with a main idea.

It took me time, blood and sweat, but I was able to translate this song. There are no articles of Ghiscari or Valyrian about the word Harpy, or about the word utilized in the very theme, no phonetical coincidence. But in Old Ghiscari, this word does exist. Investigating possible translations, words in Ghiscari and Low Valyrian, what the theme says is the following:

Harpies! Harpies! Queen, we are the sons of the Harpy!

Queen, queen, queen, the harpy comes for you!

You you know what this theme is? It’s the theme Mhysa, but inverted, in a descending scale with minor chords, with the famous drums of the slavers sounding at all moments. The choirs are the most terrifying in the show, brutal. During the season, the idea basis of the theme is used in the scenes of this group, including the scene of Barristan’s death. But we hear these choirs so terrible, so claustrophobic, in the scene of the fighting pits, because nothing can or will escape them in that place. Now let’s analyze all the fighting pit scene.

During the entire battle scene, we hear the drums, until Jorah is about to die, and we hear minor chords of Meereen’s theme. From these chords, they grow, and play during the scene between Jorah and Meereen’s champion. Here, the drums stop sounding, because we no longer are seeing the scene from the perspective of the audience in the fighting pits, but from the perspective of the Queen of Meereen, Daenerys. When Jorah kills Meeren’s champion, the music stops, and we only hear the screams of the audience. We start the second act, where a Son of the Harpy tries to attack Daenerys and Jorah kills him. In the moment the mask of this terrorist group is revealed, the theme Sons of the Harpy starts to play, this time, for the first time in the show, with vocals. The theme grows as the members of this group are revealed, and explodes when Daario screams “protect your queen”. Daenerys takes Jorah’s hand, and the love theme of Jorah to Dany plays over the song, because the love Jorah feels for Dany has overcome the situation that is happening. The composition continues to play, and when they are surrounded, the theme of the Sons of the Harpy is renewed, until Drogon appears.

(Link to the theme Sons of the Harpy)

Third act. The silence is used to indicate to us that shit is going real, and suddenly Drogon returns. The theme Mother of Dragons sounds for the first time in the ominous way we know currently, because Drogon has come back to save his mother. Give me the drop (he says this referring to the Dracarys theme that sounds when Drogon attacks the Sons). After Dracarys, Mother of Dragons sounds again in a solemn way, and more paused when Daenerys tries to pet Drogon. The theme grows while Daenerys climbs onto Drogon’s back, we have one beat symbolizing Drogon's (I couldn't understand) and the theme explodes for the first time in the show, with no cuts, loud and clear.

(Link to theme Dance of Dragons)

(Link to the Daznak's Pit scene)

In the next episode we hear Mother of Dragons again, in the same way we hear in the scene when Daenerys pets Drogon. And after that, Daenerys goes to explore. Why not? Daenerys the Explorer. We hear again the theme that we didn’t hear in almost 5 seasons: To Vaes Dothrak (when the Dothraki appear and surround Dany), and that’s how Dany’s storyline in season 5 ends.

(Link to the scene)

Season 6

Just like the last season, season 6 starts with the theme To Vaes Dothrak. We will skip these first scenes because they bring nothing new, and go to the scene where Dany kills the khals. What we hear when Daenerys throws the fire on them is Dracarys, and the theme grows as the place burns. It’s when Dany gets out that we hear the theme Khaleesi, one of the most beautiful of the show. We hear drums to generate expectation, and Mother of Dragons plays followed by chords of Finale (the theme of the first season finale), because of the parallel between the scenes. Then we have chords of Love in the Eyes, and end with chords of the theme Mhysa, everything combined in the same theme, to show what Dany has achieved, unite one of the biggest khalasars in Dothraki history, and making them kneel before a woman. After Winds of Winter and Dragonstone, it’s the best theme of House Targaryen. It’s the theme of Dany’s reign over the Dothraki.

(Link to the scene where Dany burns the khals)

(Link to the theme Khaleesi)

The next song is brief, but very intense, because of the power of the scene. We see Drogon for the first time in a long time. Mother of Dragons sounds even more powerful than the time Drogon saved Dany, because he is much bigger, and Dany’s power is bigger as well. And it’s important to remark that as Dany’s power grows, the ominous nature of the theme grows. The theme pauses as Dany makes her speech, and in the moment she starts telling the Dothraki that they will be her bloodriders, Khaleesi starts to play, growing in intensity until Drogon roars.

(Link to the theme Blood of my Blood)

(Link to Dany's speech to the Dothraki)

Episode 9 of the season starts with the attack of Meereen by the slavers, and what plays is the Sons of the Harpy theme until we get to the dialogue between Dany and Tyrion (where the music stops). When Drogon gets to the negotiation scene, we hear the theme Reign, that starts with Mother of Dragons on a negative scale, with minor chords that sound apocalyptic, because wee see this scene from the perspective of the slavers, that are scared to death. While Daenerys flies over the ships and Viserion and Rhaegal free themselves, Mother of Dragons plays in its complete form, until Dracarys sounds when Daenerys says Dracarys. The scene ends with the theme Dracarys in its apogeu.

(Link to the scene)

(Link to the theme Reign)

Now let’s finally analyze Winds of Winter, a composition that ends the season. Many have analyzed and theorized that the theme is the union of the Greyjoys and the Targaryens, but there’s more to it. Why does the sequence start with this shot? The Greyjoy banner covering the sun? If we remember, the Greyjoys call themselves the storm that comes when the sun dies. This scene represents this symbolism, because suddenly, the Greyjoy flag no longer covers anything, because Yara’s Greyjoys are not Greyjoys. Her flag is blue, her clothes too, while Euron’s are black, as are the traditional Greyjoys. They look at the flag this way, because they have sworn allegiance to a queen, breaking with their previous customs, like rape and pillaging. This is why this scene is like this. And we see a contrast between Theon and Yara, with Theon serious and Yara smiling. It’s not a union theme, it’s a theme that symbolizes what the Greyjoys of Yara have become. Only the main chords of "What is dead may never die" play, without its main melody, because the protagonist of the scene is Daenerys. The theme continues with the Main Theme, symbolizing power, with the theme Dracarys as a countermelody. Until Drogon appears, and Mother of Dragons plays. When we see Daenerys, the choirs sound at the rhythm of the Dracarys melody, while the camera distances itself and the episode ends.

(Link to the theme The Winds of Winter)

(Link to the scene)

Season 7

The season starts with Daenerys arriving at Dragonstone, and it’s one of the best themes of the show in regards to soundtrack. The theme used in the scene is called Dragonstone, and it utilizes seven of Dany’s themes. As Dany approaches the beach, Dracarys plays combined with the Main Theme, as if it’s a combination of The Winds of Winter, adding bass to the melody Mother of Dragons at a low tone. As the dragons appear and fly over Dragonstone, Dance of Dragons plays, because the dragons have returned to their home. As Daenerys steps on shore, soft chords of Mother of Dragons play. As Daenerys touches the sand with her hands, Love in the Eyes, Dany’s theme, sounds, because Dany is finally home. As Dany sees Dragonstones gates, Dracarys plays combined with the Main Theme, because the dragons and Daenerys are reminded of their Targaryen legacy. As the gates open, Khaleesi and Mhysa play together, because Daenerys is walking to take her throne. As Daenerys starts to climb the stairs, Dance of Dragons plays again, because Daenerys and her dragons have entered Dragontone. As Dany takes down Stannis’ banner, soft chords from Breaker of Chains play. As Daenerys walks into the throne room, Mhysa and Love in the Eyes play together. As Daenerys walks into the chamber of the painted table, chords of Stannis’ theme play.

(Link to the theme Dragonstone)

(Link to the scene)

__________________________________________________________

The translation of this video ends here, but I decided to also translate bits of other videos in which he talks about the rest of Dany's themes in season 7 (with the exception of the theme Truth, because he has many videos talking about this and I want to focus this post on Dany).

Spoils of War episode

(Link to the video analysis of the episode)

I'll skip the Stark reunion, because there's nothing special in the soundtrack. So I'll start analyzing the dragonglass cave scene. The theme that plays in this scene is one that we haven't yet heard in the show (the theme Dragonglass), and it utilizes the Three Eyed Raven theme, of when Bran and his friends get to the cave beyond the wall. It's a theme that combines the themes of the children of the forest and the theme of Bran's dreams from the beginning of the show. The theme has two parts. The first one is when they see the dragonglass (the dragonglass theme combines the children of the forest's theme with new chords), and the second part is when Jon shows Daenerys the drawings of the children of the forest, where the composition of the first part continues, until the drawings of the white walkers are shown, and the theme White Walkers is used. The theme grows until Daenerys walks closer to Jon, when Jon and Daenerys' theme, Truth, starts to play. This time, it plays in another scale, but it's the theme from the previous episode. And if we pay attention, as the scale is changed, no longer we hear the chords of Jon and Ygritte's theme, we hear the theme of House Stark, when Jon says the North won't accept a Southern ruler. As Jon and Dany walk out of the cave, the theme grows, and four chords of Jon and Ygritte's theme play, so we have one more part of Truth.

(Link to the theme Dragonglass)

In the beach scene, chords of Love in the Eyes play distantly, but very low and almost unrecognizable, negative, because Daenerys is angry and doesn't know what to do. This theme plays until Jon gives her advice, at which moment Truth plays again, the version of the previous chapter in the same scale. We confirm what we say previously: in first place, the theme of Daenerys and Drogo plays, and then the theme of Jon and Ygritte plays, but for longer this time. Truth sounds twice in this episode, in the two scenes of Jon and Dany.

(Link to the cave scene and the beach scene)

Now let's analyze the battle. The song that plays in the battle is composed by several themes together. As I said in my analysis of the battle of Castle Black, battles are a pulse between the two opponents. And the soundtrack shows this. At first, we hear the Dothraki screams combined with a line of musical tension, one note with higher and higher tone with beats of timpani, which inspires tension and expectation. Until Drogon appears, and Mother of Dragons plays, the theme associated with Dany’s dragons. But we hear it slightly low, as if the it was lowered by a few tones. It’s the first time this theme plays with a negative connotation, because we see the battle at every moment from the perspective of the Lannisters, and at no moment from Dany’s perspective or the Dothraki’s perspective. That’s why the theme of Dany’s dragons sounds so low and negative.

After she sets them on fire, a theme with progressive beats plays, like the rhythm of horses riding. This theme corresponds to the Dothraki, who are executing a cavalry charge, and again, it plays with a negative tone, until the Dothraki stand over their horses and start to shoot, which is a new Dothraki theme, with a regular progression, on the rhythm of horses riding.

Once again, the dragons' theme starts to play, when Drogon burns the line of the lancers and the wagons. When Jaime orders the attack on Drogon, Mother of Dragons continues playing, but it combines with the Lannister war theme, Blackwater, which has several beats of timpani and combines with Rains of Castamere. The theme resumes when we see Bronn trying to get to the scorpion. When Bronn kills the bloodrider, the scorpion is revealed, and Cersei’s theme plays, Light of the Seven, in a very low tone. It plays because, as we’ve seen from the second episode of the season, the theme plays when the scorpion appears, because it’s a weapon created by Qyburn, and Qyburn is linked to Cersei in this theme. When wee see Drogon, Light of the Seven is combined with Mother of Dragons.

When Tyrion sees the Lannister army being destroyed, the theme that plays is Rains of Castamere, the theme of House Lannister, played in violin, just like House Stark’s theme, that is, in a sad and nostalgic way. Until Drogon appears again, and Mother of Dragons plays in a negative way again. At no moment it sounds with a positive connotation or with the original scale of the theme, because we are seeing this from Jaime’s perspective. Once again, we see Bronn, and Cersei’s theme plays again, and again it combines with Mother of Dragons.

When the scorpion hits Drogon, chords of Love in the Eyes plays, softly, combined with Mother of Dragons, this time, for the first time in the sequence, in its original scale, because we see it from Tyrion’s perspective, and Tyrion is worried about Daenerys. When Dany tries to take the spear from Drogon, Jaime rides towards her, and the Lannister battle theme that was playing, Blackwater, plays again, but with beats of Light of the Seven in the same scale, because what this theme meant was Jaime’s sacrifice for the Lannisters and for Cersei.

(Link to the theme Spoils of War Part 1)

(Link to the theme Spoils of Wart Part 2)

(Link to the battle scene)

Beyond the Wall Episode

(Link to the video analysis of the episode)

As I commented, in Spoils of War, Mother of Dragons is played in a negative way, because we see the battle from the perspective of the Lannisters. In the scene where Dany decides to go save Jon, we hear Mother of Dragons played in this same negative way, because we see the scene from Tyrion’s perspective, who doesn’t want Dany to go, he doesn’t agree with her action and worries about her.

(Link to the scene)

(He starts to analyze the battle, and I’ll skip this part because only Dany interests me).

When everything seems lost, My Watch has ended, Jon’s theme, plays. It’s a theme that only plays in very personal moments for Jon, like Jon abandoning the Watch, Jon’s death, and even in this episode, when Jorah lets him stay with Longclaw (for his children). But it also plays in moments where Jon is about to die, like the Battle of the Bastards. Which is why this theme plays in this moment, nostalgic and depressing, until Drogon arrives. Now it’s important to note that in this season, we saw Dany’s dragons more than any other season. And yet, in no moment does the soundtrack portrays them as positive when they are attacking, only in moments like when Dany arrives to Dragonstone, or when Jon pets Drogon. In Spoils of War, the dragons' theme sounds completely apocalyptic, it portrays the dragons as evil beasts, including in the episode when Drogon burns the Tarlys. And even in this episode, when Dany leaves Dragonstone to save Jon, it sounds negative. So in the scene when Dany arrives to save Jon, it’s the first time we hear Mother of Dragons played in a positive way, because it’s a rescue, and we see this from Jon’s perspective. Then, the theme of Jon and Daenerys starts to play in the scale of Mother of Dragons. It’s wonderful. It plays accelerated because of the urgency of getting away, and that’s the mistake that Jon makes, because the theme of the White Walkers starts to play, in the same scale that Cersei’s theme plays when Bronn hits Drogon, because the two scenes are parallels.

This is why I like Viserion’s death scene so much. When Drogon is hit by Qyburn’s scorpion, a dramatic music plays. When Robb Stark dies, a dramatic music plays. Here, there is no music, because we see the scene from Daenerys' perspective, and Daenerys has not screamed, has not cried, has said nothing. She simply looks at Viserion falling and dying without expression, because she is in shock. She can't believe one of her dragons has been killed, because until now, they were invincible. It's a scene of complete shock, because it's something completely unexpected. The theme Love in the Eyes plays, because Daenerys still doesn't believe it, and is freaking out inside. When Daenerys flies away and looks back to Jon, two chords of her theme with Jon play, but completely unrecognizable and very low, because Dany can't believe in absolutely anything of what just happened.

(Link to the theme that plays in the scene, Against All Odds)

(Link to the scene)

____________________

He starts talking about Benjen, and only about the Jonerys theme, and since I'm trying to focus this post on just Dany, I'll leave Jonerys for a later post. The Dragon and the Wolf is mostly Jonerys, so I won't translate that either.

About season 8, I also won't translate the videos, but I'll remark here on a few things Jordi said about Dany in each of them.

(Link to the analysis of Episode 8x01)

(Link to the analysis of Episode 8x03)

When Dany arrives in Winterfell, King's Arrival, the theme that played when Robert arrived in Winterfell, plays, but with a different harmony (that combines Dany's themes, like Dracarys).

(Link to the scene)

(Link to the theme Arrival at Winterfell)

In the Long Night episode, when Dany decides to abandon the plan and go save everyone with her dragons, and she and Jon start to burn the wights (which gives hope to the combatants on the ground), the theme used is the same used when Dany saves Jon in the Frozen Lake, Against All Odds. This is a theme that combines Mother of Dragons (Dany's theme with her dragons) and Truth (the Jonerys theme). As Jordi says, it's the "Jonerys flight theme", and it plays as Dany and Jon save and bring hope to everyone.

(Link to the scene)

By the end of the episode, when Dany sets fire to the Night King, another interesting thing happens: instead of Mother of Dragons (the theme of Dany's dragons), the theme that plays is Love in the Eyes, Dany's theme. This emphasizes how Dany is important, not just her dragons (my comment: it's Ramin's way of saying that this is about Dany's bravery and selflessness, not just her dragons, that Dany is not "nothing without her dragons", which I love).

(Link to the scene)

In Jorah's death scene, the Main Theme of Game of Thrones combines with the theme of heartbreak of Jorah and Dany.

(Link to the scene)