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  ==Background==
  In an interview, Djawadi spoke about "Light of the Seven", which largely consisted of piano, something unusual for the series. Djawadi stated, "The interesting thing to me was the use of the piano. When we started the season showrunners David Benioff and Dan Weiss, and Miguel Sapochnik, the director of the episode, reached out to me and said, 'There's something coming up in episode 10.' We talked about the 'Light of the Seven', and how it needed to be a new piece of music. Any kind of character theme could tip it, and we didn't want to tip the audience. Miguel brought it up: 'What about the piano?' We discussed it. The piano is not really in the language of the ''Game of Thrones'' score." Djawadi had tried other instruments, including playing the whole tune with harp, but none of them sounded right, eventually he settled on the colder sound of the piano.
  Djawadi said: "It all felt like a perfect fit. What's great about the scene, too, is there's hardly any dialogue. It's nine minutes long. I knew I had to start minimal and give it space. Let notes ring, then give it space, and build up the anticipation from there, without tipping in either direction." Djawadi stated that he refrained from using the typical Lannister theme, "The Rains of Castamere", in order to create more of a mystery. The piece also featured vocals by two young boys singing in unison, and Djawadi instructed the boys to sing in such a way that although it is "not out of tune, but you get that feeling of Something’s wrong." Djawadi describing how he pieced all of the separate pieces of the music together by saying "The boys I recorded completely separate. The strings I recorded all together. Even the solo instruments, I recorded them separately — the solo violins and solo cellists were recorded separately. The piano, I played. And the organ as well."
  In another interview, Djawadi talked about the process, saying, "That was the big guidance for me, in how I wanted to build this piece, It's a different instrument, and I put it in an upper register, but the idea is that it's building something that stays the same but changes over time. Of course, now that I say that, people might be like, 'No, it's not really that.' And it's not staying true to the form. Obviously the picture is guiding me, so I have to pull back and break away from it. I couldn't keep it as a passacaglia all the way through. But there are definitely moments where it defaults to that."