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1. Intro

2. Verse 1

3. Chorus 1

4. Verse 2

5. Chorus 2

6. Bridge

7. Chorus 3

8. Chorus 4

9. Outro

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Team Leader

Hi, I am Ng Jie Yi. I’m the keyboardist in Sem♭9 ! (Wooho)

Usually people call me “杰哥 (Jacob)." My main instrument is actually the Violin (surprise!). I like to plan everything out in advance, then divide the tasks to my bandmates and make sure everyone knows exactly what they need to do. Other than that, I love digging into different live arrangements of the same song, just to get inspired with new ideas for performing or arranging music. Someday, I hope to become a music arranger or mixing engineer.

Even though I spend most of my time playing chords, I promise I know more than just that !

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Key concepts of Secondary Dominant Chords to know for Harmonic Analysis. (n.d.). https://fiveable.me/lists/key-concepts-of-secondary-dominant-chords

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Indonesian pop music, or Pop Indonesia, reflects the nation’s rich cultural diversity and dynamic history. From its early roots in traditional melodies to its modern global influences, Indonesian pop has continuously evolved, blending local and international sounds. This essay explores its development across five key eras, highlighting the artists and trends that shaped its identity.

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KAMU - COBOY JUNIOR COVER BY CAMELA PUTRI

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Our band Sem♭9 is on a mission to create a fun and irresistibly catchy setlist that blends the rhythmic energy of pop music with the soul-stirring melancholy of heartfelt ballads. Each song is crafted to take listeners on an emotional journey, from dancefloor anthems to quiet, introspective moments that linger long after the music fades. Our creative process is focused on crafting a polished performance, aiming to make each song hit hard and keep the audience fully engaged. We’re driven by a shared passion for music that brings people joy and warmth. Our ultimate goal is to create a musical experience that resonates across cultures and emotions, one that makes people dance, reflect, and feel connected through every note we play. Whether it's the aching beauty of a Chinese ballad, the infectious rhythm of Indonesian pop, or the smooth improvisation of jazz, we aim to celebrate the diversity of sound and feeling. By blending our unique musical backgrounds and influences, we hope to not only entertain but also move our audience, leaving them with melodies that stay in their minds and emotions that stay in their hearts long after the last chord fades.

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Verse 1

床头上的布偶比我们都懂，

这只是一场梦，醒了就该放手，

手上的伤口，疼了太久，

与其忍受，不如大步退后

Chorus 1

我们从开头走到最后，

慢慢走到了全剧终，

这故事只适合收藏，不过相识一场，

镜头里的我们败给剧本，

也无谓再逞强，

终究是走到最后，

还是逃不过这全剧终，

我始终相信你会懂，也只要你懂，

我的感动，你的落空，

难相拥

Verse 2

口袋里的手册写满你的配合，

也记载着，我们的快乐与拉扯，

未曾想会有一刻，

宁愿将真心割捨，

也不愿再重蹈覆辙

Chorus 2

我们从开头走到最后，

慢慢走到了全剧终，

这故事只适合收藏，不过相识一场，

镜头里的我们败给剧本，

也无谓再逞强，

终究是走到最后，

还是逃不过这全剧终，

我始终相信你会懂，也只要你懂，

我的感动，你的落空，

难相拥

Bridge

曾经的炙热也靠着余温关心着，

我装了也倦了，

你不怪我就好了

Last Chorus

我们从开头走到最后，

慢慢走到了全剧终，

这故事只适合收藏，不过相识一场，

镜头里的我们败给剧本，

也无谓再逞强，

终究是走到最后，

还是逃不过这全剧终，

我始终相信你会懂，也只要你懂，

我的感动，你的落空，

难相拥

Outro

让镜头定格在你我，

缘分的尽头，

不再追究，也不再求，

别回头

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HIIII~ I'm Alysa Loh Ke Ni, the vocalist 🎤 and the Music Director of the band Sem♭9 🫧.

How did I started my music journey?

I actually started learning piano since 4 and took graded exams till Diploma. And yes, I'm classically trained 🙂‍↕️🙂‍↕️

During my high school days, I joined a uniform body, where I experienced playing in a brass band as a percussionist. My main instrument was playing the xylophone. I gained a lot of experience by performing in various school events and competing in a national competition.

When I enter CMAT🗣️🗣️, I was deciding whether if I should have my major as a keyboardist or a vocalist. Ended up I chose to be a vocalist however I did not attend any vocal classes before. I wanted to actually challenge and explore myself and see whether if I'm able to do it. As times goes by, I did not change my major because I felt like if I have another instrument that I am skilled at, other than piano, it will be beneficial for my musical flexibility and open up more opportunities for my career in the future.

Why would I choose to study music? 🎶🎧🎤

Since young, whatever I learn or do it involves music, not only playing the piano but also doing ballet as well. I was heavily influenced by classical music but ever since the rise of k-pop, my music taste changed. Now, I got more into the genre of RnB which includes KRnB and not forgetting Hip-Hop music. Artists that I listen to, Chris Brown, Jay Park, MacMiller and more.

I enjoy singing pop, RnB and ballad. I would also want to challenge myself to sing more genre hehe. I hope that this AM will let me explore more genres and to learn more skills not only in singing but also the skill of arranging songs 🤧🤧

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Verse 1

Kamu, buat aku tersipu
Buat ku malu-malu, saat bersamamu
Saat ku sapa dirimu
Aku, kok merinding buluku
Kok jadi gugup aku, saat bersamamu
Saat kau senyum padaku

Chorus 1
Mungkin, inilah rasanya, rasa suka pada dirinya
Sejak Pertama, aku bertanya
Facebookmu apa, nomormu berapa
Mungkin, inilah rasanya, cinta pada pandang Pertama
Senyuman manismu itu membuat aku, dag dig dug melulu

Verse 2
Nanti, aku follow twittermu
Aku tunggu retweetmu, agar aku tahu
Sukakah kamu kepadaku

Chorus 2
Mungkin, inilah rasanya, rasa suka pada dirinya
Sejak Pertama, aku bertanya
Facebookmu apa, nomormu berapa
Mungkin, inilah rasanya, cinta pada pandang Pertama
Senyuman manismu itu membuat aku, dag dig dug melulu

Bridge
Yeah, Cuma kamu, Cuma kamu yang bisa membuatku
Tidur tak tentu memikirkanmu pujaan hati, oh kamu cantik sekali!
Oh Tuhan aku hanya ingin dia tau
Kamu lucu, kamu sangat lucu

Chorus 3
Mungkin, inilah rasanya, rasa suka pada dirinya
Sejak Pertama, aku bertanya
Facebookmu apa, nomormu berapa, Nomormu berapa

Chorus 4
Mungkin, inilah rasanya, cinta pada pandang Pertama
Senyuman manismu itu membuat aku, dag dig dug melulu
Mungkin, inilah rasanya, rasa suka pada dirinya (Inilah rasanya)
Sejak Pertama (Sejak Pertama), aku bertanya
(Aku melihat senyumanmu, lirikanmu, melihat cantiknya kamu)
Facebookmu apa, nomormu berapa
Mungkin inilah rasanya, cinta pada pandang Pertama
(Oh, mungkinkah ini yang kurasakan)
Senyuman
manismu itu membuat aku
dag dig dug melulu

Outro
Kamu kamu kamu kamu kamu kamu kamu kamu
Kamu kamu kamu kamu kamu kamu kamu kamu

Translate to English

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Koes Bersaudara - "Di Dalam Bui" (1960s)

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Koes Bersaudara - "Di Dalam Bui" (1960s)

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Indonesia’s answer to The Beatles, blending pop and rock.

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1. Intro

2. Verse 1

3. Chorus 1

4. Interlude

5. Verse 2

6. Chorus 2

7. Bridge

8. Guitar Solo

9. Last Chorus

10. Outro

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Picture by @winterbunny.p (from YINY's Instagram @o3o_yiny)

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YINY, a singer-songwriter from Malaysia, has a very extensive and varied musical heritage. She started her music journey with learning the electone at the age of 8. Despite struggling with improvisation and studying by ear as a child, she switched to piano at 12 and completed Grade 8 and the Trinity Advanced Certificate by 21. She then also started singing at the age of 16 and had a huge influence by Cpop (Chinese pop) which led her singing to JJ Lin's songs.

She first started performing on stage during her high school days but never took it seriously until she pursued a Contemporary Music degree in Sunway University 3 years ago. During her university time, she did a lot of covers which she posted and shared at her social media. She made a lot of musician friends who would encourage her to attend Jam Sessions at Jao Tim KL almost every week, which increase her exposure and piqued the interest of owner, Jon, who invited her to host sessions and performances. She began performing more of her own music after landing a huge break as Christian Palencia's opening act at Merdekarya. Fun fact! She only started writing her originals and releasing it because of Merdekarya as Merdekarya has a rule where artist can only perform originals.

Thanks to her family, friends and people who believed in her music, YINY is still making music and sharing it with the world by platforms such as Spotify, YouTube, Apple Music and more. From releasing her 1st single to releasing her first ever EP Soft Spots on the 9th August 2024 with a total of 4 songs. YINY has captured the heart of her listeners with her unique blend of dreamy pop melodies, introspective lyrics and ethereal vocals.

Besides that, YINY's charisma and stage presence are what really brings to the crowds. Whether delivering meaningful ballads like '纵' or upbeat music like 'PICNIC', she easily connects with the audience, taking an emotional trip with them with each song.

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Contributors to Wikimedia projects. (2022, March 24). Coboy Junior. Wikipedia Bahasa Melayu, Ensiklopedia Bebas. https://ms.wikipedia.org/wiki/Coboy_Junior

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Ng Jie Yi Solo Transcription Video (Week 14)

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TIN PAN ALLEY - MELLOHARPS - I LOVE ONLY YOU -  (1955)

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TIN PAN ALLEY - MELLOHARPS - I LOVE ONLY YOU -  (1955)

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MELLOHARPS - I LOVE ONLY YOU - TIN PAN ALLEY 145, 78 RPM!

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A pioneer of progressive pop with hits like "Lilin-Lilin Kecil".

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Indonesian pop emerged in the post-independence era, influenced by Western jazz, rock ’n’ roll, and Latin music. Pioneers like Bing Slamet and Koes Bersaudara introduced a fresh sound while retaining local sensibilities. Songs such as "Nina Bobo" (Bing Slamet) and "Di Dalam Bui" (Koes Bersaudara) laid the groundwork for future genres. The orkes melayu (Malay orchestra) style also gained traction, later influencing dangdut.

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This era saw Indonesian pop flourish with artistic experimentation. Chrisye became a legend with timeless hits like "Lilin-Lilin Kecil," while Guruh Gipsy fused Javanese gamelan with rock in albums like "Guruh Gipsy." Female divas like Titiek Puspa and Vina Panduwinata rose to fame, and the pop kreatif movement emphasized poetic lyrics and complex arrangements.

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The 1990s brought a wave of Western-style pop and rock. Dewa 19, led by Ahmad Dhani, dominated the charts with albums like "Format Masa Depan," while teen star Agnes Monica (now Agnez Mo) became a household name. Bands like Sheila on 7 and soloists like Krisdayanti blended pop with rock and ballad influences, making Indonesian music more commercially viable.

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The 2000s marked an explosion of styles. Peterpan (now NOAH) led the pop-rock wave with "Ada Apa Denganmu?," while Maliq & D’Essentials brought soul and R&B to the mainstream. Islamic pop-rock bands like Ungu gained popularity, and dangdut stars like Inul Daratista modernized the genre with pop infusions.

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With streaming and social media, Indonesian pop reached new heights. Raisa, Afgan, and Isyana Sarasvati became icons of contemporary R&B-pop, while artists like NIKI and Rich Brian (of 88rising) broke into the international market. Viral hits like "Tak Ingin Usai" (Keisya Levronka) and indie acts like Hindia showcase the genre’s ongoing innovation.

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Dewa 19, led by Ahmad Dhani, became Indonesia’s biggest rock-pop band.

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Agnes Monica - "Pernikahan Dini" (2000s, teen pop)

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Agnes Monica - "Pernikahan Dini" (2000s, teen pop)

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Agnes Monica - Pernikahan Dini | Official Audio Video

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Unknown. (n.d.). Coboy Junior Biography - Boyband Junior from Indonesian. https://footballthemeblogger.blogspot.com/2013/02/coboy-junior-biography-boyband-junior.html

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Peterpan (NOAH) - "Ada Apa Denganmu?" (2004)

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Peterpan (NOAH) - "Ada Apa Denganmu?" (2004)

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Dominated the pop-rock scene with hits like "Ada Apa Denganmu?".

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Peterpan - Ada Apa Denganmu (Official Music Video)

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Brought soul, jazz, and R&B influences.

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MALIQ & D'Essentials - Untitled (Official Music Video)

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Genre:

Pop-rock

Tempo:

124 BPM

Instrumentation:

Vocals

Keys/Synthesizer

Electric guitar

Bass guitar

Drums

Groove:

The groove of "kamu" features a typical mid-tempo pop ballad. It also features a consistent beat which allows the melody and harmony of the song to shine more. As for the emotional tone of the song, the groove reinforces the lyrics and creates an uplifting atmosphere.

The structure of the song is repetitive where almost all the verses and choruses have the same melody but with more and more elements being added as the song progresses. For example, the lines from keys gradually increases where when comparing the first and last chorus, the intensity difference is very noticeable and conveys different levels of emotional and dynamic energy throughout the song.

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KAMU - CJR (LIVE RECORD) Kurusuke ft Ghea Indrawari

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KAMU - CJR (LIVE RECORD) Kurusuke ft Ghea Indrawari

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KAMU - CJR (LIVE RECORD) Kurusuke ft Ghea Indrawari

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KAMU - COBOY JUNIOR (COVER) -LIVE AT BURJO POLOPES

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KAMU - COBOY JUNIOR (COVER) -LIVE AT BURJO POLOPES

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KAMU - COBOY JUNIOR (COVER) -LIVE AT BURJO POLOPES

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Kamu - Coboy Junior (After Party Band) - Wedding di Alila Uluwatu Bali

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Kamu - Coboy Junior (After Party Band) - Wedding di Alila Uluwatu Bali

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Kamu - Coboy Junior (After Party Band) - Wedding di Alila Uluwatu Bali

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Danger Ranger - Kamu (Coboy Junior Cover)

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Danger Ranger - Kamu (Coboy Junior Cover)

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Danger Ranger - Kamu (Coboy Junior Cover) at #DRholidaysession

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New faces of Indonesian R&B-pop.

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Raisa - Jatuh Hati (Official Music Video)

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1. Bastian Steel (Bastian Bintang Simbolon)

2. Teuku Ryzki (Teuku Ryzki Muhammad)

3. Alvaro Maldini Siregar

4. Kiki (Muhammad Iqbal)

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1. This song is in the key of G major.

2. The first chord (G) played in the intro is the tonic of the key, creating a stable opening.

3. Then the B7 is a secondary dominant. It is the V7 of Em7 (the vi chord in G key), so the B7 is V7/vi. This generates some intensity when pushing B7 to Em7.

4. The D major chord is the V chord of the G key. It normally creates tension and resolves to G major (I), but it does not. The A/C# is not the diatonic chord of the G key. It seems that the V of the D major, also known as a secondary dominant (V/V). However, it comes after D (not before), so it works more as a descending voice-leading (it is in first inversion; C# in the bass) and creates a soft movement toward Cm6.

5. The C minor 6 (Cm6) is borrowed from the parallel minor (G minor); C major (IV) would be the diatonic chord in G major. In this part, modal interchange is applied to introduce a minor colour that fits the melody (so the whole bar is in G minor key). Other than that, it creates a smooth motion with F13 because it is sharing the A with the Cm6 (C-Eb-G-A).

6. F7 to Em7 is a half-step resolution (F > E; C > B; Eb > D). The F7 is a bVII7 in G major and resolves with Em7(vi chord in G major). bVII7 is resolved to I chords, but Em7 is a vi chord in G major. I and vi are chord substitutions.

7. The C# half diminished 7 functioned as a chromatic voice leading to Am7 (C# > C; E > E; G > G; B > A).

8. Cmaj7/D is IVmaj7 over V. It contains Cmaj7 as the top chord (IV) and D as the bass (V). When the Cmaj7/D has B, while C/D simplifies to C major triad over D bass, the B (Cmaj7/D) resolves to C. However, both of them act as a dominant preparing to resolve to I (G major).

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The group became teen idols, starring in their own TV series, "Coboy Junior The Series" (2013).

They won numerous awards, including "Best Newcomer" at Indonesian Kids Choice Awards (2012).

Their fanbase, called "Coconuts", was one of the most dedicated in Indonesia at the time.

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1. Key

The song starts with a G major chord which is the tonic of the song making a solid entrance

2. Chromatic mediant

In bar 4, a non-diatonic chord D# major is used instead of the diatonic chord, D major. It is known as a chromatic mediant which means that they a third apart. This type of movement is common when it comes to pop songs.

In bar 5 A# major, a non-diatonic chord is used instead of A minor which is a diatonic chord in G major which creates a cinematic entrance since they added this chord in the intro and transitioning to verse 1

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1. First Section (Gmaj7 > B7 > Em7)

I > V7/vi > vi

B7 is a secondary dominant leading to the vi chord.

2. Second Section (Dm7 > G13 > Cmaj9)

ii –V –I in C major

The Dm7 is a borrowed chord from the C major key, it is descending by a whole step from Em7. The interval gap is small, so it is smooth and connected.

3. Third Section (Cmaj9 > D/C)

Cmaj9 is played before D/C (It can be Imaj9 of C major key and IVmaj9 of G major key), the 9th(D) is connected with the Dmaj chord.

The D/C creates a strong dominant sound but not a strong resolution. It keeps the bass on C, making the transition smoother from Cmaj9.

4. Fourth Section (Bm7 > Em7 > E/G# > Am7)

Bm7 > Em7 functions as iii → vi in G major. Their interval gap is small, and they share the same note, which is B (B > B; D > D; F# > E; A > G)

E/G# is a non-diatonic chord of the G major key. By putting G# in the bass, it functions as a bridge before landing on Am7. If E/G# was not applied between Em7 and Am7, the Bm7 > Em7 > Am7 forms a descending perfect fifth, which is often called the "circle of fifths” motion.

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1. First Section (Gmaj7 > B7 > B7/D# > Em7)

B7 is a secondary dominant leading to the vi chord.

B7/D# with first inversion (D#) is a passing bass to Em7.

2. Second Section (Dm7 > G13 > Cmaj7)

ii –V –I in C major.

The Dm7 is a borrowed chord from the C major key, it descends by a whole step from Em7.

3. Third Section (Cm6 > G/B > Am7 > Cmaj7/D > C/D)

Cmaj7 > Cm6 is moving from the major IV to the minor iv, which is a very common modal interchange.

Cm6 > G/B > Am7 is walking down or chromatic bass line (C > B > A) that keeps it smooth and connected.

G (I) moves to Am7 (ii) to maintain the tension rising, but does not resolve.

The Cmaj7/D (can be seen as D9sus4) with a D as bass note creates a dominant suspension feeling.

4. Fourth Section (Last two bars of Chorus 1) (Bm7 > E7 > E7/G# > Am7 > C/D)

E7 is a secondary dominant of Am7 (V7/ii).

The E7/G# is the same chord but with a chromatic inversion and leading to the Am7 chord.

5. Chorus 2's Chord Progression

The chord progression is the same as Chorus 1, but with the last bar being different (Gsus > G)

This is a suspended resolution. It is used at the end of phrases.

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1. It has the same chord progression as the Intro, but with a little difference

2. B7 > B7/D# > Em

B7 functioned as the secondary dominant (V7/vi) of Em. Then, B7/D# creates a smooth bass line or chromatic bass line to Em.

3. C# half diminished 7 (interlude) replaced A/C# (intro)

They have the same bass note, but C# half diminished 7 sounds darker and was used as a hint for key modulation. So that we can see C-6 being used after C# half diminished 7, which was changed to G minor key.

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1. First Section (C > D/C)

C is the IV chord of G major, then D/C comes with a C as the bass, which gives a suspended feeling, and using the root note pass (C) to Bm7.

2. Second Section (Bm7 > E7 > E7/G# >Am7 > A-maj7)

Bm7 > E7 > Am7 is ii-V-i in A minor key.

E7 is a secondary dominant of A minor (V7/ii), then the E7/G# uses G# as the root note to pass to Am7 with A in the bass.

Am7 is the ii chord in G and A-maj7 and creates a tension in the progression.

3. Third Section (C/D > Dsus > D)

C is the IV chord of G major, and it comes with D as the root note, which creates a strong lead to D

Dsus is a chord that delays the resolution to the V chord (B) of E major

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1. Chords Progression (Same progression as Chorus 1 & 2, just add some chords for all those attacks)

2. Attacks' chords progression (Em7 > Eb-7 > Dm7; G > A >Bm7 > B7/D# > Em7)

Em7 > Eb-7 > Dm7: The bass line is descending: E > Eb > D

G > A > Bm7: It is a diatonic build-up and the bass line also.

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1. The chord progression and melody are the same as the last 5 bars of the Intro. So that listeners can recap the main hook.

2. Cmaj7 contains C, E, G, and B with D in the bass. So that it has the IV color but adds D in the bass, giving it a direction towards a G maj7 chord.

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1. Intro

At the beginning, there was only a piano solo, and then when it changed to a minor key, it added strings and acoustic guitar to enhance the contrast and strengthen the audience's impression.

The composer used the chorus melody in the intro to give listeners a preview of the main hook, making the song more recognizable and easier to remember when the chorus arrives. This is a common technique in songwriting.

2. Verse 1

The composer just kept this part simple; only piano and acoustic guitar were played.

3. Chorus 1

The composer also used only the piano and acoustic guitar in this part, but the piano was played in wider sections of the piano and added some lines.

The composer added some cymbal roll sounds in every transition.

4. Interlude

This part introduces drums and bass guitar.

The strings and electric guitar take the melody, while the piano does some arpeggios to make everything sound fuller.

5. Verse 2

Verse 2 sounds fuller than verse 1, where the strings played with long notes and sometimes used the call & response technique with the melody. Piano and acoustic guitar remain as playing arpeggios while drums maintain the song's groove.

6. Chorus 2

The electric guitar starts strumming in Chorus 2, and the acoustic guitar plays arpeggio along with the piano, but sometimes also some comping.

This part starts to introduce the attacks of this song.

7. Bridge

In this part, instruments are mostly doing comping and emphasizing the downbeat.

8. Last Chorus

The front of the Last Chorus is just piano, and all the instruments came back after the first attack.

The electric guitar introduces some lines back of the vocals.

9. Outro

Just repeat the last 5 bars of the intro part, let the listener recap the hook.

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1. Chord Progression

As seen in bars 18-19 and 26-27, secondary dominant was used where the B7 act as a V7/VI and resolved with Em7 which is a VI to enhance the dynamic of the music by emphasizing a non-diatonic chord along the way.

In bars 20-21 , a classic chord progression of II-V-I from C major key occurs. Other than that, bars 23-25 also have this chord progression but in the original key which is G major. The chord progression II-V-I brings a temporary resolution and adding a layer of warmth for the song which corresponds the lyrics of that part where it is describing the sensation and feelings of liking somebody.

2. These occurrences also appeared in verse 2 where it is the repetition of bars 25 -32 from verse 1

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1. Chord Motion

In bar 62, a slash chord of D/F# also known as the first inversion of the V chord takes place. The use of slash chords smoothen the bass line motion where from G to F# is much smoother than G to D which makes them sound more connected and natural. It also creates a descending motion for the bass line which goes like this "G-F#-B-E-D".

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1. Chromatic Mediant

A non-diantonic chord appeared in the 77th bar of the bridge which is from the diatonic Amin to a A#maj (ii --> #II). The movement is also known as a chromatic mediant to give an elevation when transitioning to chorus 3.

2. Chromatic alteration

A chromatic alteration occur in bar 81 which is form the diatonic chord, G major to a non-diatonic chord, G# major which is a half step upward. The chromatic alteration is added to spice up the ending part of the bridge.

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1. Chord Motion

From bar 90 to 93, the chords are going in an upward direction when transitioning to the last chorus. It is also known as an ascending motion that occurs in the songs climax. By using an ascending motion, it can amplify the emotional intensity to its peak in the climax of the song. It also provides a better transition between the two choruses where the last chorus is transposed from G major key to A major key.

2. Modulation

The technique used for the transition when entering from chorus 3 to chorus 4, direct modulation was applied by using the V chord of A major which is E major

In bar 94 which is also the beginning of the last chorus had a transition of transposing from G major key to A major key, that is two semitones up. By raising the key in the last chorus, it provides a more uplifting and energetic sensation when comparing the three choruses before it which helps the final chorus to achieve the peak point that it should have since it is the climax of the song.

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In 2015, Coboy Junior officially disbanded due to members pursuing solo careers and personal growth.

Bastian Steel became a successful solo singer and actor.

Teuku Ryzki ventured into acting and music.

Alvaro Maldini focused on his education and later returned to entertainment.

Kiki (Iqbal) also pursued solo music and acting.

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The first song is a beautiful, emotional Chinese ballad that really tugs at the heartstrings. It's got that deep, dramatic "OST" vibe, like something you’d hear in a movie scene where everything is falling apart. The song is all about heartbreak，the kind of raw, aching feeling we all go through when we lose someone. It was written by one of our seniors at university, so there's a personal touch to it that makes it feel even more real and intimate. The lyrics express a sense of longing and emotional vulnerability that anyone who's ever been in love (and lost it) can relate to. It’s a powerful way to start our collection, reminding us of the beauty in sadness and the emotional depth that comes with it.

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Then, we switch gears with the second song, which is a much lighter, more joyful Indonesian pop tune. It’s all about love in its sweetest, most innocent form, the kind of love that feels like sunshine. For this one, we were inspired by a cover sung by a sweet-voiced Indonesian artist, whose vocals bring out all the charm and warmth of the song. It’s playful, it’s cute, and it reminds us of those early stages of a relationship where everything just feels good and carefree. Choosing this song was a way for us to bring in a little brightness after the emotional heaviness of the first, and it also gave us a chance to explore a different cultural vibe, bringing a fresh, international touch to our collection.

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Verse 1

The lingering emotional pain from the relationship is unbearable. The speaker decides that walking away is the healthier choice rather than suffering further.

Chorus:

The speaker reflects on how the relationship has run its course, reaching its inevitable end. This suggests that no matter how they tried, the outcome was predetermined, like characters in a play who are bound by the script.

Verse 2

The speaker reflects on the efforts and compromises made in the relationship. The speaker acknowledges that, at some point, they had to let go of their feelings to move on and avoid repeating the past.

Bridge

The speaker reminisces about the passionate times that have now faded, and they’re tired of pretending everything is fine. The speaker seems resigned, indicating they have accepted things as they are and no longer expect the other person to change.

Outro

The speaker wants to capture the final moment of their relationship, acknowledging that it’s over and they should stop chasing what’s already gone.

Overall Theme

The song is about the painful realization that a relationship has reached its natural conclusion. The speaker reflects on the emotional highs and lows, the efforts put in, and ultimately accepts that the best course of action is to let go. There's a sense of resignation, but also a desire for mutual understanding, even though physical or emotional reconciliation is no longer possible. The metaphor of the "script" and "camera" suggests that their relationship was a performance, ultimately bound by fate and unable to escape its predetermined end.

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Following her breakthrough release of songs like PICNIC, she began producing music that drew more directly from her personal experiences. Her songwriting became extremely introspective, often probing her personal feelings and real-life occurrences. Her breakup with her ex-boyfriend, whom she had dated for six years, led her to write this specific song. It felt inevitable, yet the breakup was friendly. Although their partnership was stable overall, there were certain basic disagreements that were hard to work out over time, especially when it came to personal and family values.

They shared a close-knit network of mutual friends, lived close to one another, went to the same high school, and took the same tuition classes. It used to seem likely that they would keep running into each other because of this. However, after the breakup, their lives diverged so completely that the chance of seeing each other again became virtually nonexistent. It seemed unreal, as if fate had abruptly and totally wiped out any lingering bond between them.

They were friends for a while because they were in the same circle of friends, but that changed when he met another girl. The song captures the feeling of reaching the final chapter in their story. When they parted, they said, “Maybe we’re not right for each other now—but perhaps one day, circumstances will change.” The song does, however, express a subdued finality: the idea that they no longer fit into one other's lives.

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Hi, I'm Fei, the singer of our band. My musical journey is deeply influenced by my love for R&B and Mandarin pop. These genres have always felt like home to me, and they’ve shaped the way I approach music. One of my biggest inspirations is Khalil Fong—his smooth blend of R&B and heartfelt lyrics resonates with me on a personal level. His music has not only been a source of comfort but also a creative spark for my own singing style. I'm excited to bring my passion for these genres to our band’s sound and share my musical journey with all of you.

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1. Modal Interchange

In bars 111, 115, 119 and 123,A modal interchange took place where the diatonic chord in the key of A major should have been G# diminished (vii°), but instead, a G major chord (♭VII) was used, which is a common modal interchange from the Mixolydian mode of A Mixolydian.

Another modal interchange occurred in bars 113, 117, 121 and 125 where instead of F# minor (vi) , a F major chord (bVI) was used. Another common and similar modal interchange from the previous mention where the F major chord is from A Aeolian /A minor scale.

2. Chord Progression

The unexpected tonal movement of I (A major)-bVII (Gmajor)-vi (F# minor)-bVI (F major) gives out a strong emotional impact and dramatic feeling which is fitting for an outro of a pop rock song that ends with a bang.

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The song "Kamu" is a catchy, upbeat pop track with lyrics expressing admiration and affection for someone special. The song likely reflects the band's youthful and energetic style, a Blend of electric guitar-driven pop-rock and traditional Indonesian elements.

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The inspiration behind our band name, Semb♭9, is actually quite humorous. It started as a music theory joke during rehearsal, and somehow, it stuck and became part of our identity. Now, it’s a reminder not to take ourselves too seriously, even when we’re pouring our hearts into the music. Our band features a dynamic lineup with 2 powerhouse singers who are Alysa and Fei, 2 versatile keyboardists, Sim and Jie Yi, and our talented guitarist, Vay Hann. We also invited our good friends who are both gifted on their instruments, Zac, Senaru, and Regxuan, to session for us on the drums and bass guitar. We come together weekly, using our free time to collaborate, rehearse, and fine-tune every note.

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Yiny composed the song for her Final Year Project (FYP) last year utilising a straightforward chord progression. She finished the original composition and worked with CMAT alumnus Ayven, who handled the arrangement. Eric Chou's "续写" chord progression served as the foundation for Yiny's melody development, while Ayven provided the introduction and chord structure. The piece's raw mood was reflected in the first demo's simplicity and minimalism.

Since it reflected the real feelings she felt during the performance, she was brought to tears while singing. Yiny had originally only planned to share a live version of the song. To guarantee improved clarity and sound quality, friends and peers urged her to create a studio version. Despite a number of difficulties in the production process, she went ahead and re-recorded the entire song. Notably, Ayven's original arrangement did not contain string arrangements and because of time constraints, the recording and submission deadlines were only one or two months apart.

Yiny contacted a senior keyboardist to assist with the string section. At their institution, they tried recording MIDI, but since they didn't have a MIDI cable, they had to use Juno audio, which produced poor sound quality.

For this song, Yiny utilised a professional mixing engineer, even though she usually does her own mixing and mastering. Unfortunately, the final product was unsatisfactory due to clipping problems and low vocal clarity in the mix. As a result, she is planning to re-record and reproduce the song, aiming to release the final version by July.

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Hello there, nice to meet me~~

I enjoy listening to and exploring different kinds of music. I don’t really have a specific idol or favourite artist—I just like discovering new sounds and styles that resonate with me.

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Verse 1 & 2 & 3

The speaker describes the feelings they experience when they are around the person they like.

Chorus

The chorus reveals that the speaker is reflecting on the intense feelings they are experiencing, realizing it may be love or infatuation.

Bridge

In the bridge, the speaker becomes more emotionally expressive. The speaker becomes more proactive in trying to connect with the person.

Overall Theme

The song expresses the excitement and nervousness of falling for someone for the first time. The speaker feels shy, nervous, and physically affected (goosebumps, heart racing) when around the person they like. They reflect on the intense feelings of attraction, thinking it might be love at first sight. The lyrics also show the speaker trying to connect with the person through social media and wondering if the feelings are mutual. The song captures the thrill and emotional chaos of infatuation in a modern, playful way.

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Hi, I am Sim Mong Thing but people usually just call me Sim and I am the other keyboardist of the band. I often listen to pure instrumental and pop music. I still have a bit stage fright despite being AM4 but I am still working on that. I enjoy playing with my bandmates and I hope we all have a blast when performing these songs!!!

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Week 6 individual transcription video

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1. Intro

It starts with a quiet synth melody line and the vocals comes in after the drum cymbals.

2. Verse 1

The vocals enter along with a simple percussion line, synth pads holding the chords and a synth lead line.

In the second half of verse 1, a change of synth lead occurred, changing to a more impactful and sharper synth lead.

3. Chorus 1

The sharp synth lead began to play lines to harmonize with the vocals

Some bell lines were added to give out some spark into the chorus.

There were string like synths holding chords and playing lines to blend and support the other instruments. The lines played are more recognizable in the end of the chorus

4. Verse 2

It started off quiet with some lines and came back with the sharper synth lead.

5. Chorus 2

It is almost the same as Chorus 1 but with more string lines.

6. Bridge

The vocals starts to rap

The synths were supporting the vocalists.

At the end of the vocals, the strings played running lines to excite the end of the bridge and transition to the next chorus.

7. Chorus 3

The instrument levels drop with the vocals singing along with the synth pads and the sound of fingers clicking as percussion.

Before modulating, there was a attack to bring back the instrument levels while entering the climax of the song.

8. Chorus 4

The song modulated 2 semitones up.

The sharp synth lead had more complex lines comparing with the previous choruses.

The other vocals harmonizes with the main vocal.

9. Outro

The bells plays lines to harmonize with the vocals.

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Week 6 individual transcription score

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Padlet Roles

Jie Yi

Leadsheet

Composition Teachniques for 全剧终

Alysa

History of Ballad

Artists and videos about Ballad

Artist for 全劇終 (Yiny)

全劇終 Cover(s)

Yi Fei

Rationale

Band intro

Lyrics analyse

Kamu Leadsheet

Vay Hann

History of Indonesian Pop

Artists & Videos about Indonesian Pop

Artist for Kamu (Coboy Junior)

Kamu covers

Sim

Leadsheet

Composition Teachniques for Kamu

Band Roles

Jie Yi

Band Leader

Music Transcriber 1

Alysa

Music Director

Yi Fei

Bookings

Vay Hann

Organiser

Sim

Music Transcriber 2

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COBOY JUNIOR - Kamu (Official Music Video)

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We had a great interview session with her ~

After the interview session, it made us know more about her and it is better for us to execute and perform her song with the emotions she had while writing the song.

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Time range From 3.30

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A contemporary development of the traditional ballad, the pop ballad blends the polished structure and melodic accessibility of popular music with the poignant storytelling of folk traditions. Pop ballads, which have their roots in themes of love, heartbreak, and contemplation, are characterised by slow to mid-tempo rhythms, catchy melodies, and a focus on vocal delivery. The smooth, romantic crooning styles of artists like Frank Sinatra and Nat King Cole, who gave emotionally charged songs a more sophisticated, orchestral feel, helped to create the genre in the middle of the 20th century.

The pop ballad gained popularity throughout the years and became a mainstay of popular music. By the 1960s and 1970s, musicians like Elton John and The Beatles were writing well-known songs that had a profound emotional impact on listeners. Since then, the genre has changed to reflect shifting musical tastes, but in contemporary pop music, it still functions as a potent vehicle for conveying human emotion.

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The 1940s and 1950s, when Tin Pan Alley songwriting traditions and the vocal styles of singers like Frank Sinatra, Nat King Cole, and Bing Crosby greatly affected popular music, are when the pop ballad first emerged. Often accompanied by a sumptuous orchestration with strings, piano, and arrangements influenced by jazz, these performers popularised a style of music that prioritised romantic themes, emotional expression, and a sophisticated vocal delivery. Their elegant and genuine songs, which dealt with love, longing, and heartache, captivated audiences.

As a centre for American songwriting, Tin Pan Alley generated straightforward yet deeply felt melodies and lyrics that were popular with a broad audience. Many of the characteristics that would later come to characterise the pop ballad were developed during this time period, including memorable melodies, emotive themes, and an emphasis on vocal delivery. Following that, the ballads of the 1960s and beyond would be influenced by these fundamental components.

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The pop ballad reached a higher level of popularity in the 1960s and 1970s, taking centre stage in popular music. The rising popularity of the genre was demonstrated by songs like "Yesterday" by The Beatles, "Unchained Melody" by The Righteous Brothers, and "Your Song" by Elton John. These songs, which focused on themes of love, heartbreak, nostalgia, and contemplation, were distinguished by their intense emotional introspection. Their success was fuelled by catchy tunes, lyrical lyrics, and subdued instrumentation, which frequently included an acoustic guitar, piano, or strings.

During this time, the soft rock ballad gained popularity, combining the rock sound with the pop ballads' emotional depth. Bands such as Bread, Chicago, and The Carpenters gained recognition for their significant radio-friendly ballads that connected with a wide range of listeners. These songs' emotional authenticity and approachability contributed to the pop ballad's enduring and significant status in popular music culture.

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The power ballad, a more dramatic and emotionally driven variation of the pop ballad, which appeared in the 1980s. Rock bands like Aerosmith, Journey, Bon Jovi, Foreigner, and REO Speedwagon popularised this style by fusing the intensity and instrumentation of rock music with the emotional depth of traditional ballads. Power ballads were often created around themes of love, grief, desire, and redemption, but what set them distinct was their epic melodic structure.

These songs generally started with mild, expressive intros, usually accompanied by piano or acoustic guitar, and then grew to soaring choruses with strong drum rhythms, electric guitar solos, and emotional vocal performances. The overall effect was a crescendo of music that conveyed intensity and vulnerability. Aerosmith's "I Don't Want to Miss a Thing" and "Open Arms" by Journey's (not SZA 🤭) were anthems that dominated charts and characterised the emotional peaks of 1980s rock.

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Pop ballads and R&B gained unprecedented levels of popularity in the 1990s and early 2000s, taking centre stage in world music culture. Vocal powerhouses like Whitney Houston, Mariah Carey, Celine Dion, and Boyz II Men rose in popularity during this time, advancing vocal-driven ballads to the mainstream of the music business. Audiences throughout the world were captivated by their emotionally driven performances and brilliant vocal skills including vibrato, melisma, and soaring high notes.

During this time, ballads frequently have arrangements centred on piano or acoustics, complemented by string sections, harmonies influenced by gospel, and luxury studio production. Deeply emotional subjects like romantic longing, heartache, loss, resiliency, and unconditional love were explored in these songs. Songs such as "I Will Always Love You," "My Heart Will Go On," "Hero," and "End of the Road" became classics that spoke to people of all ages.

In addition to being the top songs on the charts, these ballads were also cultural icons that were regularly included in important motion pictures, television series, and life events like weddings and memorial services. The ballad became a staple of R&B and pop music during this time, showing the human voice as a vital tool for communication and expression.

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Pop ballads have remained popular into the 2010s, adapting to contemporary styles while maintaining its central focus on emotional narrative. Nowadays, ballads are popular in many different genres, such as pop, R&B, K-pop, and indie, which reflects the diversity of musical forms and their appeal on a worldwide scale. Artists like Adele, Ed Sheeran, Sam Smith, and Billie Eilish have emerged as major players in this contemporary era by creating songs that combine sophisticated, frequently minimalist sound with personal, honest lyrics.

Themes of vulnerability, mental health, self-acceptance, love, and heartbreak are common in contemporary ballads, and they strike a deep chord with listeners looking for genuineness and emotional connection. Songs like "Someone Like You" by Adele, "Perfect" by Ed Sheeran, "Stay With Me" by Sam Smith, and "When the Party's Over" by Billie Eilish demonstrate the vocal sensitivity and emotional depth that characterise modern ballads.

Ballads' influence has been greatly expanded with the emergence of social media, digital streaming platforms, and video-sharing applications. Because they are relatable, several have gone viral, with listeners sharing them as manifestations of their own feelings and experiences. The ballad has been reshaped for younger audiences by the internet age, guaranteeing its ongoing importance in the world of music.

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Yesterday (With Spoken Word Intro / Live From Studio 50, New York City / 1965)

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鄧麗君 -月亮代表我的心 Teresa Teng (HD) (with lyrics sing along and English subtitle)

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Whitney Houston - I Will Always Love You (1992)

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Whitney Houston - I Will Always Love You (1992)

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Whitney Houston - I Will Always Love You (Official 4K Video)

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林俊傑 - 可惜沒如果「高音質 x 動態歌詞 Lyrics」♪ SDPMusic ♪

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Adele - Someone Like You (Official Music Video)

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Alysa Loh Ke Ni Week 6 Solo Transcription Video

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Alysa Loh Ke Ni Solo Transcription Video

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Alysa Loh Ke Ni Solo Transcription Video

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Alysa Loh Ke Ni Solo Transcription Video

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transcription 1_ anything for you_ New Yi Fei

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History of Indonesian pop music. (n.d.). https://www.playlistresearch.com/article/indonesianpop.htm

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Wikipedia contributors. (2025, June 2). Indo pop. Wikipedia. https://en.wikipedia.org/wiki/Indo_pop