The Musical Themes
The compositional style that Paul Corfield Godfrey used to create his sound world for The Silmarillion utilises a similar approach to that of Richard Wagner in his Ring cycle: a series of themes (or leitmotifs) that are attached to either particular characters, places, events or even
emotions.
On the specific pages for each work on this website Paul has done a full analysis of these themes and their names, but we thought that a companion article should be written for this website that not only itemises these themes but accompanies them with an isolated audio sample and a very brief explanation of their significance to the wider world of Middle Earth.
We have maintained Paul’s numbering and naming of these themes, which is chronological through the works from the theme’s first appearance. This listing is classifed by the work of its first occurrence but that certainly does not mean that the theme is limited only to that work. Themes first heard in Fëanor are consistent all the way through to the end of The Lord of the Rings .
PART ONE: FËANOR
1. ILÚVATAR
This is the theme for Eru Ilúvatar, the supreme being who created all of existence, and for Manwë the Elder King, his regent on Earth.
2. THE VALAR
This theme represents the powerful god-like beings who give order to the world.
3. ELBERETH AND THE STARS
Here we have the theme for Elbereth, the Valar Queen of the Stars and wife to Manwë.
4. MORGOTH
Here is Morgoth's theme.
5. YAVANNA AND NATURE
This theme represents Yavanna, the Goddess of Trees. This theme develops into that of the Two Trees.
6. THE NIGHT OF NOUGHT
This is the theme of Vairë, the Mistress of Dreams. It occurs later as part of the later “Two Trees” theme but is not heard again in this form until Tuor passes through the “Night of Nought” in The Fall of Gondolin.
7. THE EARTH
This theme is for Arda, the earth itself.
8. THE ELVES
And here the theme for the Elves, the Firstborn who will look upon the stars.
9. ANGBAND (I)
This theme becomes the motif of Morgoth’s
northern stronghold, Angband.
10. THE ELVENKINGDOMS
(LATER DORIATH)
This theme, initially used for the Elves, later is used specifically for the magically Hidden Kingdom of Doriath.
11. MORGOTH AS STIRRER OF STRIFE (I)
These figures will be used in conjunction with the other Morgoth themes throughout the cycle.
12. MORGOTH AS STIRRER OF STRIFE (II)
13. DESIRE FOR LIGHT
This twisted version of the intervals of the Ilúvatar theme represents Melkor’s desire for light.
14. EVIL
A semitone dischord, used throughout the cycle to represent the Evil and corrupt.
15. GLAURUNG
Initially used to represent Morgoth’s descent into darkness, this theme later becomes that of his
creation, the dreaded Dragon Glaurung.
16. THE ORCS
A theme for Morgoth’s evil minions, the Orcs.
17. THUNDERSTORM
This theme is used throughout the cycle to represent thunderstorms, rain and other similar phenomena.
18. MORGOTH'S CURSE (ORIGINAL)
This theme, a shadow of 15, is later used specifically to represent Morgoth’s curse on the family of Húrin. In its first instance it is used to represent the Elves threatened by the shadow of Melkor.
19. MANDOS
This chordal pattern is used to represent Mandos, the Vala Judge of the Dead throughout the cycle.
20. REBIRTH
A theme to represent existence beyond death (used later in the final scenes of Beren and Lúthien).
21. THE TREES OF VALINOR
This theme, an extended alternation of the music of Yavanna (5) becomes the theme of the Two Trees of Valinor, which bring light into the Land of the Valar.
22. FINWË, LATER FINROD
A theme for the elf Finwë, the High King of the Noldor, utilised later for his grandson Finrod.
23. FËANOR
The title character’s theme, eldest son of Finwë. Craftsman and gem-smith, the maker of the
Silmarils.
24. FIRE
A musical symbol for fire itself, initially attaching itself to Fëanor who is described as a “Spirit of Fire”.
25. FINGOLFIN
A theme for the elf Fingolfin, second son of Finwë and half-brother to Fëanor.
26. THE SILMARILS
This theme represents the gems created by Fëanor from the light of the Two Trees of Valinor, his most prized creation.
27. UNGOLIANT
Here is the theme that represents the Dark Spider Ungoliant, a creature from the Darkness that sucks up all light that she can find.
28. YEA, WITH BOTH HANDS
A theme uttered initially by Morgoth that later in the cycle frequently recurs in reference to himself or his creatures.
29. THE SEA (ORIGINAL)
The first theme for the Sea.
30. MORGOTH'S ADVANCE (I)
An insistent rhythmic pattern of diminished fifths to signify the advance of Morgoth, firstly to the Two Trees and later through Middle-Earth.
31. MORGOTH'S ADVANCE (II)
A more chaotic version of the above.
32. THE SEA (DEFINITIVE)
The final version of 29 that then makes its way throughout the cycle.
33. LOSS
A theme that is used to represent the idea of Loss.
34. DEATH OF FINWË
An agitated tremolo chord signifying the death of King Finwë.
35. I AM THE ELDER KING
A theme associated with Morgoth, that assumes massive importance in The Children of Húrin, where Morgoth uses it to try to challenge the Elder King.
36. FËANOR’S CURSE
A theme for the curse Fëanor lays upon Melkor, renaming him Morgoth – the Black Foe of the World.
37. COME AWAY!
A new theme for Fëanor when he calls the Elves to follow him out of the Blessed Realm.
38. FAIR SHALL THE END BE
Yet another new theme for Fëanor as he calls upon the Elves to abandon their treasures and follow him.
39. THE OATH (DEFINITIVE)
A theme that assumes major importance throughout the cycle: the Oath that Fëanor and his Sons take against all who stand between them and the Silmarils.
40. THE OATH (ORIGINAL)
A reflection of above, with wildly fluctuating rhythm.
41. MORGOTH BAUGLIR
A new theme turning Melkor’s original diminished fourths back within themselves.
42. HUMANITY
(1st PHRASE, ORIGINAL)
A brief allusion to a theme that will follow that represents the race of Men.
43. ULMO
This theme will come to represent the Vala Ulmo, the Lord of Waters.
44. KINSLAYING (I)
The first theme that alludes to the Kinslaying undertaken by Fëanor and his followers.
45. KINSLAYING (II)
An extended version of the above theme, now more rhythmically jagged.
46. STORMS
A chromatic shifting version of 43, used to represent Ulmo’s wrath upon the sea, creating storms to hinder Fëanor’s progress across the ocean.
47. THE ANGER OF THE SEA
A companion theme to the above, suggestive of the anger of the Sea which later recurs in The Fall of Gondolin.
48. THE SHORES OF MIDDLE-EARTH (I)
A theme to represent the shores of Middle-Earth.
49. BANISHMENT
A theme used first by Mandos, later repeated throughout the cycle, that represents the banishment of the Elves from the Blessed Realm.
50. TREASON
First used in Mandos’ cursing of the Elves when he tells them that they will not achieve their aims because of treason within their company.
51. MURDER
Again, first used in Mandos’ curse, this time describing that though the Elves may not wither and die, they may be slain by weapon and by grief.
52. HUMANITY (2nd PHRASE)
A second phrase that will eventually become the theme of the race of Men.
53. THE BALROGS
A wide-ranging plunging phrase used to depict the Balrogs, the fiery corrupted servants of Morgoth.
54. THE SHORES OF MIDDLE-EARTH (II)
A new phrase used to depict the shores of Middle-Earth.
55. THE BURNING OF THE SHIPS
A fragmented version of the Fire (24), which dominates the remainder of the score of Fëanor.
56. DEATH OF FEANOR
A vastly extended and stretched version of The Oath (39) depicting the death of Fëanor.
PART TWO: BEREN AND LÚTHIEN
57. DAGOR BRAGOLLACH
A theme to represent the Dagor Bragollach or Battle of Sudden Flame, which marked the end of the Siege of Angband and the first of Morgoth’s gains against Elves and Men.
58. BATTLE (I)
These themes are all used repeatedly throughout the Dagor Bragollach.
59. BATTLE (II)
60. BATTLE (III)
61. SAURON
A theme used chiefly to represent Morgoth’s lieutenant Sauron, but also for his forces of wolves and serpents.
62. BEREN
A theme for Beren, of the race of Men,
descended from royalty and an accomplished hero of the First Age of Middle-Earth.
63. BEREN'S HEROIC DEEDS
A sprightly theme to characterise Beren’s deeds.
64. NARGOTHROND
This theme represents the Elven Kingdom of Nargothrond.
65. GORLIM
A theme for Beren’s follower, the poor
unfortunate Gorlim.
66. EILINEL
And a theme for Eilinel, his lost wife.
67. DAUNTING (ORIGINAL)
A theme used to represent the daunting power of Sauron over his captives.
68. SAURON'S ENCHANTMENT
And a theme for his enchanting powers.
69. TARN AELUIN
A theme for the lake where Beren sees a vision of the recently departed Gorlim.
70. BEREN'S LAMENT
Another theme associated with Beren, this time connected to his woes.
71. VISION OF PEACE
Used like a vision of peace.
72. DESIRE FOR VENGEANCE
This theme is associated with Beren’s desire to avenge his fallen comrade.
73. DAERON (I)
These two themes are first heard played by an onstage flute. They represent the character of Daeron, the minstrel of Doriath.
74. DAERON (II)
His character is excised from this version of the story but his playing of music for Lúthien to dance to is hereby represented.
75. LAY OF LEITHAN (I)
These two themes are the basis for the setting of the courtship of Beren and Lúthien.
76. LAY OF LEITHAN (II)
77. LÚTHIEN (I)
Two themes associated with the Elven princess.
78. LÚTHIEN (II)
79. BEREN AND LÚTHIEN
The themes of Beren and Lúthien combined into a new melody.
80. BEREN'S DESIRE
A theme representing Beren’s desire for Lúthien.
81. LÚTHIEN’S DANCE (I)
Two themes used for Lúthien’s dance, first before Beren then later before Morgoth.
82. LÚTHIEN’S DANCE (II)
83. BEREN'S DESPAIR
Beren’s despair over his elusive new love is hereby represented.
84. THINGOL
The King of Doriath is represented by these descending chords.
85. DEATH
A convulsive theme to represent death.
86. MELIAN
The powerful Maia whose magic keeps Doriath safe is given this theme.
87. BEREN'S OATH
A combination of the Silmaril (26) and Beren (62) to represent the oath to retrieve a Silmaril from Morgoth’s crown.
88. DAUNTING (DEFINITIVE)
67 taking on a new form.
89. THE WOLF
Sauron’s lethal pet gets his own theme here.
90. NAMÁRIË
The theme of “farewell”, written by Tolkien himself as part of the setting Namárië, sung by Galadriel as the Fellowship depart Lothlórien in The Lord of the Rings.
91. BEYOND ALL TOWERS
First used to show Beren’s defiance against Sauron’s power.
92. SAURON'S DEFIANCE
A theme for Sauron’s resistance to be defeated by Lúthien.
93. LOVE (I)
A love theme for the reunited couple.
94. ANGBAND (II)
Derived from Angband (9) to further represent Morgoth’s northern stronghold.
95. THE PLAIN OF THIRST
Two themes used for Lúthien’s dance, first before Beren then later before Morgoth.
96. LÚTHIEN’S DISGUISE
Lúthien’s cloak of darkness is represented by this theme.
97. MORGOTH (DEVELOPED)
A transformation of Morgoth (4).
98. MORGOTH ENTHRONED
A thundering theme for Morgoth sat upon his throne.
99. MORGOTH (SOFTENED)
Morgoth Developed (97) transformed into an almost caressing melody.
100. MORGOTH'S DESIRE
A new theme to represent all Morgoth has lost.
101. LÚTHIEN’S DANCE (III)
A new figure added to her previous dance themes.
102. THE EAGLES
Whilst not necessarily seen “in person”, the Eagles are represented by this theme. It is heard where they play an offstage part.
103. BEREN DYING
The approaching death of Beren is represented by this theme.
104. FAREWELL NOW HERE
A theme for Beren’s farewell to Lúthien and the earth.
105. BELOVED FOOL
A proclamation that Death is not the end of their love.
106. LOVE (II)
Another theme to represent love.
107. DEATH TO LIFE
A mystical translation of Death (85) to represent resurrection.
PART THREE: THE CHILDREN OF HÚRIN
108. HÚRIN, LATER TÚRIN
A theme for the champion of Men, later taken up by his son.
109. MORGOTH'S CURSE (DEFINITIVE)
The definitive version of the Curse (18).
110. THE SWORD
This theme is used initially to represent the great swords used in the cycle, most notably Anglachel.
111. MORWEN
Húrin’s wife and mother of his children is
represented with this theme.
112. THE NARN (ORIGINAL)
The theme of the storytellers (the Chorus) who are narrating the tale.
113. THE HOUSE OF HADOR
A theme for the mighty House of Hador and the other “Elf-friends” of the race of Men.
114. WOODLAND GLEAMS
A short, jerky figure derived from the profile of Húrin (108).
115. NIËNOR
A theme for the daughter of Húrin and Morwen.
116. BELEG CÚTHALION
A theme for one of the Captains of Doriath.
117. MABLUNG
A theme for the other represented Captain of Doriath.
118. TÚRIN’S SHADOW
A twisted chordal sequence that depicts the shadow on Túrin’s heart.
119. LIGHTNING
Constructed around Morgoth’s diminished fifths, a new theme to represent lightning.
120. GWINDOR (I)
A trio of themes associated with Gwindor, an Elf of Nargothrond.
121. GWINDOR (II)
122. GWINDOR (III)
123. FINDUILAS
The theme for the Elven princess of Nargothrond.
124. WINTER
A churning line to represent the coming Winter.
125. HUMANITY (1st PHRASE, DEFINITIVE)
A definitive version of the theme to represent the race of Men.
126. TÚRIN AND FINDUILAS
A theme for the unrequited love between Finduilas and Túrin.
127. TÚRIN’S DEFIANCE
Túrin’s defiance of the wishes of Gwindor to defend Nargothrond gets its own theme here.
128. TÚRIN HAUNTED BY DREAMS
Túrin, held “in a mirror misshapen by malice” hears this theme while Finduilas is captured by Orcs.
129. TÚRIN DRIVEN AWAY BY GLAURUNG
A repeated figure to represent the dragon Glaurung’s mental assault upon Túrin.
130. WOOD OF BRETHIL
A reiterated rhythm to represent the Wood of Brethil.
131. LOVE (III)
Another theme to represent love, this time with a focus on the ill-fated romance of Túrin and Niënor.
132. THE MEN OF BRETHIL
This theme represents the people who reside in Brethil.
133. BRANDIR
The club-footed leader of the Men of Brethil gets his own theme here.
134. TÚRIN’S RECOVERY
Brandir succours the unconscious Túrin to this theme.
135. ALL MY DEEDS
A lamenting theme for Túrin, representing his regrets in life.
136. TURAMBAR
Túrin takes a new name, Turambar, and gets this new theme.
137. NÍNIEL
Niënor, now with no memory of her past life, takes a new name and theme.
138. "KULLERVO"
A quote from Sibelius’ Kullervo, which depicts the same instant of recognition in that story as in this.
139. MOURNING
The theme used for the funeral march of Túrin Turambar and Niënor Níniel.
140. THE NARN (DEFINITIVE)
A transformation of Húrin (108) and The Narn (112).
PART FOUR: THE FALL OF GONDOLIN
141. TUOR
A theme that comes to represent Tuor, son of Huor and nephew to Húrin.
142. WEDDING MARCH
This theme will come to represent the union of Tuor and Idril.
143. VOYAGE OVER THE OCEAN
A theme to represent the idea of sailing across the Ocean towards the Blessed Realm.
144. GONDOLIN (I)
Three themes that are used in conjunction with the Hidden Elven City of Gondolin: this represents the heritage of the realm.
145. GONDOLIN (II)
this its hidden nature,
146. GONDOLIN (III)
and this its future destiny.
147. IDRIL CELEBRINDAL
Idril, daughter of the Elven King Turgon, gets her own theme.
148. AREDHEL
As does the sister of Turgon, Aredhel.
149. THE RIDE OF AREDHEL
Aredhel’s journey out of Gondolin is represented by this theme.
150. NAN ELMOTH (ORIGINAL)
The beginnings of a theme that will represent the forest of Nan Elmoth.
151. TURGON
Turgon, King of Gondolin is represented with this theme.
152. THE LAW OF GONDOLIN
The law of Gondolin, that none shall leave the kingdom that find it, is associated with this theme.
153. THE WOODS
The steady rocking bass figure for the woods.
154. NAL ELMOTH (DEFINITIVE)
The definitive Nan Elmoth theme.
