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

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).

   
   

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

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.

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

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.

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.

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

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.

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.

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 !

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.

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

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 🤧🤧

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.