Uploaded May 2021 | Updated September 2026, 3 weeks ago
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Here's an orchestral arrangement for Mizutsune, A Bewitching Dance from Monster Hunter: Rise.
Featuring the vocal talents of:
Mikasa Scarlet
➤ twitter.com/scarlet_mikasa
➤ tiktok.com/@mikasa_scarlet
Psamathes
➤ youtube.com/psamathes
➤ twitter.com/Psamathes
➤ https://psamathes.bandcamp.com
➤ psamathes.com
Tracy F.
➤ pillowfight.io
➤ youtube.com/channel/UCLtmLrnU8bkjGEYRgNgDYTA
--------------------
➤ Analysis:
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: 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).
(*Actually it doesn't. I transcribed from a version that cut a beat out for some reason lmao)
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♯.
--------------------
★Game: Monster Hunter: Rise
★Developer: Capcom
★Publisher: Capcom
★Composer(s): Reo Uratani, Satoshi Hori
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Monster Hunter Rise, Mizutsune Theme, A Bewitching Dance, Orchestra, Remix, Cover
#MonsterHunter
#MHRise
#Mizutsune
🎵 Sheet Music & Parts (with definite ending) ➤ mymusicsheet.com/TandA/314695
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
🎹 Commissions ➤ jshaw.co.uk/commissions
🎮 More Arrangements ➤ jshaw.co.uk/TandA
👍 Facebook ➤ bit.ly/TandAFacebook
🐦 Twitter ➤ bit.ly/TandATwitter
🎵 Bandcamp ➤ bit.ly/TandABandcamp
🎵 Spotify ➤ bit.ly/TandASpotify
🎵 Deezer ➤ bit.ly/TandADeezer
🎵 YouTube Music ➤ bit.ly/TandAYouTube
🎵 Apple Music / iTunes ➤ bit.ly/TandAApple
Here's an orchestral arrangement for Mizutsune, A Bewitching Dance from Monster Hunter: Rise.
Featuring the vocal talents of:
Mikasa Scarlet
➤ twitter.com/scarlet_mikasa
➤ tiktok.com/@mikasa_scarlet
Psamathes
➤ youtube.com/psamathes
➤ twitter.com/Psamathes
➤ https://psamathes.bandcamp.com
➤ psamathes.com
Tracy F.
➤ pillowfight.io
➤ youtube.com/channel/UCLtmLrnU8bkjGEYRgNgDYTA
--------------------
➤ Analysis:
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: 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).
(*Actually it doesn't. I transcribed from a version that cut a beat out for some reason lmao)
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♯.
--------------------
★Game: Monster Hunter: Rise
★Developer: Capcom
★Publisher: Capcom
★Composer(s): Reo Uratani, Satoshi Hori
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Monster Hunter Rise, Mizutsune Theme, A Bewitching Dance, Orchestra, Remix, Cover
#MonsterHunter
#MHRise
#Mizutsune
