Most Zelda music is, in some way, based on the original overworld theme. You can hear snippets of it it pretty much every tune that you hear outside of a dungeon, including the ones for specific characters.
How about the nice Tetris DSremix of the main theme?
In The Wind Waker, Nintendo decided to give this theme an additional function: being Link's musical leitmotif. The first sample was The Legendary Hero, right at the beginning of the game, and starting a new era for this theme.
Skyward Sword featured this as "Song of the Hero". If that doesn't get your blood pumping, you spend the second act of the game busting your ass to collect pieces of the final song, and each time you do, the Dragon belts some unrecognizable lyric. Then, as you learn the fourth part and celebrate... WHOOSH. Your harp is gone, and instead of simply congratulating yourself for a job well done, you are surrounded by the Dragons as they put it together for you, revealing it to be one of the most glorious, iconic themes in video game history. DAMN.
Zelda's Theme makes a comeback in Skyward Sword, with a full orchestra backing it up. It'll bring tears to any Zelda's fan's eyes.
Zelda's Theme from the Linked Adventure of Oracle of Ages/Seasons is a beautiful piece for the Princess of Hyrule, given when the hero meets her for the first time, and when you rescue her in the true ending.
Ganon's theme debuts alongside Zelda's theme in A Link to the Past, and it also goes on to become his theme.
Ganon's Castle in OoT. Foreboding architecture? Check. Ominous pipe organs? Check. One hell of a confrontation at the top? You betcha.
Twilight Princess's version of Hyrule Castle. Starts creepy, but as you progress, more and more elements of Ganon's Theme are woven in.
Then, when Link and Midna finally reach Ganon, he rises from his throne as an epically arranged version of the original Legend of Zelda's Ganon intro plays.
The Legend of Zelda (1986)
While everyone remembers the overworld theme, the underworld theme often gets neglected.
The Nintendo-published Pictobits includes a badass remix of Death Mountain (the final dungeon from the original game) by Japanese Chiptune band YMCK. After the original song plays for a bit, it speeds up and morphs into what can only be described as 8-bit metal, complete with a makeshift guitar solo.
Zelda II: The Adventure of Link
The prologue. Deride the game all you want, this is still a beautiful tune.
The Overworld Theme. As tough as the game was, this was a pretty nice rework of the original overworld theme.
A Link to the Past
This little ditty played at the title as the Triforce came together. Ocarina used it in a more subtle choral form for the moment when the Triforce was created AND the moment when the Sages helped Link enter Ganon's Castle. Wind Waker used it when a certain princess key to the Triforce was revealed.
Angler's Tunnel is probably the least impressive of all the dungeon tunes, just being a sped-up version of the cave theme (where the first three dungeons were more elaborate variations), but it's a surprising Ear Worm...
The Shadow Temple theme. Dark, eerie, and frightening, yes. But that's also what makes it downright awesome. Definitely shows a grittier part of the game. The Shadow levels are large... but it's like the music itself is trying to trap you and sap your willpower.
The quiet, echoing flutes that play in the Great Deku Tree are very soothing.
And the steel drum-centric Zora's Domain theme captures the grace of its inhabitants quite well.
No list of Awesome Zelda Music is complete without Ocarina of Time's signature song The Song of Time regardless of how short it is.
The new orchestrated medley played at the remake developer's part of the OOT 3D end credits. Being done by the same guy that gave us Super Mario Galaxy's awesome soundtrack, it's not only an incredible way to end an awesome remake, but it gives us a good look at how Skyward Sword's orchestrated soundtrack will play out.
This guy plays fleshed out versions of the ocarina songs on a real ocarina and puts some accompaniment to it. Anyone who played the game who watches this will feel their heart swell with nostalgic joy, and then the Manly Tears come at the end when he does the song of time.
Nobody likes that owl (Kaepora Gaebora), but his music certainly is an Ear Worm. Do you understand?
No ← Yes
The title theme. It starts out as a slower, more calming remix of Clock Town, but becomes more and more ominous as it goes on - by the end it's become kinda scary.
There were tears shed when the cutscenes played after playing the song for Darmani and Mikau.
The piano version of the reversed Song of Healing seems much less creepy and more soothing due to the lack of distortions resulting from normally reversing a song though when the it's reversed back into the Song of Healing it becomes evenscarier than the distorted version reversed Song of Healing thus becoming the true Song of Unhealing.
Ah, Clock Town, the theme of which gradually morphs from cheerful to... disturbing. Its theme is at its most sedate on the First Day, but gets a little busier on the Second Day. And then its the Third Day, when civilization is beginning to break down in start gibbering terror as the moon gets lower and lower in the sky. Which leads to...
The Last Day. An evocative mixture of awe and dread, conveying a sense of unreality in the face of annihilation, and at the same time a serene acceptance of the inevitable. Nightmare Fuel AND a Tear Jerker in musical form. It's even better in-game with the clock tower's echoing bells going off every few seconds.
Never fear, your ol' pal Kaepora Gaebora is here to trap you in some exposition when you select the wrong response.
Although it's the Link's Awakening song In Name Only, "Ballad of the Windfish" as it appears in Majora's Mask: Link's four selves playing in perfect harmony, each of which contributes an indispensable part of the whole.
Romani Ranch. It's Lon Lon Ranch without the synthesized vocals.
The Legendary Hero which opens the game while the legend of the Hero of Time is told. Awesome.
Aryll's theme is heard within the Outset-island theme (along with the old Kokiri-forest theme), during her kidnapping and in both of her appearances in the Forsaken Fortress. It is also, as one might assume, a key component of Aryll's Kidnapping. Absolutely heart wrenching when the main theme peters out around 0:54.
While it isn't the Overworld theme, the sailing music isn't bad to listen to, which is good, because you'll be hearing a lot of it. And then it gets cursed, and a familiar and ominous leitmotif is mixed in with it...
Dawn is no slouch, either. It's always smile-worthy to hear it in the middle of sailing.
Gohdan's Theme is one of the more original sounding boss themes in the series, and certainly creates the feeling that a fight against a futuristic, mechanized being is being made.
Before Tetra switched to having Zelda's characteristic theme for a leitmotif, she and her crew shared this awesome music for a theme, which pretty much sums up everything you need to know about Miss Tetra's bumbling Pirates: So fitting.
The Earth Temple theme, with its rhythmic drum and the didgeridoo.
The fight against the Helmaroc King gets this gem, perfect for getting revenge on the bird that kidnapped your sister.
And the best for last: The Staff Credits music. This one is all the game's musical awesomeness concentrated into a song. This theme is not only arguably the best of the entire game, or even the entire franchise. It's probably one of the best melodies in video game history.
Four Swords Adventures
As usual in the series, the Staff Credits theme is absolutely stellar. This game has one of the most upbeat in the entire franchise.
The Minish Cap
Mt. Crenel, an obvious homage to Link to the Past's Dark World (with bits of the original NES and Ocarina of Time overworld themes thrown in as well for good measure).
Rainy Mt. Crenel, which is an homage to the Falling Rain theme from A Link to the Past.
The Hyrule Castle theme never sounded as brooding as it did here...
Snowpeak itself. Very simple, but very eerie remix of the main theme.
The battle against Blizzetta, specifically phase two of it. Even better since, like all boss fights, the music changes if you get the upper hand in the fight.
As said above, there's this little ditty that plays whenever you expose a boss' weak point, and constantly cries out for more (da-da-da-da da da da!). Remixed in Spirit Tracks!
The Hidden Village theme, which, like the Molgera music, is fitting enough to appear in Brawlwithout being remixed at all.
The actual battle with Zant. The same (twilight remix) theme plays throughout, gradually getting more complex, while combined with the themes of each boss Zant copies. It gets faster and crazier with every phase, mirrorring Zant's mental state: relatively calm at first, but more frantic as you kick his ass, before descending into utter insanity.
The wolves' singing some of the most classic tunes in the whole series, as well as the all-new "Ballad of Twilight", it's all as hauntingly beautiful as the view of Hyrule when they're singing them. A highlight of the entire game was playing the haunting, addicting melody of Requiem of Spirit In a wolf's voice.
Sacred Grove theme. Just the perfect blend of ominous, ethereal, and blissful tones giving the impression that one get get lost forever in their dreams of the forest. Also a huge layer of nostalgia. Doubly incredible because it's the exact same as Saria's Song, but the piano in the back changes the tone from light and cheery to sombre and pensive.
The music when you fight Armogohma evokes a Giant Spider stomping around insanely well. And then when you complete the first phase of the battle, It becomes Funny Music as well.
During most Boss Fights, when the enemy's weak point is exposed, an amazingly triumphant tune plays.
When a fragment of the Fused Shadow or Twilight Mirror is uncovered, a gorgeous, yet haunting theme plays.
Fyer's cannon theme is both hilarious and one of the most awesome earworms in the whole series.
Ook's Theme which is the very first miniboss theme sets the stage for many of the above songs. And it gets remixed for part of the Zant fight.
Our Children Taken is a beautifully depressing song. Its music-box tune paired with the somber oboe, strings, and guitar just has that lost feeling; lost innocence, lost lives, lost everything. Like life was at its peak, then just slipped right through your fingers.
The music for the Twilit Bloat fight increases the tension that comes from having to fight a giant swimming invisible bug on a handful of tiny rafts.
The song that plays once you're at the very top of the Tower of Spirits. As you progress up the stairs, the song gets more and more energetic. This is the finished result and it really gives you that sense of accomplishment.
Cursed Overworld a remix of the overworld theme, which plays in the Snow and Fire Realms before their respective Temples are cleared, does a great job of conveying a sense of urgency. You definitely feel like you're in a place that's been thrown into disarray, and that it's imperative to set things right again.
The credits. It's the overworld theme mixed with even more awesome than before— including a build-up perfectly suited to the game itself and a bit of the series' main theme thrown in for good measure. What's not to like?
The song that plays when you first chart a course through any given realm is often overlooked— since it transitions so perfectly into the overworld theme, which has already been listed— but it's catchy enough to earn a spot here, too.
While it doesn't quite measure up to Wind Waker's, the miniboss theme isn't half bad, either.
Some of the tracks from after a boss is defeated are noteworthy, as well— like The Force Gem Awakens and Restoring the Spirit Tracks (which may or may not be 'Restoring the Tower of the Spirits' instead. It's hard to tell with some of the track names.)
The Goron Village music; it's not quite the Goron City music, but the feel is largely the same. It's a nice change of pace once the latter gets old, though.
Spirit Tracks also brings us this rendition of Linebeck's theme. Not quite as epic as the original, but infinitely more cheerful.
There's also Invincibility from battle mode. Short, sweet and oh-so-satisfying.
This is the first Zelda with a fully orchestrated soundtrack. Considering that Super Mario Galaxy already got the orchestral treatment to its own awesome results, that alone is a sign that the music is awesome.
And here's the flying music. An epic song that you would expect for the "exploration" portion of the game.
This theme for Moldarach and Koloktos is one of the most epic boss battle themes in the series, as is this one for Scaldera and Tentalus.
The music for water-themed things has a general soothing East Asian vibe that will immediately dispel any bad memories Zelda fans have had of past water dungeons. First, there's Faron's theme, and then there's the Ancient Cistern, which some fans have even labelled the best dungeon music in the series.
The file selection theme. It starts out quite reminiscent of previous versions of the same song, what with the characteristic harp solo, but when complementary strings come in halfway, it keeps you hooked.
Lorule Castle. It starts simple, but as you progress, it gets more and more complex and sounds like something out of Super Mario Galaxy. The perfect music for a castle siege. The latter parts of the song mix in Ganon's theme. In addition, playing the song backwards will reveal a section with the Hyrule Castle Theme!
Lorule Field 2, played once you rescue all the Sages, is a beautiful and epic remix of the already awesome Dark World theme.
"Hidden Mountain and Forest", while no longer playing in the Skull Woods, gets an extended version on Lorule's Death Mountain.
On another note, some of the Lorule dungeons actually have the same melody. They just sound so different you won't even notice the first time.
There is also battle theme against the first phase of Yuga-Ganon, which is a rearragement of his battle them from A Link to the Past. It even does some Retraux by starting out exactly how it sounded on the SNES console before gradually transitioning into epic orchestral.
The absolutely epic and nostalgiagasmic Lorule Overworld theme, which takes the Dark World theme from A Link to the Past and makes it even more amazing.
While not in-game, the medley played by an orchestra at Nintendo's 2011 E3 conference for Zelda's 25th Anniversery was intended as a preview of how high quality Skyward Sword's orchestrated soundtrack will be. Listen to a cleaned up version here.
Clock Town Day 3. Probably the most horrifying and apocalyptic tune from Majora's Mask. It's no longer hiding behind the happy and cheerful first and second day song like the original, it's bursting out, drowning out the barely audible happy foreground and proclaiming: YOU. ARE. GOING. TO. DIE.
Calling the Four Giants. It really emanates the sense of weariness and sadness from the giants part as everything around them is falling apart.
The Final Hour. "We shall greet the morning...together". One of the best moments in the game.
"A Storm in the Desert" by Unknown (yes, that's his handle). It's just part of his "Artifact of Power" series, the other entries of which OCRemix has deigned not to host, and may be lost to the internet.
This and the reversed version, two remixes by Theophany of "The Final Hours" and "Song of Time" from Majora's Mask. They make you feel like you're falling through time...
A new and improved version of that remix can be heard as the final and title track of "Time's End". In fact, Theophany, the author, has a whole album of epic Majora's Mask remixes, promoted through a countdown website to December 21, 2012. Another album featuring more Majora's Mask remixes was expected on December 21, 2013, though its release was delayed to ensure the utmost quality of the final product.