Noten für Gesang: Finden Sie Ihre Stimme
Ship Of Dream, written by Eric Coates with words by Winifred Van Noorden, arranged for voice and piano in the key of F Major.
Ship Of Dream, written by Eric Coates with words by Winifred Van Noorden, arranged for voice and piano in the key of F Major.
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Ship Of Dream, written by Eric Coates with words by Winifred Van Noorden, arranged for voice and piano in the key of G Major.
Ship Of Dream, written by Eric Coates with words by Winifred Van Noorden, arranged for voice and piano in the key of G Major.
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Sigh No More, Ladies, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of G Major.
Sigh No More, Ladies, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of G Major.
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Song Of Loyalty, composed by Eric Coates with words by Phyllis Black, arranged for voice and piano in the key of C Major.
Song Of Loyalty, composed by Eric Coates with words by Phyllis Black, arranged for voice and piano in the key of C Major.
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Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of A Minor.
Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of A Minor.
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Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of F Minor.
Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of F Minor.
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Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of G Minor.
Song Of The Little Folk, written by Eric Coates with words by Jennie Dunbar, arranged for voice and piano in the key of G Minor.
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The Song Of The Wild, written by Eric Coates with words by Edward Lockton, specially written for Cherry Kearton's Adventure Film 'Wild Life Across The World', arranged for voice and piano in the key o...
The Song Of The Wild, written by Eric Coates with words by Edward Lockton, specially written for Cherry Kearton's Adventure Film 'Wild Life Across The World', arranged for voice and piano in the key o...
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Star Of God, written by Eric Coates with words by Fred E Weatherly, arranged for voice and piano in the key of C Major.
Star Of God, written by Eric Coates with words by Fred E Weatherly, arranged for voice and piano in the key of C Major.
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Stars, And A Crescent Moon, composed by Eric Coates with words by Phyllis Black, arranged for voice and piano in the key of G Major.
Stars, And A Crescent Moon, composed by Eric Coates with words by Phyllis Black, arranged for voice and piano in the key of G Major.
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Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of Bb Major.
Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of Bb Major.
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Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of C Major.
Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of C Major.
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Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of Eb Major.
Summer Afternoon, written by Eric Coates with words by Royden Barrie, arranged for voice and piano in the key of Eb Major.
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Sweet-And-Twenty, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of C Major.
Sweet-And-Twenty, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of C Major.
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Sweet-And-Twenty, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of Eb Major.
Sweet-And-Twenty, written by Eric Coates with words by William Shakespeare, arranged for voice and piano in the key of Eb Major.
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The Bird's Philosophy, written by Alan Murray with words by Charles G Mortimer, arranged for voice and piano.
The Bird's Philosophy, written by Alan Murray with words by Charles G Mortimer, arranged for voice and piano.
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Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
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Wiegenlied (Lullaby) Op. 98 No. 2, D. 498, written by Franz Schubert and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
Wiegenlied (Lullaby) Op. 98 No. 2, D. 498, written by Franz Schubert and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
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Zwei Braune Augen (Two Brown Eyes) Op.5 No. 1, written by Edvard Grieg and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
Zwei Braune Augen (Two Brown Eyes) Op.5 No. 1, written by Edvard Grieg and arranged by Heidi Pegler for low voice and piano accompaniment in digital sheet music format.
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Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
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Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
Marienwürmchen (Ladybird) No.13 from Volks-Kinderleider WoO 31, written by Johannes Brahms and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
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Zwei Braune Augen (Two Brown Eyes) Op.5 No. 1, written by Edvard Grieg and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
Zwei Braune Augen (Two Brown Eyes) Op.5 No. 1, written by Edvard Grieg and arranged by Heidi Pegler for high voice and piano accompaniment in digital sheet music format.
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Ave Maria (from 'Otello'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
Ave Maria (from 'Otello'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
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Casta Diva (from 'Norma'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
Casta Diva (from 'Norma'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
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J'ai Perdu Mon Eurydice (from 'Orphee et Eurydice'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
J'ai Perdu Mon Eurydice (from 'Orphee et Eurydice'), as recorded by Maria Callas. Arranged for piano and voice in digital sheet music format.
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Entdecken Sie die Welt der Vokalmusik – Noten für jede Stimme
Die Stimme: Das persönlichste Instrument
Gesang ist die ursprünglichste Form des Musizierens und berührt uns unmittelbar. Keine andere Kunstform kann Emotionen so direkt transportieren. Das Repertoire ist schier grenzenlos und reicht von klassischen Kunstliedern und Opernarien über Swing-Klassiker und Jazz-Standards bis hin zu den größten Hits aus Pop, Rock und Musical. Bedeutende Verlage wie Hal Leonard, Bärenreiter oder Schott Music bieten hierfür eine unglaubliche Fülle an hochwertigen Ausgaben, die Sängerinnen und Sänger weltweit inspirieren.Schon seit jeher hat der Mensch seine Stimme zur Kommunikation genutzt, nicht nur zum Sprechen, sondern darüber hinaus für die unterschiedlichsten Funktionen: Seien es Lautsilben-Rufe („Juchitzer“ oder „Juchzer“) in den Bergen, um über weite Entfernungen hinweg Informationen auszutauschen oder Viehherden zu rufen (damit verknüpft kennen wird das „Jodeln“), seien es rituelle Gesänge oder Mantren, die heilige Zeremonien begleiten, seien es nicht enden wollende rhythmische Lieder, die in der Gruppe die Feldarbeit erleichtern, seien es die Minnegesänge des Mittelalters, mit Hilfe derer in einer Art ritterlichen Wettkampfes um die Gunst der Adelsdamen geworben wurde (gewagt vergleichbar vielleicht mit den Werbungstänzen von beipielsweise Paradiesvögeln) – das Bedürfnis, sich über die Sprache hinaus tonal auszudrücken steckt wohl seit der Geburt in uns und kann die vielfältigsten Formen annehmen. Es ist kaum vorstellbar, dass man im Laufe seines Lebens nicht mit Gesang in Berührung gekommen ist oder selbst gesungen hat; vom einfachen Schlaflied über Kinderlieder, bis hin zu Kirchenliedern.