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  • Writer's pictureJonathan 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








Tracy F.



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: ).

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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