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  • Writer's pictureJonathan Shaw

Shrine Ruins, Sanctuary Abandoned by the Gods | Sheet Music, MIDI, XML & more!

Another massive arrangement from Monster Hunter Rise, this time, the "Shrine Ruins" battle theme, official titled as "Sanctuary Abandoned by the Gods" (a name of suitably epic proportion).

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

This includes individual part scores for:

  • Full Score

  • Piccolo

  • Flute

  • Oboe

  • English Horn

  • Clarinet in Bb

  • Bass Clarinet

  • Bassoon

  • Contrabassoon

  • 2 Horns in F

  • 2 Trumpets in Bb

  • 2 Trombones

  • Bass Trombone

  • Tuba

  • Timpani

  • Bass Drum

  • Large Drums

  • Bongos

  • Suspended Cymbal

  • Clash Cymbals / Piatti

  • Ethnic Gong

  • Tam-tam

  • Temple Blocks / Wood Blocks

  • Tambourine

  • Bamboo Wind Chimes

  • Xylophone

  • Marimba I

  • Lithophone / Marimba II

  • Harp

  • Acoustic Guitar

  • TB Choir

  • 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:

"This arrangement is a fusion of two tracks: the optional intro, "Forgotten Shrine (Day)" by Miwako Chinone, and "Sanctuary Abandoned by the Gods" (also known as the "Shrine Ruins Battle Theme") by Satoshi Hori. Both of these tracks are original to Monster Hunter Rise (unlike "Mizutsune", which had a previous version from Generations).

This opening follows similarly to many other area introductions; a slow and freely floating little passage of music. Here, performers are given more freedom in their material to create a partially improvised introduction, including random opportunities for breathing and blurring the tempo.

The track opens with a tonic pedal (on C) as the remaining instruments spell out a loose C pentatonic drone (C-D-F-G-B♭) with occasional auxiliary notes (e.g. A). A male choir arrives as if in chant (a familiar Eastern aesthetic present in nearly the entirety of Rise's OST), and all the instruments slowly fade to silence.

Then the real fire begins (0:19). We open with bare 5ths chords (C-G) and a 3-3-3-3-2-2 rhythmic ostinato. To add excitement, I added a bass clarinet spelling out a floating suspended 4th chord (C-F-G), complementing the overall pentatonicism. This tonic of C shifts up surprisingly to D♭ (0:23), suggesting a Phrygian modality (C-D♭-E♭-F-G-A♭-B♭). Here, the upper strings winds and choir return in parallel 5ths - again, complementing the Eastern aesthetic.

As we drop back down to C (0:27), we quickly begin growing to a climax, which is quickly reached (0:30). Here, Phrygian takes the lead role with a C-D♭-E♭ progression in wide octave unison. Very dramatic stuff!

At 0:34, the main section begins, again with more parallel 4ths/5ths alluding to the Eastern aesthetic. As a consequence of this technique, this material has some striking similarities with the "Mizutsune Theme", which similarly uses parallel 4ths/5ths in nearly identical fashion.

Hitherto we have remained largely in C, but at 0:37 we get a surprising shift to A minor in 1st inversion (C-E-A) - an extreme tertiary shift that strays from C Phrygian. This progression repeats (0:41) with some slight additions.

As we shift into 0:49, we get a C-D♭-D-D♭ bass progression, beginning to blur the established Phrygian modality. For further interest here, I added a running 16th ostinato dove-tailing between English Horn and Clarinet, outlining a 7th sus-4 chord (C-F-G-B♭), complementing the earlier bass clarinet ostinato (0:19) and enhancing the pentatonic aesthetic.

At 1:03, we get a short passage that gives opportunity for improvisation similar to the introduction. Harmonically, we are still, of course, on C. But at 1:18, we break out of this with a tertiary shift into A♭, as we descend chromatically downward (A♭-G-G♭-F).

As we begin the pre-climax, we have another tertiary shift up to Ab (1:32), with the Eastern influence becoming more obvious through a return to pentatonicism (A♭-B♭-C-E♭-F). This progresses to D♭ (underneath a 9th suspension - E♭ - which is never resolved), acting as a loose Neapolitan 6th progression into the Dominant of G (1:39). To prepare the climax, we get an extra two measures thrown in for added drama.

And at 1:43, we climax in C, following a safe downward progression: C-B♭-A♭, followed by our loose Neapolitan 6th; D♭-G. Random trivia, this is the exact same progression used in NieR: Automata's "Amusement Park" climax. From here, it's pretty smooth sailing, outside of an extra measure slapped onto the end for an improved loop point (2:12).

(... Day 2998 waiting for the Dire Miralis theme to return ...)"


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