If you have read at least The Lord of the Rings or The Hobbit, you will have missed the strong musical presence that is in the pages written by J.R.R. Tolkien. Apart from a few quotes, or the extended scenes in the director’s cut, in both trilogies, the songs composed by the author are almost completely absent, but there are several moments where Aragorn sings ancient elven ballads, Bilbo is mentioned as a great composer, the dwarves have songs about their ancient mines, the Rohirrim love melancholic battle epics, and even goblins sing. However, silence was what we found most on the screens.

This is a difference in the Rings of Power series, where composer Bear McCreary – since the first season – has been gifting purists with several important songs. A few years ago, J.A. Bayona, producer and director of the Amazon series, told Den of Geek that “there is an… obvious sense of musicality when you read the books” and that he made a point of rescuing it. This requires many of the actors to know how to hold notes and be in tune!

In Peter Jackson’s trilogy, we hear the Hobbits singing, but the Elven songs were sung by Enya and Elizabeth Fraser in The Fellowship of the Ring, in Two Towers the unforgettable melody sung by Isabel Bayrakdarian, and in The Return of the King we have the voice of Renée Flemming, not to mention the Oscar-winning song by Annie Lennox. Perhaps the most memorable scene was in the third film, sung by Billy Boyd with The Edge of the Night.

On the other hand, in the series, we have heard the cast sing several times, such as Sophia Nomvete and Megan Richards. The highlight of the second season is the song Golden Leaves, sung by Benjamin Walker, who plays King Gil-galad. And what is the relevance of songs in the universe conceived by Tolkien?

For the author, songs are essential to the narrative because they bring cultural and historical depth to the incredible world he created, as well as helping to build the characters. They also help with the emotion and atmosphere of the moment.

I confess that when I read The Lord of the Rings for the first time, I started skipping the pages of Gandalf’s songs until I realized that I couldn’t escape them or I would lose the depth of the story. I wanted so much to know about Frodo destroying the ring that I was anxious, but there was always a greater reason for those details at that moment: it was worth going back and redeeming myself.

The songs conceived by Tolkien help to build the rich cultural tapestry of Middle-earth because they often reference historical events, legends, and mythologies that are important to the plot, providing a sense of depth and continuity. For example, Aragorn’s song about Beren and Lúthien in The Fellowship of the Ring connects the characters’ journey to a story of love and sacrifice from the past. It’s a shame that it only appears briefly in the extended version.

As I mentioned, many songs are used to develop characters and reveal aspects of their personalities and histories. Tom Bombadil, for example, who will be appearing in the second season of Rings of Power, is introduced through his songs, which reflect his joyful and mysterious nature. Likewise, the hobbits’ songs reveal much about their culture and simple, joyful lifestyle.

The most obvious purpose of using music is to help establish the mood and emotion of certain scenes. The song Lament for Gandalf from The Fellowship of the Ring is a beautiful tribute to the Wizard; the elves’ farewell to Lothlórien evokes a sense of melancholy and loss, reflecting the elves’ imminent departure for Valinor and the end of an era. In creating these detailed songs, Tolkien mirrored our use of songs and poetry as vehicles for maintaining oral tradition and collective memory.

In Middle-earth, they serve a similar purpose, preserving stories and teachings that are passed down from generation to generation. But there is also room to highlight those that have intrinsic magical power, as when in the book The Silmarillion, Lúthien sings to Morgoth to hypnotize and enchant. Galadriel, Bilbo, and Gandalf, in the books, also sing, but not in the films or the series.

Therefore, it is worth listing which songs play an important role in the construction of the world and in the narrative of J.R.R. Tolkien‘s universe. Following the books:

• Ainulindalë (The Music of the Ainur): This is one of the most significant songs and is present at the beginning of The Silmarillion. It is the song of the creation of the world, sung by the Ainur under the direction of Eru Ilúvatar. Through this music, the world of Arda is formed.
• Lament for the Rohirrim: This song is recited by Aragorn in The Lord of the Rings: The Two Towers. It is a lament for the past glory of the Rohirrim and reflects on the transience of life and fame.
• The Song of Beren and Lúthien: This is one of the most famous stories in Tolkien’s legendarium and is frequently mentioned in The Lord of the Rings. Aragorn sings a portion of it in The Fellowship of the Ring. The story of Beren and Lúthien is a tale of love and sacrifice, and the song captures the essence of this epic tale.
• The Lay of Leithian: This is a longer and more detailed version of the story of Beren and Lúthien. Although not presented in full in The Lord of the Rings, parts of it are mentioned and have great significance in Tolkien’s legendarium.
• The Song of Durin: Sung by Gimli in The Fellowship of the Ring, this song celebrates the founding and glory of the Dwarf kingdom of Khazad-dûm (Moria). It reflects the Dwarves’ pride and longing for their former greatness.
• The Road Goes Ever On: This is one of the most frequently used songs in The Hobbit and The Lord of the Rings. The first version is sung by Bilbo in The Hobbit, and other versions appear in The Lord of the Rings. The song reflects on the ongoing journey and the nature of the path that unfolds before travelers.
• Lament for Boromir: This song is sung by Aragorn, Legolas, and Gimli in The Two Towers, after Boromir’s death. It is a tribute to his valor and sacrifice.
• The Fall of Gil-galad: Sung by Samwise Gamgee in The Fellowship of the Ring, this song tells the story of the last great king of the elves in Middle-earth, who fell in battle against Sauron.

In the series and films:

1- Aníron: Sung by Enya, in the scene where The Fellowship of the Ring is formed and Aragorn and Arwen remember how they fell in love, making a pact of love.

2- Lament for Gandalf: Sung by Elizabeth Fraser when they mourn him in Lórien.

3- Evenstar: Arwen and Aragorn’s love theme is unforgettable, sung by Isabel Bayrakdarian, and refers to the Evenstar necklace that Arwen gives Aragorn in the films, as a sign that she has given up her immortality to spend her life with him.

4- Edge of the Night or Pippin’s Song: one of the most memorable moments of the trilogy, thanks to the magnificent interpretation by Billy Boyd (who returns to sing in the Hobbit trilogy) that accompanies Faramir’s sacrifice and his father’s indifference to his certain death.

5- Golden Leaves: Sung by Benjamin Walker, it is already one of the highlights of the saga.

Since we are still at the beginning, this is a list that needs to be updated.

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