The Music of the Lord of the Rings Films (composition)

Howard Shore's compositions for The Lord of the Rings and The Hobbit, together with work by Howard, Plan 9, David Long and Stephen Gallagher for The War of the Rohirrim, The Rings of Power Season One and other projects represent a musico-dramatic oeuvre covering about 24 hours of music. This music is based on folk-like melodies, often stepwise; triadic harmony (though not generally stable in terms of key) and massed orchestrations, often ornamented by worldly instruments outside the orchestral replete.

The compositions include:

1. The Rings of Power season one: Only the opening titles (Howard Shore) and source songs (Plan 9 and David Long).
2. The War of the Rohirrim (Stephen Gallagher, David Long using themes by Howard Shore and Plan 9)
3. The Hobbit film trilogy (soundtracks), including the announcement trailer (Shore, Plan 9, Long, Gallagher et al)
4. The Lord of the Rings film trilogy (soundtracks), including the second Return of the King trailer (Shore, Plan 9, Long et al)
5. Additional pieces for the concert stage (Howard Shore) or in situ for the Hobbiton set (Plan 9 and David Long).

Orchestration

Howard's orchestra varies in size between different pieces. Many instruments are used to colour certain narrative elements and related themes. Taken in whole, and together with instruments utilized by Plan 9 and David Long, it comprises:

Strings: At least 16 first violins (concertmaster doubling hardinfelle, double violin), 16 second violins, 12 violas, 10 violoncelli, 8 double basses. 2 harps (one doubling celtic harp).

Woodwinds: 4 flutes (doubling alto flute, piccoli, recorder, wood flute, tin whistle, low whistle, shakuhachi, dizi, nay), 4 oboes (one doubling cor anglais and heckelphone), 4 clarinets (one doubling bass clarinet and contrabass clarinet) and 3 bassoons (one doubling contrabassoon and contraforte). Also putorino, Rhaita (doubling rauschpfeife), 2 shawms, 2 crumhorns, dulcian.

Brass: At least seven horns in F (doubling Wagner tuben), eight trumpets (doubling rotary-valve trumpets), seven trombones (four tenor-bass and three bass trombones) and two tubas (doubling contrabass tuba). Also 20 didgeridoos, pukea, cow horn, tibetan horn.

Keyboards: one grand piano (doubling upright piano, celesta, harpsichord, clavichord), synthesizer, grand pipe organ.

Percussion: Two Timpanists. At least seven players on bass drum, snare drums, side-drums (or field drums), toms and bass drum kit, triangle, glockenspiel, gong bass drum, tambourine, taiko drums (three sizes: large, medium and small), cymbals (including a splash cymbal cut into ribbons, antique cymbals, crotales), tubular bells, mark tree, carillon, tamtams, bossed gongs, woodblocks, temple blocks, log drums, slit drum, dudun drum, waterphone, shakers (including eggshakers, cabasa, caxixi and jingles), tibetan singing bowls, goblet drum, friction drum, frame drum, transceleste, marimba, 2 bodhrain, bell plates, anvil, "prepared" piano, castanets, tuned artillery shells, cans, wind machine.

"Hobbit band": 3 guitars (6 and 12-string, including bass guitar, doubling mandolin, caipira viola, lute, theorbo), 2 bagpipes (highland bapipes, doubling uileann pipes), 2 accordions (mussette, doubling concertina and harmonium), 1 hammered dulcimer (doubling cimbalom), hurdy-gurdy, banjo (doubling banjolele), euphonium.

Gamelan: 1 kempul (doubling gong ageng), 1 kendhang, 4 saron players, 3 gender players (doubling slenthem), 4 kenong players (doubling kethuk), 2 bonang players, 1 gambang. Also doubling rebab, finger cymbals, ceng cengs, hyōshigi, kine, japanese cymbals, monochord, tanpura, sarangi (doubling dilruba).

Choir: 60 boys, at least 100 men and women, soloists (tenors, baritone, bass, soprano, treble).

Themes

The score relies on a large number of recurring associative themes (also known as Leitmotive or "Leading musical motives"). These appear independent of each other, in two more non-adjacent scenes. Most of these run through the entire series and lend it a sense of musical cohesion. These themes, which also develop according to the dramatic situation, are loosely divided into "family groups" and further delineated by associative keys and tone colour. They are as follows:

#	Name	Description
1	"Impediment" theme	This theme is a chromatic arpeggio (A minor: 1-3-5-♭6), sequenced a flat sixth apart. It is usually harmonized in minor triads a flat sixth apart (sometimes retrograded), and this sonority also appears on its own. It is introduced in the Rings of Power titles, where it is transformed as an F Lydian arpeggio (F: 1-3-♯4-5) over chords a minor third apart. The chords then appear in The War of the Rohirrim to depict the antagonists: Gm: iii-i depicting Freca, then G♭m: ♭vi-i under Wulf. The definitive theme appears throughout the live-action films, always representing impediment.
2	Scales	This is one of the basic devices Howard uses throughout the scores. Scalar motion may depict the Hobbits (usually as C: 1-2-3 starting on a quaver) but since scalar motion is inherent in many themes, it is used more generally in the scores, in any key or modality. In more dangerous situation, Howard uses clusters or chromatic scales.
3	Walking Songs	There are two walking songs repeated in the scores: Plan 9 and David Long's "This Wandering Day" and Fran Walsh's "The Road Goes Ever On." The latter always appears with the Hobbits' theme.
4	The Ring	This theme is based on the rising and falling minor second. It is stated in strings in a chromaticised F minor, then in A♭ minor, all harmonized in minor triads a minor second apart (F minor to E minor). Henceforth, all themes based on minor seconds (usually rising and falling) will depict Sauron and his forces. This rising and falling kernel is also used by itself to depict the forces of evil.
5	Eowyn and Theoden	This theme, voiced in open chords, depicts Eowyn, particularly in her relationship to Theoden.
6	Rohan	This major theme is usually set in A Dorian and played by either hardingfelle or high brass. It has several detachable parts: Rhythm: The opening unison quavers evoke galloping horse hooves. Melody: This rises a minor third, then proceeds stepwise along the Dorian mode. In the fullest statements, the consequent phrase concludes with a plagal cadence. In the Pelennor fields, this is reshaped into driving triplets, and these then appear on their own. A countermelody emphasizes the falling and rising major second. Later, the melody is sometimes altered to begin on a major third or even perfect fourth. Chords: in keeping with the Dorian setting, the theme is usually harmonized in A Dorian: i-IV but in the fullest statements this is expanded to i-VII-III-IV. Henceforth, all the themes associated with mankind will be modal, usually incorporating a prominent leap into the melodic contour.
7	Eowyn	Eowyn's main theme is first hinted at in Hera's music. The theme leaps a fifth then proceeds stepwise over C Lydian: I-II-iii. Eowyn's first two scenes feature a similar progression under a scale, the perfect fifth ironed out. When she rebukes Grima, this theme which had since taken to the minor mode, regains the perfect fifth. Gallagher's score features other themes unique to it: The secondary theme leaps a perfect fifth and major sixth, then subsides in a stepwise figure. It mostly represents Helm and his sons. Olwyn is represented by a lyrical idea in thirds. Another idea in major and minor seconds represents Hera's relationship to Helm.
8	Ring (Chords)	This theme has three separable components, both representing the Ringwraiths but also danger more generally: Rhythm: two paired crotchets Chords: This verticalizes the Ring [4] to produce a minor triad with an added ninth. The resolving, minor plagal cadence may also appear by itself. Accompaniment: This idea leaps a minor sixth then falls down a minor scale.
9	Horns	Leaps ranging from a minor third to a perfect fifth appear throughout the scores, either in the score or as horn sound effects. Again, since these intervals are shared between multiple themes, they can be used in various contexts. Howard also frequently uses open fifths.
10	Gondor	This theme shares the Dorian setting, but leaps a perfect fifth (recalling Eowyn [5, 7], who will end up in Gondor) on D. Later, Howard will set it in rotary-valve trumpets.
11	Rohan lament	Versions of this lament (composed by plan 9 and David Long) appear both for Helm (in The War of the Rohirirm) and for Theodred (in The Two Towers).
12	Nature	This theme begins with a major-mode transformation of the impediment figure (over A minor: i-VI-i) and continues into chromatically rising chords. This second part is sometimes used on its own and, in the most extroverted statements, is embellished with unison brass triplets. Both parts are varied for other themes of the natural world. This theme first appears under the letter Gandalf sends to Hera, then appears through the bulk of the cycle to depict nature. In the end of The Two Towers, it parallels the charge out of Helm's Deep with the concurrent Ent attack, and from this point on the theme becomes temporarily associated with the Rohirrim.
13	Saruman and the Orcs	This theme first appears retrograded, as a lyrical triple-time woodwind idea for Saruman's appearance in The War of the Rohirrim. It later assumes its definitive 5/4 setting in trombones. Notice that it reorganizes the pitches of the Ring [4, 8], but now the seasawing minor seconds fall and rise. Later, the theme appears for Saruman's Uruks - the company of Uruks that chase the Fellowship are scored with a harmonized form of the theme's second phrase - but also for Orcs in general.
14	The Hobbits (main theme)	This theme, along with the Ring [4] is the nearest the series has to a main theme. It is almost always set in D pentatonic or C pentatonic, usually in strings, solo clarinet or tin whistle: this latter instrument is replaced by flute in The Return of the King. It is again in detachable parts: First phrase: This rises through four scale degrees, then falls back down. It is typically harmonized in D: I-IV-I-V. Second phrase: By sequencing the initial stepwise motif upwards and harmonizing it with D: vii-IV-V-I, this part of the theme depicts the Shire as "the place that makes your heart swell when you think about it." Accompaniment: the first part is often accompanied by this bumptious outline in fifths and fourths. Howard omits this when a more sobering effect is called for, but he also uses it on its own.
15	The Ring (fragment)	Howard derives several fragments from the Ring that appear on their own: Ascending second: Both in An Unexpected Journey and The Fellowship of the Ring, Bilbo blows smoke rings to the sound of a tritone gliding into the fifth. This recreates the rising minor second that opens the ring [4] but over a major chord: it returns after the Ring's destruction when characters recall it, reaffirming that the Ring is indeed gone. The figure does also appear in the minor as a more pointed allusion to the Ring throughout the quest. Chords: Howard also harmonizes this motion as minor triads a minor second apart, or as a minor triad resolving to a major triad: this latter gesture concludes the prologue of Fellowship of the Ring (E♭: i-I) and both Weathertop (on album) and the walls of Moria are revealed to the sound of fanfares derived from this gesture.
16	Bilbo Baggins, first theme	This theme reshapes the Hobbits' theme to depict Bilbo Baggins. In the announcement trailer, only its first phrase is heard, but in An Unexpected Journey it is sometimes extended into a second phrase which, with its melodic leaps and horn scoring hints at Bilbo's more outgoing, "Tookish" side. This phrase is later used on its own.
17	The Company	This theme is first sung by Thorin and company (over string clusters [2] in the trailer, a-cappella in the film), but then appears orchestrally. The most extrovert statements are preceded by a heroic variant of Bilbo's second theme [20] and use [18] as a countermelody. At the end of An Unexpected Journey, it is transformed into the Song of the Lonely Mountain. After this, as the quest loses its swashbuckling sheen, the theme is no longer heard. Its harmony (triads a major second apart) is shared between all the melodic Dwarven themes.
18	First Dwarven theme (Thorin):	The stepwise nature of this theme depicts the influence Bilbo will play in Thorin's life. As in the announcement trailer, it is often (but not consistently) heard as a countermelody for [17]. The theme is not, however, Thorin's theme in strictu sensu: it scores most of the establishing montage of Erebor, and several scenes of the company at large. Again, notice the "Dwarven" Am-G harmony.
19	Second Dwarven theme, first form	This theme is used more generally for the Dwarves (it's called "The House of Durin" in Howard's sketches). This first form, heard over the opening titles of An Unexpected Journey, combines the contour of the definitive theme with the pitches of the Ring fragment [15]. It also appears during the eagle rescue (only on album) and when the Dwarves reunite in Erebor after Smaug's attack.
20	Bilbo Baggins, second theme	This theme (A-B-C♯-E-E-G♯-G♯-A-E-C♯-E-D) also appears in the opening titles of An Unexpected Journey. It is also heard, heroically in horns, when Bilbo rescues Thorin.
21	First tragic theme (transcendant)	This theme first appears during the opening shots of An Unexpected Journey: this creates a sense of bookends with an identical statement in the Grey Havens, when Gandalf says farewel to the Hobbits. It also laments Gandalf's death (Doug Adams calls it "Gandalf's farewells") and is embedded into the farewell from Lorien. But it also appears during the final scenes on the slopes of Mount Doom. It is a chord progression atypical of the rest of the score: A♭: vi-IV-I-V. This results in the top voices rising and falling a minor second (cf. [4]) but then falling another major second. Combinations of rising and falling major and minor seconds, as well as minor scales, unite all the themes that depict Sauron's influence on Middle-earth (also [1]).
22	The Journey Back	This theme, first appearing over the map transition to Erebor, again creates bookends with the map transition from Minas Tirith back to the Shire in The Return of the King. Appearing throughout the denoument of the film, it depicts the journey back from Mordor. It is a rising scale harmonized in chromatic mediants.
23	Third Dwarven theme (Erebor)	This theme is three rising horncalls outlining an A Aeolian scale: 1-3, 1-4, 1-5. It subsides in a descending, syncopated pattern that is later also used on its own. Again, it is not Erebor's theme in stricto sensu: statements of it appear for the company, and for Thorin (it is played diegetically for his obsequies), as well as for the Iron Hill Dwarves. Henceforth, non-melodic Dwarven music will be characterized by its intervallic nature, often parallel fifths.
24	Arkenstone, first theme	In keeping with the intervallic Dwarven style, this theme begins on an open fifth, but then clusters in the chorus [2]. It depicts the mysterious aspect of the stone, but also appears when Gandalf hands Thorin the map and the key: the means towards finding the Arkenstone.
25	Arkenstone, second theme	This syncopated, B minor string figure first appears with [24] but they become increasingly independent as the score continues. In The Battle of the Five Armies, this idea often appears unresolved to depict Thorin's mounting obsession to retrieve the stone.
26	Woodland Elves	This D Phrygian theme depicts the Woodland Elves as closer to Men, but the emphasis on the third degree in the harmony gives it an Elven sheen. Henceforth, Elven themes will be characterized by more "advanced" harmony than the rest of Middle-earth: mediant and chromatic mediant harmony, whole tone scales, chromatic lines, seventh chords and so forth.
27	Smaug, first theme	This theme is in three parts: Melody: The F Phrygian Dominant setting denotes the old age of the Dragon. Henceforth, everything old in Middle earth (Galadriel, Sauron) will be depicted by this mode. The theme emphasizes the rising and falling minor second [4] and augmented second inherent to this mode. Chords: This progression (F: I-i-I) sequences [15] to depict the Dragon's breath. Accompaniment: The theme is accompanied by semiquavers in Gamelan. The ensemble sometimes doubles the melody inharmonically, and lends its texture to the treasure hoard sequence.
28	Dwarvish Wanderers	This scalar figure bemoans the Dwarves' downfall and loss of their homeland. It is also heard when Thorin is struck down by Azog in An Unexpected Journey, and during their arrival to the Hidden Door. It is often combined with a "Dwarven" form of the Impediment arpeggio [1].
29	Hobbit party music	This Plan 9 tune embellishes the Hobbits' diatonic harmonies with some light chromaticism. It is heard briefly in the Old Took's birthday, and in extenso during Bilbo's Farewell Party.
30	Hobbits (mysterious variant)	This augments the Shire's accompaniment [14.3] to the contour of the Impediment theme. It depicts many of the early scenes of An Unexpected Journey, and returns in Fellowship of the Ring when Gandalf glimpses Thorin's map.
31	Hobbits (folk variant)	This version mostly appears for scenes in Hobbiton, but also in the cornfield in Fellowship of the Ring and, slow and retrograded, in the concert piece Ironfoot. Notice that, on the theme's first appearance, it concludes with a "fiddle fanfare" as Bilbo realizes it's the day of the farewell party: another statement of the theme concluding with the same fanfare will score the erecting of the sign to the party in Fellowship of the Ring. It is in two parts: Melody: this is a staccato version of the Hobbits theme. Accompaniment: This "Um pa-pah" rhyhtm is later used on its own and with other themes. The theme is also accompanied by a tapping on the bodhrain drums which also appears with other themes.
32	Smeagol	This theme, which brings out the pitiful Smeagol side of Gollum's character, is first alluded to when the chords of the second Shire phrase [14.2] turn minor.
33	First Playful motif	This elides the first pitch of [14.3] and sequences it to create a rhyhtmic figure in perfect fourths that skips the first beat of the measure. It often appears with [32] but both also appear in their own.
34	Hobbits (Playful variant)	This combines two separable elements: a chromatic sequence of the accompaniment [31.2] and a playful form of the original [14]. The full combination only appears in The Two Towers, but the bassline appears more often.
35	Gandalf the Grey	This wry figure in minor thirds and fourths depicts Gandalf the Grey throughout The Hobbit. It does not appear in Fellowship of the Ring, where Gandalf's demise is imminent.
36	First playful motif (first variant)	This melds [31.2] and [14.3] into a driving figure. It is variously associated with Gandalf's fireworks (in An Unexpected Journey and Fellowship of the Ring), his Smaug-like firework (the opening credits of The Desolation of Smaug anticipating Fellowship of the Ring) and the mischief of Bilbo (sneaking out of the Farewell Party) and Merry and Pippin, in the cornfield. This latter statement is reprised in the closing credits.
37	Fourth Dwarven theme (Dwarrowdelf)	This theme, which will usher the Fellowship into the 21st hall of Dwarrowdelf, is first hinted at when the Dwarves introduce themselves to Bilbo, and again when they are introduced to Beorn. Both these scenes feature a 3-4-5 rise concluding on an open fifth. In Fellowship of the Ring, this is elaborated into a aeolian melody similar to [19], which also appears when the Cave Troll is slain.
38	Fussy Bilbo	This waltzing, D minor theme contains the same pitches as the Ring, but depicts Bilbo's out-of-sorts mannerism around the Dwarves. Later, it is applied to the Company in general, as when they emerge into Bard's house.
39	Smaug (second theme)	This retrogrades Smaug's original motif, then ascends chromatically: the effect is more subtly sinister and will also depict Thorin's Dragon Sickness, usually in more discordant string settings. Again, accompanied by major-minor triads built on F and semiquaver figures on Gamelan.
40	Fifth Dwarven theme (The Company)	This theme, which appears when Dwalin and Gandalf talk about Thorin's absence, repeats during the Hidden Door sequence and when the Dwarves retreat before Azog's forces in The Battle of the Five Armies. It is elaborated upon in the concert piece "The Dwarf Lords." As originally stated, it takes the melodic Dwarven harmonies and turns them major: A-G.
41	Hobbits, kinetic version	This sequences the initial 1-2-3 rise of the Hobbits [14.1] over canonical imitation of the accompaniment [14.3] in quavers and semiquavers. It depicts Bilbo rushing out of his door, and Merry and Pippin rushing through the cornfield.
42	Moria danger motif	Two figures depict the dangers of Moria: a minor scale voices in parallel fifths, and a perfect fifth dropping to the tritone.
43	Battle with Azog	A similar figure in parallel fourths depicts the battle of Azanulbizar. It returns for the confrontation with Azog in the Battle of the Five Armies.
44	First danger motif (Azog form)	This theme is a pair of descending thirds, therefore a melodic form of the Ring chords. Here, they are major thirds an augmented second apart, thus outlining the Phrygian Dominant mode of Sauron. Azog's form concludes with a chromatic "barb" evoking his crude prosthetic arm. But it also appears for Azog's pack, Bolg and later the army he leads to the Erebor valley.
45	Second tragic theme	After the battle of Azanulbizar, this theme appears after Thorin's, answering his rising scale with a falling scale that accomodates upon itself. In doing so, it falls a major second, then falls and rises a minor one. This will appear increasingly by itself in The Battle of the Five Armies, always depicting death and tragedy (for instance, when Legolas speaks about his mother's death). In Fellowship of the Ring, the notes turn into a figure that rises and drops a minor second, then falls and rises a major second. This always depicts the suffering incurred by the War of the Ring.
46	Wizards	Another falling minor scale figure depicts the five Wizards. Naturally, it mostly appears with Gandalf, as when he arrives at Goblintown or during his parting with Bilbo in An Unexpected Journey. But it also appears with Radagast.
47	Radagast	This nervous melody in major and minor seconds, only appears on album. But its accompaniments are heard in the film during Radagast's scenes, as well as when Bilbo escapes Goblintown.
48	Mirkwood	This line also alternates major and mind seconds. It depicts the shadow falling over Mirkwood. In The Desolation of Smaug, it becomes the definitive Mirkwood theme, reshaping [45]. This almost depicts the Elven Road, becoming gradually masked by the texture which features clusters, aleatoric figures, bowed cymbals, portamenti and sprechstimme vocals. Similar textures will appear in other places in the scores, always in relation to confusion and danger.
49	First danger motif (Necromancer form)	The major thirds an augmented second apart are here played slower, without the chromatic "barb" characteristic of Azog. It depicts Dol Guldur and the Necromancer.
50	Mirkwood spiders, first theme	This theme is based on an eight-note tone row, accompanied by clusters. Both also appear in The Desolation of Smaug. Henceforth, all spider music will be atonal, although Denethor merits similar music in the most intense moments.
51	Mountain Trolls	This theme, in waltz time, recalls Bilbo's fussy theme, but instead arpeggiates a triad with an added tritone. It thus relates to the later Cave Troll, whose represented by a variant of the Moria music which is also echoed when Gollum brings Frodo rabbits.
52	Hobbits (developed)	Two developments of the Hobbits theme depict the Hobbits' personal growth, loss of innoncence, discovery of compassion and so forth: A fuller version of the original theme, the harmony filled in to D: I-iii-IV-I-IV-V. A melodic development of [14.2] with a gruppeto figure similar to [4]. It depicts Bilbo's act of compassion towards Gollum, but also scenes that depict the growing maturity and worldliness of the Hobbits in Fellowship of the Ring and The Two Towers.
53	Second danger motif (first form)	This is another rhythmic figure that skips the first beat, but here outlining a minor scale. It has a more dynamic effect than [49].
54	Main evil theme	This adapts the Ring [4] to the Phrygian Dominant setting of the dragon. Its definitive form is set in muted trumpets and rhaita. Here, cor anglais imitates the rhaita. In The Battle of the Five Armies, a pipe organ produces a similarly reedy sound.
55	First Orc theme (Warg riders)	This driving, descending minor scale figure depicts Azog company, especially the Warg riders. It appears all through The Hobbit, and then resurfaces in The Two Towers are a descending cluster which first depicts Saruman's warg riders. Afterwards, it continues to represent the artfulness of the Orc armies.
56	Lothlorien or Galadriel	This theme is also characterized by the F Phrygian Dominant mode. It's brassy appearance for Elrond's company attacking Yazneg's Orcs creates a parallel with the arrival of Haldir's Elves to Helm's Deep (heralded by the same rendition of [9]). The theme also appears in guises that emphasize the pitches of [45], inherent in the theme, or changed to double harmonic minor. When Frodo is struck by a vision of Galadriel in Shelob's lair, the theme is shifted into standard Phrygian mode.
57	Rivendell, main theme	This theme changes the impediment theme [1] to A major. It is rhythmically altered and overlaid with a melody based on the same pitches. The theme is typically set in female choir and harp over tolling chimes.
58	Rivendell, second theme	Two figures depict the interaction of Elrond and Thorin: a diegetic piece that plays as the Dwarves dine at Elrond's table (this appears in the orchestra, in a martial guise, when Elrond gallops into Rivendell to the Dwarves' chagrin) and a combination of the Rivendell arpeggios and Erebor horncalls.
59	First danger motif (Sauron form)	At the sight of Sauron's mural, the descending thirds turn into minor thirds a minor second apart. This version will continue into The Lord of the Rings. During the Minas Morgul scene, it is inverted into rising thirds.
60	Second Dwarven theme (definitive)	This theme now acquires its definitive pitches and tonality. Like Thorin's theme, it ascends but more resolutely in thirds spanning an octave. It then restarts on the low A but only reaches up the seventh scale degree. Notice that Thorin and his line are associated with A minor, as compared to Elrond's chromaticized A major.
61	Goblins	This theme in low brass over a hammering pattern that shifts time signatures (circling 7/5). It appears in all the goblin scenes and, on album, for their reappearance in The Battle of the Five Armies. Going forward, rhythmic themes particularly in odd time signatures, will be associated with Orcs.
62	Gollum	This theme is in major and minor seconds played tremolando on cimbalom. This compares the spindly quality of Gollum, in his more menacing persona, with the hammered dulcimer that often plays [34]. In the early scenes of The Two Towers, this figure is sequenced up so that it spans two chromatically interlocking fifths: this is similar to the music of Loge, the god of deception, in Wagner's Ring, a similarity that will become important later in the score.
63	Fishing Song	Gollum sings this song in An Unexpected Journey, The Two Towers and The Return of the King. In the latter, Gollum sings another song in a same vein, when he gloats over Frodo caught in Shelob's web.
64	Smeagol (variant)	The interaction of Smeagol's theme and the Ring produces several variants: one first appears when Galadriel mentions a "Nameless Fear." Much later, Gollum's song emerges out of this process: notice that it is adumbrated by the orchestra beginning in his interaction with Faramir.
65	Eagles	A variant of the Nature theme hails the eagles in An Unexpected Journey and The Battle of the Five Armies. The album features another idea that looks forward to the eagles rescuing Sam and Frodo from Mount Doom.
66	Second Gondor theme (developed)	This variant, in E minor, appears in the film when Thorin embraces Frodo. This parallels the climax of The Return of the King when Barad dur collapses. It is a transformation of a Gondorian theme that appears in Fellowship of the Ring. It will also appear in Aragorn's coronation in E major.
67	Third danger motif	Two figures combine the contour of Saruman's theme [13] with the Ringwraiths [8.3]: Rising figure of [8.3] in the rhythm of [13]. This, first heard in An Unexpected Journey but only on album, will depict the Orc armies that besiege Minas Tirith. A combination of the rhythm [8.1] with [13]. This first depicts Merry and Pippin marched along Ugluk's company, then Frodo and Sam marched disguised in Mordor.
68	Impediment (variant)	Howard sometimes sequences the (inverted) impediment chords up or down. This is often combined with other themes, especially the Hobbit accompaniments. This occurs, namely, for both scenes in Bree but also in other contexts.
69	Beorn	Yet another variant of the Nature theme depicts Beorn and his lands. Now the Am: i-VI chords depict the tread of the bear's feet.
70	Ring chords (second form)	The chord is redressed as a sinister, but less overtly threatening soprano solo. It relates to the Ringwraiths entombed in the High Fells. In the film it also appears in Dol Guldur. Later, it is transformed into a rising line built on the same chords, now depicting Mordor's strident power.
71	White gems	this theme relates the Woodland Elves to Mirkwood via the minor sixth. Since the gems were fashioned for Thranduil's wife, the appearance of this theme when Gandalf sees her statue at the Elven gate is apposite.
72	Legolas	Legolas is associated with an up-tempo version of the Woodland realm theme, but also with string figurations that then adorn the Fellowship theme when he defeats a Mumak in The Return of the King.
73	Tauriel	This theme is based on a figure that concludes the Woodland realm theme.
74	Woodland Guards	Since Tauriel is the head of the guard, slow, lyrical versions of this theme acts as her secondary theme. Again, the Woodland Elves are set in "human" scales, in this case natural minor.
75	Impediment (Thranduil form)	This arpeggio idea contrasts Thranduil's covetousness with Elrond's wisdom, and compares him with similar attributes of Thorin's.
76	Tauriel and Kili	This theme begins with a duet for flute (a variant on Tauriel's theme) and oboe (answering with a variant of Thorin's theme). This is followed by a choral theme which incorporates the tragic theme [45], harmonized in "Elven" mediant chords and elaborated with a Dwarven open fifth.
77	Assertive Bilbo	Beginning as a "Dwarven" version of Bilbo's fussy theme, applying more to the Dwarves' bewilderment at their own rescue, this becomes the theme of the self-actualized Bilbo who smuggles the Arkenstone to Dale in The Battle of the Five Armies. It also depicts his return to the Shire as a changed person. It is mirrored in "Dwarven" forms of the Hobbit accompaniment figures that accompany the inebriated Gimli in The Return of the King: one last ode to Dwarven music.
78	Bard	starting on a minor third and perfect fourth, this theme plays on a similarity to Erebor. The Dwarves hope Bard will bring them nearer to the mountain. It is usually accompanied by a strummed pattern B♭ minor: i-#vi.
79	Laketown	This theme combines figures similar to Gondor (leaping a perfect fifth on D Dorian, then descending stepwise) and Rohan (semiquaver figure evoking rowing).
80	Politicians of Laketown	This clavichord theme, constantly modulating, relates the Master of Laketown and his aide Alfrid to the forces of corruption that represent Sauron's influence on Middle earth. Alfrid tends to be accompanied with just a fragment of the unabridged theme. The theme also appears retrograded when Thorin and Company are brought before the Master.
81	Bard's family	First appearing briefly when Bard arrives home, this is a diatonic transformation of the Master's music, similar to Bilbo's music.
82	Black Arrow	This theme first scores Girion who shares the opening pitches of Bard, his descendent. It depicts the Black Arrow that will slay Smaug.
83	Thrain	Thrain is depicted in his deranged form by another danger motif. When he returns to his senses, it is replaced by a slow version of Erebor, punctuated by a harp arpeggio.
84	Second danger motif (second form)	still skipping the first beat, this theme now appears in any number of forms. These can be sequenced up, down or at pitch. Ascending scale: This is similar to the first form. Clustering: repeated note, then adding a scale degree on each subsequent measure. Rising and falling: This most aggressive form uses the opening notes of the Ring, rising and falling a minor second.
85	Evil (second form)	This rhythmic augmentation of the original theme is another theme that depicts Sauron at force. Once he is driven out of Dol Guldur, it is deferred until The Return of the King where it depicts the Witch King emerging from Dol Guldur.
86	Arwen	This theme, which later introduces Arwen in Fellowship of the Ring and again in The Return of the King, first appears in the minor when Tauriel heals Kili. This parallels Arwen healing Frodo. It is a Phrygian line harmonized in F: I-iii.
87	Smaug's death	This combines all of Smaug's themes. It depicts his flight to Laketown, and his death. Afterwards, Smaug's theme is appropriated by the deranged Thorin.
88	Bard the hero	This more heroic theme depicts Bard's new role as the leader of the exiled Lakemen.
89	Gundabad	This theme also features the rising and falling minor second. Notice the doubling by twenty didgeridoos.
90	Orcs	The Gundabad theme is always accompanied by five-four beat. This is reshaped for Saruman's Uruks (percussion in five beats, usually accented on the first and third). Sauron's Orcs are depicted by more hectic forms of the same idea (accents varying randomly across the line).
91	The Ring chords (transformed)	This idea depicts other characters becoming touched by darkness. It is in two parts: Rising: This inverts a triad with brass adding a ninth to recreate the Ring chord. This appears during the fight in Dol Guldur and Galadriel banishing Sauron. It is hinted at when the Fellowship glimpse Caras Galadhon, and repeats when Galadriel appears wraith-like to Frodo. Falling: the two big statements then descend down F minor arpeggios as Galadriel reels back from her episode. This also depicts Bilbo reeling from his Gollum-like episode.
92	Dwarf warriors	The minor sixth of this idea makes this a Dwarven counterpart of the Elvish warrior theme. It is accompanied by unpitched "grunts" from the Dwarven chorus, a texture that already appeared in the Rings of Power opening titles, and will appear again in Moria.
93	Mithril shirt	This quartal melody depicts the shirt (which was fashioned for an Elven prince). It appears when Thorin gives it Bilbo, and when Bilbo gives it to Frodo.
94	Iron Hill Dwarves	This theme is similar to the other major-moded Dwarven theme. The tattoo-like accompaniment evokes the riding of the Dwarven cavalry, and later appears on its own with the chariot.
95	Tragic theme (transformed)	This reharmonizes the original theme [45] to depict valour and death on the battlefield. It ushers the conflict between Dwarves and Elves, then the offensive against the Orcs, and returns during the sequence where Gandalf and Pippin save Denethor, and the following skirmish in Pelennor.
96	War Beasts	Azog's horn is answered by this bestial motif, depicting the Trolls and Ogres he fields to the battle.
97	The Fellowship	This theme harmonizes a down-and-up figure in major seconds in D: I-♭III-I and extending it to a nine note phrase. All themes emphasizing a motion of major seconds (usually down and up, concluding on a quaver) will be related to the Fellowship, and this kernel will also appear by itself.
98	Third tragic theme	This theme, in rising minor seconds an augmented second apart, contrasts Elendil and Isildur's fall with Boromir's, and later Denethor's.
99	Seduction of the Ring	This is another variant of the Ring, in a standard minor mode and usually sung by boy choir. In The Return of the King, it is doubled by female choir to depict Smeagol's seduction.
100	Journey there	This theme reshapes the impediment arpeggio melodically. It depicts the journey to Mordor.
101	Third danger motif	This percussion quaver figure is the most overtly martial of the danger motifs. It depicts the turncoat Saruman overpowering Gandalf, then the forces Sauron fields in Osgiliath and during the Haradrim attack. It returns for the Mount Doom scene.
102	Strider	This figure leaps a perfect fourth, then ascends another step. It thus reorders the pitches of Gondor.
103	Tragic theme (Gondor form)	This embellishes the theme by appending a perfect fifth. It appears with Boromir's first meeting with Aragorn, then scenes of Arwen envisioning Aragorn's mortality and leaving Rivendell.
104	Diminishment of the Elves	This theme for the scene in Gilraen's grave, brings the Phrygian Dominant setting of Lothlorien to Rivendell. It also repeats when Aragorn parts with Arwen.
105	"Dangerous passes"	This C minor theme depicts members of the Fellowship traversing difficult terrain: Caradhras, the approach to the walls of Moria and – on album – the secret stair.
106	"Elvish pledge"	This theme parallels the alliance of Celebrimbor and Narvi (as objectified in the Doors of Durin) with that of Haldir and Aragorn, when he shows up at Helm's Deep. It is a sequence of chords outlining a whole-tone scale.
107	Hobbits (Heroic variant)	This begins as the rhythm of the second phrase of the Fellowship, first heard in the Mazarbul chamber. Its last appearance, ahead of Sam's battle with Shelob, transforms into figure unique to this fight out of which emerges a heroic form the original Hobbits theme as he galivants around Cirith Ungol. The chords will return in the Mount Doom scenes.
108	Durin's Bane	By doubling the Moria theme at the octave, Howard Shore creates a sequence of power chords which depict the Balrog in Fellowship of the Ring and again in the opening scene of The Two Towers.
109	Secondary Gondor theme	This is a more lyrical depiction of Gondor. Triumphant forms depict the reforged Anduril.
110	Aragorn	This figure, which sometimes start with the original Strider theme, sequences the opening three notes of the Fellowship upward.
111	Fourth tragic theme	This theme laments Boromir's death, and returns with every reminiscence of his death. It is also alluded to in scenes with Theoden and the dying Frodo.
112	Impediment theme (third variant)	This figure compares Frodo and Sam being stuck in the beginning of The Two Towers, and Merry and Pippin near the end of The Two Towers.
113	Fourth danger motif	This is a rhythmic variant of the third three notes of the Ringwraiths' accompaniment. In the skirmish with the Southrons in Ithilien (and later in the invasion of Osgiliath) is reduced to a minor third.
114	Rohan (fragment)	This sequences the galloping quavers so the first pitch is a unison, and the second is raised with every iteration. It appears in both early scenes with Eomer, and a similar style of writing is harkened when Aragorn arrives at Helm's Deep, when he rides out with Theoden and when Eomer is ordered to muster the Rohirrim.
115	The Fellowship in Rohan	This leaps a fifth and continues in the countermelody of Rohan, which is based on the Fellowship pitches. It depicts the growing allegiance of the members of the Fellowship and the Rohirrim through The Two Towers. In The Return of the King, this figure is transformed to depict Merry in his new role as squire of Rohan. Although this figure originally leapt a fifth, it is last harkened to when Merry strikes the Witch King with a rarely-heard major sixth.
116	The Ents	This theme has two components: major triads a tritone apart, then a tremolando line in bass marimba and contrabassoon voiced in open chords a tritone apart.
117	Gandalf the White	This is another transformation of the original nature. It introduces the reborn Gandalf in Fangorn, at Helm's Deep and reprised in the credits.
118	"Small stones"	These chords (initially F# minor – G major – F# minor – A minor) depict Merry and Pippins effect on Treebeard. Later it assumes a form redolent of Treebeard's tritone progression. It is last recalled in The Return of the King when Gandalf and Pippin have a quiet moment, but this can only be heard on album.
119	The White rider	This reshaping of the Fellowship theme turns Gandalf, always astride Shadowfax, into "Saruman as he should have been." After the siege of Gondor, this theme is transformed into reiterated falling and rising major seconds, which eventually become an important component of the Grey Havens scene.
120	The Fate of the Ring	Two figures depict the future of the Ring: This reharmonizes [45] in D major, thereby altering the Ring's theme major. It foreshadows the destruction of the Ring. Combination of the various Ring themes, first in canonic imitation, then as a single melodic variant of the evil theme. This foresadows an eventuality in which the Ring returns to its master.
121	Grima	This theme, always in C minor and sometimes in the "Orcish" 5/4, is a dark counterpart to [7] (in the same tonality) and [114], presenting one static pitch and one rising pitch: minor third, tritone, fifth, and concluding with a minor sixth dropping back into the fifth. It accompanies all of Grima's scene since Gandalf's arrival at Meduseld and is even hinted at when he stabs Saruman.
122	Eowyn and Aragorn	Eowyn's attraction to Aragorn is scored with this F Lydian theme. Notice the "sighing" appoggiaturas.
123	Arwen and Aragorn	an E Phrygian reshaping of Aragorn's theme, accompanied by the Rivendell arpeggio and redolent of sighing appoggiaturas.
124	Second Orc theme	Two devices depict the Orc siege: a bollero-like rhyhtm, and a reiterated rhyhtm over third-related chords
125	Gondor (transformed)	This version of Gondor, which replaces the descending final notes with Aragorn's ascending notes, is first heard in the Return of the King trailer. On album, it was hinted in an alternate version of the Fellowship prologue where another ascending version of the theme appeared in D major. Otherwise, this thematic complex - which appears in Gandalf's ascent to Minas Tirith, and in the Pelennor fields (theatrical cut) - is always heard in D minor until Aragorn's coronation. Notice that the original descending phrase also appears in the major, but only on album.
126	Shire (transformed)	throughout The Return of the King, the Shire music and the Fellowship's become mingled. This initiates a process that culminates in the final Shire scenes: the melody is still the same, but the accompaniment had been reduced to thirds. When Sam returns home, this returns with a transformed melodic line, still in D major. A second transformation occurs at the very end of the fan credits: the perfect cadence on A major complements the A minor-A5 resolution of the Rings of Power titles.
127	Dead Men of Dunharrow	This bitonal idea features a bassline similar to Gondor, while the top voices cluster. When the ghosts lend aid on the Pelennor fields, the clusters resolve diatonically.
128	Denethor and Faramir	The confrontation between Faramir and Denethor, and Faramir's subsequent march to certain death are scored with this variant of [67].
129	Shelob	Another near tone-row. It is later spun into a pair of octatonic quadruple figures.
130	Valinor	The theme of the song "Into the West" appears when Gandalf describes Valinor to Pippin, when Sam hoists Frodo on his shoulders and at the conclusion of the Grey Havens scene.