- While the first game's soundtrack is not as memorable as, for example, the second, the theme of Jerusalem, appropriately named City of Jerusalem, is most definitely extremely beautiful. What makes it even better is the fact that composer Jesper Kyd combined Middle Eastern with Christian music themes to show how the city was still separated into Muslim and Jewish parts back then.
- "Access the Animus". Nine minutes of exactly why Assassin's Creed I wins so very, very hard. A steady progression from quiet and deadly atmospheric ambience to stealthy evasion to outright incredible action music.
- "Red in the Face". Just the action music part. It's almost worth getting detected just to listen to this while freerunning.
- Both sequels have so much awesome music.
- There's "Flight Over Venice" and Part 2, along with "Back in Venice".
- "City Of Rome" from Brotherhood, while similar to "Flight Over Venice", has a haunting depth to it.
- The most distinctive score is Ezio's Family which is played in opening sequence of the game. It may give you second thoughts after you discover the Auditore family's fate.
- Heart, is great as well especially as it plays when Ezio finds his father's iconic Assassin's robes and suits up for the first time.
- Venice Rooftops, which plays during most race and courier sequences, both in the main story and in side missions. Later remixed for Ezio's crossover in Soul Calibur V.
- Careful listeners will notice the remixes of "Ezio's Family" that run through this peace. It is particularly poignant that said remixes can be taken as a reference to Ezio's own thoughts as he free-runs, remembering back in the day when he used to do this with his brother and father. Before they were hanged by conspirators trying to take over Florence and removing the problem of the Auditore Assassino that kept spoiling their plans.
- While not playing simultaneously, the end credits of Assassin's Creed: Brotherhood combines both songs into one, and they flow surprisingly well into each other.
- End Fight, which was inexplicably excluded from the official soundtrack.
- Sanctuary, a poignant and beautiful piece that plays through-out your time in Venice, that perfectly portrays the triumph and heartbreak Ezio must feel being an Assassin.
- One piece of music which is truly lovely is "Peace at Forli" which first plays when Ezio and Leonardo sail from Forli for Venice and then memorably plays during Ezio's "World of Cardboard" Speech in the Bonfire of Vanities DLC and then finally makes a stirring comeback in Assassin's Creed Embers playing during Ezio's final moments and the letter he left behind. It's Tear Jerker music at its finest.
- Revelations gives us "The Forum of the Ox", which plays while you're jumping across ruined ledges to chase a boat over deadly rapids. Truly an Assassin's Creed moment.
- Although only an advert, the music to the Assassin's Creed: Revelations trailer was just brilliant.
- Revelations has "Laboured and Lost", which plays during the game's ending, showing the end of the First Civilisation. It's truly a powerful moment and the music just heightens that. Its awesomeness must be seen to be believed.
- The main "Welcome to Constantinople" music is incredibly melodious and light, a sense of serenity, hope and new horizons all at once, which captures Ezio's feelings in Istanbul and his late age.
- "The Revelations theme" is worth a mention. Soft, sombre, and haunting for the main part; turned dramatic and powerful by the end!
- III gives us "Trouble in Town", the angsty, turbulent music which plays during the Boston Tea Party, and when you are chasing Charles Lee. The mission is That One Level at Full Synchronization but if you time it right, its the ultimate chase music for the ultimate chase sequence. It also plays during the credits.
- There's also this unreleased track that plays when Connor travels through the forests and the frontier.
- The unreleased track called Homestead theme from III captures the solitude, peace and beauty of the settlement in the forest and also sounding like a mix of Native American and European themes, without being either, symbolizing the harmony which sadly never happened.
- Though its part is unfortunately short, the Fight Club theme is a fantastically fast-paced piece both catchy and fun.
- "Connor's Life" perfectly captures just how painful Connor's story is.
- The main theme, which comes in three different flavors.
- IV gives us the delightfully Pirates of the Caribbean-esque triumphant boarding themes among many others.
- Of particular note is "Stealing A Brig", which is played when you first take the Jackdaw and during the fight near the end with Bartholomew Roberts.
- Black Flag is filled with numerous actual sea-shanties that you can collect on land, including favorites like "Drunken Sailor" and "Spanish Ladies", but also obscurities like "Randy Dandy Shanty". These shanties can be played by Jack, one of your crew, like the 18th Century version of GTA Radio and when sailing in rough weather, truly makes the game a magical experience, making you bond with your crew and the surroundings and feel the excitement of being part of the Wooden Ships and Iron Men generation. Especially "Fish in the Sea" when played in a rough gale or in a storm:
Windy weather, boys, stormy weather, boys,
When the wind blows, we're all together, boys;
Blow ye winds westerly, blow ye winds, blow,
Jolly sou'wester, boys, steady she goes.
"Here's a health to the company, and one for my lass,
- The tavern songs that are played by a live crew with violins and old guitars are lovely. "The Trooper and the Maid" and "Blow the Candles Out" are both bawdy songs. Then there's "The Parting Glass", a traditional Scots-Irish folk song played at the end which sums up Edward's entire journey and the game.
- The most fitting tavern song for the game, for its theme and setting is "Here's a Health to the Company".
Let us drink and be merry, all out of one glass,
Let us drink and be merry, all grief to refrain,
For we may or might never, all meet here again."
Our 'prentice Tom may now refuse
- For those who have an interest in historical popular music (and fans of Sharpe), "Over the Hills and Far Away" is a real standout:
To wipe his scoundrel master's shoes
for now he's free to sing and play
over the hills and far awayOver the hills and o'er the main,
Through Flanders, Portugal, and Spain,
Queen Anne commands and we'll obey
Over the hills and far away
- From the Freedom Cry DLC there's Fight the Oppressions, one of the battle songs.
- From Assassin's Creed: Rogue:
- The main theme, containing elements of Ezio's well-known Leitmotif, Ezio's Family.
- Forest Swords' original work, Hood was created for the announcement trailer, and sounds very foreboding.
- Streets, a motif that appears throughout the soundtrack to signify the wide-open winter-world that Shay explores, would not sound out of place in a game like Skyrim.
- From Assassin's Creed: Unity:
- Lorde's cover of Tears for Fears' "Everybody Wants to Rule the World" (from The Hunger Games: Catching Fire) set to the trailer, anachronistic as all get out, but awesome.
- After using Woodkid's "Iron" for the trailer of Assassin's Creed: Revelations, they use another track, "The Golden Age" for the CGI trailer introducing Arno and Elise.
- And from the co-op trailer, we have Pistols at Dawn.
- This was chosen for the Launch Trailer.
- From Assassin's Creed: Syndicate:
- The Toydrum remix of "In the Heat of the Moment," by Noel Gallagher's High Flying Birds.
- Bloodlines, the main theme of the game.
- Underground, the song that plays during the final modern day sequence. The lyrics are particularly haunting, especially if you think of the various Assassin's we've known throughout the years and in particular, Desmond.
Those who fought for something better,
Those who taught by how they lived,
Loved ones taken long before their work was done...
- This game also brings back Ezio's Family from Assassin's Creed II, which has now become the iconic theme of the entire Assassin's Creed franchise, in the form of Family.
- "Jokes Jokes Jokes" is a manic, fast-paced tavern song that perfectly matches the mad theatricality of Maxwell Roth.