• Jonathan Shaw

Mizutsune, A Bewitching Dance | Monster Hunter: Rise | Sheet Music, MIDI, XML & more!

Hope you've all had a blast slaying monsters this past month like I have. Here's an orchestral arrangement for one of my favourites, the Mizutsune.


Featuring the vocal talents of Mikasa Scarlet, Psamathes, Tracy F. & Jonathan Shaw (I squeak):


Mikasa Scarlet

➤ http://twitter.com/scarlet_mikasa

➤ https://www.tiktok.com/@mikasa_scarlet


Psamathes

➤ https://www.youtube.com/psamathes​

➤ https://twitter.com/Psamathes​

➤ https://psamathes.bandcamp.com​

➤ https://psamathes.carrd.co


Tracy F.

➤ https://pillowfight.io/

➤ https://www.youtube.com/channel/UCLtmLrnU8bkjGEYRgNgDYTA

If you're after the sheet music, score, XML or MIDI for the Mizutsune Theme from Monster Hunter Rise, you can find links here!

This includes individual part scores for:

  • Full Score

  • Piccolo

  • Flute

  • Oboe

  • Clarinet in Bb

  • 2 Bassoons

  • 2 Horns in F

  • 3 Trumpets in Bb

  • 2 Trombones

  • Bass Trombone

  • Tuba

  • Timpani

  • Bass Drum

  • Large Drum

  • Suspended Cymbal

  • Clash Cymbals / Piatti

  • Tam-tam

  • Tambourine

  • Tubular Bells

  • Crotales

  • Glockenspiel

  • Xylophone

  • Marimba

  • Harp

  • Acoustic Guitar

  • SA Choir

  • Solo Violin

  • Violin I

  • Violin II

  • Viola

  • Violoncello

  • Contrabass

If you are one of my Patrons, you can now find the MIDI, XML, SIB files, as well as stems and multitracks I created for this transcription now available to download from your Patreon Google Drive folders!

Arranger's Note:

"Mizutsune, our bubbly monster of soaps, appears for the 2nd time in the franchise following "Monster Hunter: Generations". As such, this is also the 2nd rendition of its theme (here is the original version from Generations: https://youtu.be/VyXeOpj3RWI ).


The main differences between the two versions are thus: Generations is all-round more punchy and louder, where Rise is more restrained and softer; regarding traditional Eastern instruments (koto, tsuzumi, shakuhachi, shamisen, dizi, etc.), Generations brings these more to the forefront, with Rise instead achieving a balance of both Western and Eastern instruments; the melodic role of the shakuhachi in Generations is replaced with vocalists in Rise; and Generations maintains a steady 4/4 metre, whereas Rise disrupts this with a single measure of 3/4 (1:15).


Both versions are absolutely fantastic and heavily rely on pentatonicism (5-note scales) to achieve an Eastern aesthetic.


I should also note that my goal for this arrangement was to create a version of this track that only requires Western instruments, allowing less-equipped ensembles to perform this track. Eastern instruments can be added freely if available (e.g. guitar performed by shamisen / koto), but they are not essential.


Now, on to the analysis:


We open in what initially appears to be E pentatonicism (E-G-A-B-D), but soon an F comes in and suggests, instead, a Phrygian modality (E-F-G-A-B-C-D-E). The alternation of these two tonalities is the main harmonic conflict of the track.


We fully begin at 0:07, starting with a common 5-6-7-6 progression (B-C-D-C), coupled with a familiar 3-3-2 syncopation. This progression repeats again at 0:13, but with significant instrumental expansion: the violins play aggressive swirls in parallel 5ths (someone cover Bach's ears, quick! :O ); this is doubled by the woodwinds as well as additional brass chords.


As the phrase concludes (0:20), we get an interesting F-natural sitting high atop the orchestra in a piccolo. Pitted against an implied pedal of E, we have a fascinating semitonal clash of E-F, even more surprising given the F♯ just two measures before. This clash again supports the suggestion of this track being in an F Phrygian modality.


After our little percussive episode, the progression partially repeats again (B-C-D-E), now with additional pentatonic syncopation in the strings. At 0:32, we break our tonic pedal (E) by falling to the 6th (C) for a luscious major 7th chord, before dropping to the dominant minor (B-D-F♯) to prepare for a perfect cadence back to E.


Now at 0:35, the progression returns (B-C-D-E), now with flute melodic interest. This continues more or less the same through to 0:56.


Here, our vocals return in wonderful nasal tone as the harmonies start to develop; F♯m over E (1:03), D over E (1:07), and even a tertiary shift up to G (1:10). We are clearly building towards a climax. And indeed we are, for we get a sneaky measure of 3/4 (1:15) to thrust us into an exhilarating passage in G / B minor.


The 3-3-2 rhythmic pattern is augmented into 3-3-3-3-2-2, the strings and winds deliver a brilliant syncopated pentatonic phrase, all while the vocals ring out in pure 4ths.


The final interesting observation is an instance of major-minor dissonance (1:41); the vocals stay true to the harmony of F♯ (F-A♯-C♯), yet the strings and percussion instead have a cheeky A-natural, creating a semitonal clash with the A♯.


(... Day 2963 waiting for the Dire Miralis theme to return ...)"

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