Principal leitmotifs Music of The Lord of the Rings film series

1 principal leitmotifs

1.1 first appearance in fellowship of ring
1.2 first appearance in 2 towers
1.3 first appearance in return of king
1.4 reprised themes hobbit
1.5 themes of hobbit

principal leitmotifs

howard shore s composition not carry motifs on either other scores of career or passages of existing film or stage music, exception of 1 intentional nod richard wagner on end-credits of third film. shore wrote long series of interrelated leitmotifs used, developed, combined or fragmented throughout 3 scores. motifs attached places, cultures, characters, objects , occurrences.

while stage , film composers deviated meaning of themes , used them romantically (i.e. suggestion of mood) shore refrains using technique. several pieces feature intriguing thematic choices choosing history of 1 ring theme passage of argonath or ringwraith theme orc armies in prologue (and again azog in hobbit) neither outright romantic in application , can explained. history of ring being main theme of series, usage on argonath hints film coming close ringbearer depart east. ringwraith theme , derived power of mordor theme, theme servants of sauron, not nazgul, , makes multiple appearances in context.

the instance of theme being used outright romantic sweep exists in first hobbit film (it doesn t appear on shore s album), applying gondor reborn theme finale, has nothing directly gondor. also, since music in each finished film subjected tracking (by filmmakers) of existing music other passages, 2 towers features puzzling insert of moria theme (from bridge of khazad dum ) during warg attack.

shore uses themes subtly inform dramatic connections, rather serve strictly musical stand-in characters. example how shore forms first notes of fellowship theme on sam joining frodo, , expanding on when merry, pippin , strider join group hint @ gradual coming of fellowship of ring , leading full statement in council of elrond. there significance order in themes appear in scene or when theme absent.

the themes go through series of variations of orchestration, tempo , harmony denote changes characters , general progression of plot. again, fellowship theme gradually comes before appearing in string of full heroic statements whole company travels , struggles. after gandalf s demise, however, theme appears fragmented, harmony changed , instrumentation reduced leading dirge-like statement on death of boromir. gradually remade leading choral statement in assault on black gate.

each film, , particularly first one, starts overture: series of statements of principal themes of feature, extended opening credits till after individual title of film. prologue first film, instance, features history of 1 ring theme, lothlórien theme, mordor accompaniments, sauron s theme, servants of sauron theme, fall of men, aragorn s theme , shire theme , variations , @ point feature second-age gondor theme , power of mordor well. main lord of rings theme appears on main title, while main theme of each individual episode appears on second title. shore used first film introduce principle themes, second film add more themes , third film create conflict , cross-overs between existing themes , bring them resolution, creating in process new themes fourth age.

all of these themes complied menu musicologist doug adams, worked shore on documentation of score. doug identified 90 motifs (some brief, scarcely used and/or subtly differentiated others) in 3 complete recordings, far largest catalog of themes theatrical work. other motifs have been identified in alternate passages appear in other releases of soundtrack, , several variations on existing themes , pieces of diegetic music can considered additional leitmotifs. there isolated motifs reprised in hobbit, thereby turning theme after fact, pinning number of leitmotives in work @ on 100.

by comparison, john williams 16-hour composition star wars features fifty themes overall, thereby making shore s work on lord of rings films far thematically-rich of cinematic work, without accounting additional 62-70 leitmotifs used in hobbit trilogy, altogether rivals wagner s ring catalog of leitmotifs, making not thematically complex film score 1 of nuanced works in history of orchestral music.

the themes below appear across 3 films, sorted out thematic families. many provided clean audio example. themes within each family share soundscape , melodic , harmonic traits, there connections between themes of different families imply dramatic connections , lend cohesiveness score whole:

first appearance in fellowship of ring

themes 1 ring

history of 1 ring or lord of rings theme: minor-key string melody plays on lord of rings title card 3 films. howard shore has considered theme, more shire or fellowship theme, main theme of score, given basic pitches basis themes in score. used main theme when fellowship passes argonath, played on brass, otherwise appears little variation (except when mingles smeagol s theme or other ring , mordor themes), showing how evil static whereas dynamic.
seduction of ring : slow, melancholic variation of ring theme, sung choir. associated lyrics first appear mixed choir when gandalf finds account of isildur. first proper appearance (when gandalf warns frodo never surrender ring temptation , put on) hummed boy choir, , later sung when boromir tempted. in return of king, returns when deagol first finds it, moving boys women choir.
sauron (mordor/the evil of ring) : more menacing variation, used more theme sauron (and - proxy - mordor). played on muted brass , moroccan rhaita, giving old, eastern flavor, while maintaining more aggressive , nasal sound.

themes mordor

the evil themes forceful , @ times sacrilegious due use of choir , stacked harmonies. themes structurally share middle-eastern intervals (to evoke antiquity of music rather ethnic connection), chromatic progression , descending melodies, opposed fellowship music ascends whole steps. music of mordor antithesis of music of shire, both having series of underlying accompaniment figures , main themes scores pits 1 against other.

mount doom : pair of alternating chords, derived opening harmonies of gollum s theme. first appears when elrond recalls taking isildur crack of doom, , returns when hobbits on side of mountain, fighting gollum, sung full choir.
threat of mordor : this, along accompaniment motifs, 1 of several danger motifs associated mordor, acts main melody. return of king, becomes more powerful, ascending rather descending , forms basis witch king s theme.
servants of sauron : theme combination of choir singing pitches of ring theme stacked on each other, while different mordor accompaniments combined underneath, , skip-beat used ostinato. first heard in battle of last alliance in prologue, applied first orc armies , sauron himself. afterwards used (but not always) ringwraiths.
power of mordor : elaboration on ringwraith theme, music used shore in initial takes on prologue (presented in original soundtrack release), later decided appear in third installment, short quote @ council of elrond.
the footsteps of doom (end-cap): first beats of ringwraith theme repeated on percussion figure of impending doom.



mordor accompaniment figures: these 3 (or more) motifs accompany music of mordor, of ringwraiths:

descending thirds motif: background music lot of more forceful mordor themes, sauron s theme, appears on own: instance, when bilbo leaves ring behind in bag end. basis dol guldur theme , azog , bolg s themes hobbit.
the mordor skip-beat: chase ostinato used ringwraith theme. has several variations, including distinct two-pitch variant, used predominantly in flight ford sequence.
the mordor outline: martial drumbeat. used in association forces of sauron (like armies @ black gate) , forces allied him, such haradrim (it plays under mumakil sequence) , saruman.

themes hobbits

the hobbit themes celtic-sounding, scored celtic instruments namely fiddle , tin whistle. maturation through story has them not transform melodically , harmonically, make use of orchestral relatives of folk instruments played. music stepwise , calm, old-world modal harmonies evoke familiarity.

main themes: basic tune of shire theme appeared in several distinct variations, each constituting theme in own right:

pensive variant : basic, reflective version of shire theme. on soundtrack, starts solo tin whistle, followed solo fiddle , complete orchestra repeating same phrase. track quietens down , solo tin whistle plays second melody, again followed orchestra. track ends violin , tin whistle repeating first theme.
rural variant : heard in hobbiton, lively fiddle solo improvised grace notes added melody. variant of music plays during prologue final film.
playful variant : applied merry , pippin.
the hymn variant : series of hymn chords, used harmony shire theme, played in slow tempo theme. serves theme frodo baggins. chords first heard when gandalf , bilbo talk frodo in bag end.
in dreams : song variation of hymn variant used in end-credits suite of film.


hobbit s understanding : used when hobbits come understand hardships , struggles of journey. used when gandalf advises , encourages frodo in moria, , in more grand setting throughout breaking of fellowship sequence , again when sam encourages frodo in osgiliath in following installment.


the hobbit accompaniments: shire themes, hobbiton or folk theme, accompanied series of minor motifs serve accompaniment figures. these figures go on become distinct motives on own right story progresses:

the hobbit outline: expectation motif played under lot of shire music, notably rural variant. 1 open series of accompaniment figure statements, when frodo first meets gandalf.
the hobbit two-step: motif hobbit playfullness played under shire , hobbiton music.
the hobbit skip-beat: motif hobbit happiness , playfulness playing under shire music, directly after two-step figure. dark variations of start appear later in series.
the hobbit end-cap: finale figure hobbiton theme , accompaniment figures, serves motif hobbits bafflement.

themes gollum

pity of smeagol : slow, gloomy piece acts theme smeagol. first heard in prologue when smeagol discovers ring. closely related hobbit music history of 1 ring , weakness arpeggios.

themes elves

the music of elves sinuous (in line arts department vision of elvish architecture) , elegant, being scored women voices, violins , chimes. ancient, exotic , @ times closed off outside world, elves, , scored middle-eastern or indian , african instruments , contains melodic intervals prevalent in eastern music.

rivendell: theme female chorus, accompanied series of string arpeggios, appear themselves. while written soothing, becomes more saddened arwen leaves in 2 towers, , when returns rivendell in last film.
arwen : theme female choir , soloist used when arwen makes grand entrance. used when appears before frodo , again, sung renee fleming, when appears @ aragorn s coronation.
lothlórien: soft, ethereal chorus accompanied cellos in phrygian mode. written in adapted form maqam hijaz, create sense of antiquity , provide lothlórien unsettling effect. more hard-edged, brass-driven version of theme appears in second film during battle of helm s deep.
elvish pledge : motif sung when doors of durin revealed, memory of pledge of elves or eregion (who built doors) dwarves of moria. reprised when haldir joins fight @ helms deep.

themes isengard

isengard theme : theme created provide sense of industrialism, , scored low brass , accompanied percussive orc theme. opening reflects opening of fellowship theme, showing rivalry of gandalf, leader of fellowship, , saruman.
5 beat pattern : accompaniment isengard theme, serving musical representation of orcs in general. played on anvils, bell plates , other metallic percussion instruments. 5/4 time signature makes theme feel off-kilter.

doug adams lists motif twice, once isengard , once mordor, musical distinction isengard 5-beat pattern accents first , forth beats, unlike rest of 5/4 music applies orcs more generally. whether 2 can musically categorized 2 separate leitmotifs subjective. adams lists cruelty of orcs twice (since realigns mordor in last film) , evil of ring (which doubles sauron s theme).


orc crawl : four-pitch motif uruk-hai band hunts down fellowship, sung choir. used when 3 hunters chase said band in 2 towers.

themes nature

nature s reclamation (commonly referred fans nature theme): theme first heard while gandalf trapped in isengard when moth serving messenger eagles arrived @ pinnacle of orthanc; moth , eagles represent nature here well. theme has grander version in 2 towers during last march of ents . statement tracked parallel scenes in helm s deep signal sunrise rohirrim charge. theme used in grand setting sun rises again behind rohirrim before battle of pelennor fields, , in several statements leading that.

themes dwarves

the dwarvish music raw, based on open fifths rather full chords,. scored all-male voices, deep , rough voices @ that, , blaring brass.

moria : ascending, ominous danger motif on brass , male choir. first suggested when gandalf realizes have go through mines, , stated when doors first opened in non-threatening setting. company escapes balrog return in more aggressive setting. used music opening credits of 2 towers, starts depiction of gandalf s duel balrog. tracked beginning of fight between rohirrim , wargs, theme used here romantically , more mood thematic meaning. there mock-up of variation of theme in rarities.
dwarrowdelf : theme more grand , emotional other moria themes, minor , melancholic, representing ruined grandeur of dwarves. grand statement when fellowship enter 21st hall of moria, again more quietly @ balin s tomb , third time battle of mazarbul has subsided.
dark places of world : danger motif moria sequences. associated deep chasms of moria , used both when fellowship runs down stairs , again when gandalf , balrog fall.

themes gondor

the music of gondor , world of men , stately , brassy, not triumphant, music lamenting decay of mortal world. later half of 2 towers , return of king themes of world of men presented in heroic settings.

realm of gondor theme: basic version of established during council of elrond in fellowship of ring , , existed in extended edition of 2 towers . becomes signature theme of return of king, earning grand statements on riding of gandalf minas tirith , through lighting of beacons. occurs in 3 variants: gondor in decline, gondor in ascension (used in third film , trailer), , numenore variation used in rarities archives, presents mock-up of early, major-moded variant of ascension theme.
minas tirith theme: basic version of established during scene aragorn , boromir in lothlórien in fellowship of ring . reappears in third film, related minas tirith , history of gondor. in third film, variant of theme stands anduril.

themes fellowship

fellowship of ring theme: heroic, sweeping piece using principally brass , orchestra. heard in various versions during first film (of signature or main theme), after bridge of khazad-dûm, last time entire fellowship together, fractures , can heard infrequently , sparingly throughout next 2 films until remainder of fellowship charge black gate mouth of sauron , frodo sung choir. theme colloquially known main theme of lord of rings trilogy. along shire theme, repeated theme in series. curiously, on album, theme used once in conjunction haldir s archers join aragorn s cause. here theme extrapolated narrow meaning (which encompasses 9 walkers) , applied general idea of fellowship , friendship.
drive of fellowship : little string figure appears when members of fellowship ready fight orcs in mines of moria. heard in weathertop.
strider : embryonic form of aragorn s theme, features opening figure, starting perfect forth. used during introduction , in battle of weathertop. there second-age variant of used in prologue pertains elendil , isildur.
heroics of aragorn : more heroic statements, in third film, labeled heroics of aragorn. form ascending coda of gondor in ascension theme.

themes monsters of middle earth

watcher in water : appears several times in track doors of durin , piece distinct informed other monster themes. theme starts microtonal contrabass solo , develops aleatoric music , in vein of science-fiction monster themes.
cave troll : piece used (albeit in bracketed fashion) in battle of mazarbul association cave troll. cumbersome troll pitiful, film s depiction of troll.
balrog : theme percussion , male chorus appearing under lot of moria material in bridge of khazad dum . returns in opening 2 towers.

themes middle earth: ring quest themes

journey there : motif related ring theme. used sparingly: once when frodo , sam roam shire, once when frodo realizes has leave company after looking galadriel s mirror. used again when company rows down anduin, , in third film when frodo, sam , gollum walk mordor.
dangerous passes : theme used whenever ringbearer traverses dangerous , mountainous passes. scores caradhras scenes, returns secrets stairs in return of king, albeit being muted in film.
evil times : whenever quest of ring brings suffering character, theme used. applied gandalf sitting atop orthanc in fellowship of ring. gradually comes encompass instances of evils wrought during war of ring, applied instance suffering of people of rohan or of faramir.
weakness motif (weakness , redemption): arpeggio signals weaknesses of mind , temptation, , overcoming of them. applied boromir s weakness ring, , forms basis of gollum s theme, signaling weakness well. related rivendell arpeggios.

themes middle earth: shall come darkness themes

nameless fear : motif appears when galadriel speaks of nameless fear , shortly afterwards when frodo temps gandalf taking ring. returns when galadriel speaks elrond of of ring in 2 towers.
fall of men : motif unique first film, being used once when elendil dies , again when boromir succumbs call of ring.
noble end : theme death of noble sacrifice. used boromir s death , revisited when other characters reflect on death, applied theoden in return of king.

themes middle earth: path theme

gandalf s farewells : music sung solo voice after gandalf falls. used when departs valinor. repeated in other occasions, although not direct connection gandalf s death, perhaps in opposite meaning, of meeting gandalf again: when frodo , sam lie on slopes of collapsed mount doom, gandalf s farewells used, perhaps show hobbits ready meet again gandalf in death.

themes recurring hobbit , in alternate forms of soundtrack

from alternate forms of soundtrack: prophecy, realm of numenore.
from hobbit: bilbo s birthday, map of lonely mountain, smoke rings, flaming red hair (diegetic), gandalf s fireworks, bree, elvish medicine, mithril vest, durin s folk, galadriel s powers.

first appearance in 2 towers

returning

the history of 1 ring, seduction of ring, sauron, shire, frodo/hymn variant, merry , pippin, hobbit lullaby, hobbit outline, hobbit end-cap, hobbit s understanding, pity of smeagol, servants of sauron, threat of mordor, descending thirds, mordor skip-beat, footsteps of doom, servants of sauron, isengard, uruk hai, orc crawl, realm of gondor, fellowship, strider, heroics of aragorn, rivendell, lothlorien, elvish pledge, diminishment of elves, evil times, weakness motif, nameless fear, balrog, moria, dark places of world, nature s reclamation.

themes 1 ring

fate of ring : in , of itself, theme appears once, when gandalf tells aragorn ring remains hidden sauron in 2 towers. in soundscape of forth age, switched major mode, becomes destruction of ring theme.

themes mordor

the way mordor: shore crafts truncated variant of threat of mordor denote proximity mordor , roads leading it. used frodo , sam s journey mordor in 2 towers, , in osgiliath skirmish in return of king.

themes hobbits

hobbit lullaby variant : motif first appears lullaby-like orchestral setting of main (pensive) shire theme, sam , frodo leave green dragon. first definitive statement separate theme when merry , pippin fall asleep due treebeard s recitations. variation of used when frodo , sam sleep on slopes of morgul vale.
hobbit antics : merry , pippin s antics fangorn going forward scored motif drawn hobbit end-cap , gandalf s fireworks motifs. twisted variation of appears twice when frodo scrambles in shelob s lair.

themes gollum

gollum s menace : theme of gollum or stinker side. features cimbalom @ once gives feeling of hobbit music , yet gives jittery feeling mimics gollum s motions.
gollum s song : melody end-credits song, gollum s song, appears in finale of film , informed other themes gollum.

themes elves

evenstar : main love theme of aragorn , arwen. more moody aniron, since shadow of death hovers on love of aragorn , arwen.

themes isengard

cruelty of orcs : descending, dissonant motif on brass. used wargs , war machines of orcs , continues in return of king.
uruk-hai in battle : army @ helm s deep, shore uses related motif unique isengard. used gunpowder explosives set under outer wall , again crowbalistas of uruk hai.
grima wormtongue : grima s theme alienated rohan themes, , rather aligned isengard theme. collection of low notes on brass , deep woodwinds.

themes nature

gandalf white in nature : theme appears when gandalf white revealed before aragorn, , when aragorn remembers words @ sunrise in helm s deep, although replaced in film nature s reclamation.
ent theme : theme scored low, woody sounds log drums, bassoon , cellos. plodding , slow, ents.
treebeard s stride : more of theme treebeard himself , forest named after him. used when aragorn first looks forest, , again scenes treebeard.
small stones : motif more active , related shire themes. used, sung choir, when gandalf comments of coming of merry , pippin fangorn, , again when encourage ents action.

themes rohan

rohan fanfare : featuring hardanger fiddle. signature theme of 2 towers, playing on corresponding title. utilizes brass, violas , hardanger fiddle. @ grand, @ charge of pelennor fields, played brass section twice size deployed in score.
the riders of rohan: short motif used Éomer when leads rogue band of riders. used in fight uruk hai , in when surround aragorn, gimli , legolas.
Éowyn s theme: using open fifth intervals (lacking third of chord – means chords cannot defined major or minor) common music of gondor, implying eowyn s eventual connection faramir. used when first see her, again when stands before edoras. slow variation of played before theodred s dirge, , plays in triumphant setting when rides off battle.
eowyn , theoden: theme has more developed b-section. used when eowyn sees theoden healed , makes series of moody appearances before being used heroically when eowyn dispatches witch king.
eowyn , aragorn: theme starts eowyn , theoden has different ending. ending first appears in helm s deep when eowyn shouts @ aragorn, , earns last statement on double fiddle when aragorn leaves go paths of dead.

themes fellowship

white rider , fellowship : waltz-time, sweeping, full-orchestra crescendo heavy strings represents gandalf white. used on wide shots of him riding shadowfax.
fellowship in rohan : when fellowship , riders first meet, themes begin mingle. forms new motif matures in battle of helm s deep, appearing heroically when gimli leaps on uruk hai save aragorn.

themes monsters of middle earth

mumakil theme : musical theme of east , south of middle earth. uses dilruba. reappears mumakil @ pelennor fields.

first appearance in return of king

returning

shire, hobbiton, frodo, merry , pippin, hobbit lullaby, hobbit heroic variant, hobbit outline, two-step, skip-beat, end-cap, antics, gollum s menace, smeagol s pity, fellowship, white rider, strider, aragorn s heroics, dwarf end cap, history of 1 ring, seduction of ring, fate of ring, sauron, mount doom, threat of mordor, footsteps of doom, mordor outline, skip-beat, descending thirds, way mordor, servants of sauron, power of mordor, isengard, orc theme, cruelty of orcs, lothlorien, rivendell, arwen, evenstar, evil times, weakness motif, journey there, dangerous passes, gandalf s farewells, mumakil, gondor (in decline), minas tirith, rohan, eowyn, eowyn , theoden, eowyn , aragorn.
recurring in hobbit , in alternate forms of soundtrack: forces of enemy, legolas heroic feats, minas morgul, eagles, breath of life.

themes 1 ring

destruction of ring (fourth age theme): theme shifts ring themes major mode. celebrates not destruction of ring of mordor , ushering of forth age, own unique soundscape.

themes mordor

witch king of angmar (fourth age theme): after saruman dies, theme extrapolated , used in conjunction threat of mordor in retrogrades form theme witch king. 1 of forth age themes of mordor, showcasing possibility of mordor s triumph.
the orcs of mordor theme: variant of witch-king s theme, variation more devolved , applied armies of mordor marching black gate, after demise of witch king.

themes shire

meriadoc warrior : hybrid of shire theme, fellowship theme , rohan fanfare.
shire heroic variant : heroic setting of shire theme, interjected brass fanfares, applied strictly sam, races save frodo orcs of cirith ungol. adams mentions several heroic statements, perhaps refer choral setting of arguement used on mount doom.
shire reborn (fourth age theme): fourth age shire theme, used sam , rosie go home , film closes. accompanied fourth age variant of shire outline figure.
bilbo s song (fourth age theme): encore theme howard shore wrote end of fan credits of extended edition of return of king. final development of shire themes.

themes elves

arwen s song (fourth age theme): sung liv tyler. slated moment when arwen has vision of eldarion (which in , of slated 2 towers), bumped variation of evenstar theme, , ended being used in houses of healing scene.

themes dwarves

dwarf end-cap : cap off dwarf themes in final film, howard shore scored gimli , antics motif constructed hobbit end-cap, more in vein of dwarvish music.

themes gondor

realm of gondor in ascension (fourth age theme)
stewards of gondor (faramir , denethor): theme heard on pan flute. used when faramir argues father retaking osgiliath, , again when marches down minas tirith fulfill father s on matter.
battlefield heroism : used heroism of soldiers of gondor and, extension, heroism of pippin (a soldier of gondor) rescues faramir fires.
gondor reborn (fourth age theme): fourth-age theme, based on minas tirith theme. used in fall of barad dur (and in finale of first hobbit film) more general triumphs on evil musical idea.

themes monsters of middle earth

shelob s theme : shelob, howard shore crafted music more in style of horror film scores, making feel alien texture of overarching score while conveying terror , gait.

themes middle earth

paths of dead ( shall come darkness theme): theme scored low voices , tibetan gongs, giving ethereal feeling. hinted when apparition of king of dead first appears, , again during aragorn s dream of arwen before paths of dead sequence figures prominently.
return journey (fourth age ring quest theme): whereas journey there based on ring theme, return journey based on shire theme.
grey havens theme (fourth age path theme): featured in west annie lennox. foreshadowed 2 times: first when gandalf describes vision of valinor pippin, , again triumphantly when sam lifts frodo mount doom.

reprised themes hobbit

in hobbit film trilogy soundtracks, aside adding on 70 new leitmotifs middle earth catalog, howard shore chose reprise , vary pieces of music did not have thematic significance in lord of rings, thereby turning them themes. since of these motifs short, singular quotes, or subtle variation on existing motif, status leitmotifs debatable , listed possible motifs.

themes dwarves

durin s folk : moria sequences in fellowship of ring scored droning male choir. piece reprised in prologue unexpected journey, thereby turning theme dwarves.
map of lonely mountain : melody heard in fellowship of ring when gandalf takes gander @ map of lonely mountain @ bag-end. appears several times in hobbit, , connected thorin s theme.

themes shire

smoke rings : short variant of shire theme, used bilbo , gandalf puffing smoke rings pipes, reused similar shot @ beginning of hobbit: unexpected journey , harmonic hint towards history of ring theme.
bree : dark variation on hobbit skip-beat, used hobbits enter town of bree in fellowship of ring reused shots of thorin walking in bree in prologue desolation of smaug.
gandalf s fireworks : in fellowship of ring , gandalf s fireworks, set merry , pippin, scored tune based on hobbit accompaniment figures. piece used twice in hobbit illustrate bilbo s memories of gandalf. menacing variant of b-section used on opening credits desolation of smaug, connection firework (which fashioned in likeness of smaug) , titular dragon.
mithril vest : oboe line scored bilbo giving mithril vest frodo used thorin giving bilbo.
bilbo s birthday : in fellowship of ring, banner bilbo s birthday party erected, statement of hobbiton theme ends fiddle fanfare . shore re-used piece score bilbo opening replies birthday invitations in beginning of hobbit.
some of playful music accompanies merry , pippin in cornfield used when bilbo running out of home. whether or not there recurring leitmotif contained within music debatable.

themes elves

elvish medicine : related arwen s theme, heard in fellowship of ring when frodo succumbed effect of morgul blade. reused in hobbit tauriel healing kili.
legolas heroic feats : swirling-string piece used legolas taking down mumakil return of king reused scenes in laketown.
galadriel s powers : when galadriel appears in wrath , banishes sauron, shore quotes piece brass used galadriel in mirror of galadriel fellowship of ring.

themes mordor

forces of enemy : variation on sauron s theme, played on descending thirds accompaniment, reused sauron s appearance gandalf , again in guardians of 3 battle of 5 armies.
minas morgul: in both versions of high fells piece, short musical figure coronal of gold , silver appears, standing abode of ringwraiths.

theme nature

eagles : both of shore s compositions eagle rescue (the album , finished film) informed eagles in return of king. former, in particular, quotes melody of eagles briefly.

themes of hobbit

see music of hobbit film series: principal leitmotifs.

in hobbit, howard shore added 70 more new themes part of greater catalogue of themes middle earth film franchise. themes part of existing thematic families dwarves, hobbits, elves, middle earth, nature , forces of evil , world of men, , follows:

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