![]() ![]() As a genre, you have an underlying beat and it’s the lyrics that can carry a song. ![]() The scene: In episode five, Madam Akane is forced to dance for a sadistic shogun, who kills her daughter before she performs. Still, it shows just how Americanized the Raj is.” That puts a spin on it, too, to be arranged and performed with whatever region they are in. It’s a Western contemporary song played in the Indian style. We used a sitar, and to play the melody on the sitar and to master the intonation, culturally, in the music is difficult. The story: “This one proved to be quite difficult. The scene: In episode three, we’re introduced to the Raj for the first time and see how it differs, both culturally and aesthetically, from Westworld. And as the piece develops, other distorted and other out-of-tune sounds come in, and represents how quickly things can fall apart now that the park has gone wrong.” With the piano, it has this Americana feel. The story: “It’s really representing all of the things that have gone wrong in the park. The scene: In episode two, various flashbacks show Dolores experiencing what life is like in the “real world” outside of the park. Somebody pass this along to Ghostface Killah and Jack White! With the second season now at its end, Vulture asked Djawadi - in the midst of preparations for his Game of Thrones Live Concert Experience - to reflect on a few of his most memorable arrangements leading up to the season-two finale. I think, What can be played by the strings? What could be played by the the French horns or percussions? You can get really creative with it, and that’s something that makes it so fun for the show.”īranching out to the other parks of the Raj and Shogunworld, Djawadi added, increased the “creative fun” of working on Westworld, as he got to experiment with Indian- and Japanese-influenced versions of songs. But if there’s more instrumentation, I’ll do an orchestration of it and arrange it like I would do with the rest of the score, and then flesh it out with additional instruments. “If it stays on the piano, I’ll just do a solo piano arrangement. I figure out the melody and the harmony and all the parts that go with it,” he said. “I just listen to the song and do a takedown by ear. And it’s easy to see why, as that’s when Djawadi gets to work his magic - he deconstructs a modern song in a process he calls a “piano reduction,” a process that can sometimes take multiple weeks from start to finish. “Whichever song he brings out, I get excited, because I’ve loved every one he picks,” Djawadi said. ![]() It gives it that contemporary spin.”Īs Djawadi puts it, Nolan chooses the contemporary songs and slots them into their appropriate place in the show’s narrative. It was always a subconscious reminder of the fact that this world is not real. Like, the people controlling the park are playing their favorite tracks. “But then, the fact that this is a theme park we realized, Wait, we can almost treat this as a jukebox. “Initially, this idea started out with the fact that visually we saw a player-piano in the Mariposa Saloon, and the obvious choice was to play songs from that Western era,” Ramin Djawadi, the show’s music supervisor, recently told Vulture. Although it might seem odd to hear an orchestral Radiohead arrangement accompanying an old-timey fight scene, that’s exactly what showrunner Jonathan Nolan intended for Westworld from day one. But for those indeed blessed with a sonic gift, a fascinating musical trend has been prevalent ever since the series premiered in 2016: In addition to traditional Americana tunes, modern songs are featured in the techno-western park, featuring covers of the Rolling Stones with as much frequency as, say, the likes of Scott Joplin. With all those intertwining, head-scratching narratives, we wouldn’t blame you for not keeping too close of an ear to Westworld’s use of music throughout its second season. ![]()
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