For the final stretch of the episode, the ambient sound is muted and a piano melody kicks in. It immediately felt like a callback to “Light of the Seven,” one of your best-known pieces—so, you know, I got worried.

That was 100 percent intentional. When I talked to Miguel [Sapochnik], the director, and when David and Dan came to my studio and we started working on this episode, we all agreed that it had to be a piano piece again, just like “Light of the Seven.”

That was the first time we’d used piano in the show; it really meant something different. You realize Cersei’s up to something and it all blows up. By using it again, we wanted to have the reverse effect. The piano comes in and people go, “Uh-oh, here comes the piano again. Something’s unraveling!” There was little hope throughout the episode. They’ve fought and fought, but the Night King is just unstoppable. Then he comes walking in, and the piano itself represents, like, “This is really it! It’s over!” Then there’s that big twist in the end. It definitely misled the audience because of what they knew from “Light of the Seven,” back in season six. We always treated the music as another character in the show.

I interviewed Game of Thrones composer Ramin Djawadi about his work on “The Long Night” and elsewhere for Vulture.