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THE PENSIVE SETTING of the Shire/Hobbit theme is heard the first time we see Hobbiton. If the Hymn Setting is used for times when a Hobbit is feeling a intensely strong emotion toward the Shire (or a thing or person from the Shire), then the Pensive Setting, I think, conveys affectionate feelings toward the same.

THE RURAL SETTING of the Shire/Hobbit Theme is, as Shore says, "more for Hobbiton." I, in fact, previously called this the Hobbiton Theme. It is folkier than the Pensive Setting but just as melodic. It makes strong use of the Hobbit Accompaniments. This music is most often played with folk instruments: bodhrán, whistle, fiddle, dulcimer, guitar, mandolin, folk harp, musette, and celesta.

THE HYMN SETTING of the Shire theme pairs the familiar melody of "In Dreams" with slow, chord-like notes. It "grieves the hobbits' loss of innocence as it celebrates their resolve in the face of adversity." To me, the scenes with this music are ones in which a Hobbit's love for the Shire--or for the things or people of the Shire--is particularly strong. It is, however, only used for Frodo and Sam, not Merry and Pippin. When the feelings are more simple affection, the Pensive Setting seems to be used.

HOBBIT OUTLINE - This 4 note motif represents "the hobbits' playful side. It's used as "an expectation of the next thing coming."" (Doug Adams, CR-FOTR liner notes, page 13)

HOBBIT TWO STEP - Even thought this is a 'two note' figure, it often has an 'om pa pa' feel to it. An initial, first beat anchors the measure. Then the two notes of the Two Step play on beats 2 and 3 and there's a pause on beat 4. When played alone, it is usually be repeated three times and then the Hobbit Skip Beat is heard. But it's also heard under other music, most notably, the Rural Setting of the Shire Theme.

HOBBIT SKIP BEAT - This little phrase is often heard mixed in with the Hobbit Two Step Figure. The notes are derived from the outline with the first note dropped. Then it's played at double speed on the upbeat. It can be heard as a prominent figure, or as a quiet ostinato underneath other music, most notably, the Rural Setting of the Shire Theme.

HOBBIT END CAP - this is a two beat finale (with grace notes) to the Hobbit Two Step Figure (although I can hear something very similar to the notes DA referenced in the CR-FOTR liner notes at times not connected with the Hobbit Two-Step Figure.)

A HOBBIT'S UNDERSTANDING is not a separate setting of the Shire/Hobbit Theme, "(i)t's more developmental bridging crossing portions of the Pensive, Folk, and Hymn Settings, but complicating them with extended melodic lines and realigned rhythms." (Doug Adams, CR-FOTR liner notes, page 11-12) This more complicated music crops up when the Hobbits' life become a little more complicated, when they have to move beyond their simpler view and understanding of the world.
   • Ringbearer  

"IN DREAMS" - This is the song, sung by boy soprano Edward Ross, that is heard during the FOTR end credits. It is a strong example of the most predominant melody used in association with the Shire and the Hobbits. For more information, see The Music of the LOTR Books.

SHIRE REBORN - This Fourth Age theme and final statement of Shire music is heard as Sam says to Rosie, 'Well, I'm back'. The Shire theme retains but has matured beyond its original "In Dreams" melody. The Hobbit Outline, also matured from staccato and sprightly to deliberate and sober, joins in before "The End".