Noten für Gesang: Finden Sie Ihre Stimme
Amid The Heather composed by Edward St. Quentin and words by Lindsay Lennox in the key of D Major arranged for voice and piano.
Amid The Heather composed by Edward St. Quentin and words by Lindsay Lennox in the key of D Major arranged for voice and piano.
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Amore (Belovéd) composed by Albert Arlen and words by Bruce Sievier in the key of F Major arranged for voice and piano.
Amore (Belovéd) composed by Albert Arlen and words by Bruce Sievier in the key of F Major arranged for voice and piano.
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An Apple Song transcribed by G.C. Bowden in the key of F Major arranged for voice and piano.
An Apple Song transcribed by G.C. Bowden in the key of F Major arranged for voice and piano.
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An Argentine Serenade music arranged by Elsie April and English words by Fred Allandale in the key of A Major arranged for voice and piano.
An Argentine Serenade music arranged by Elsie April and English words by Fred Allandale in the key of A Major arranged for voice and piano.
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An Argentine Serenade music arranged by Elsie April and English words by Fred Allandale in the key of F Major arranged for voice and piano.
An Argentine Serenade music arranged by Elsie April and English words by Fred Allandale in the key of F Major arranged for voice and piano.
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And A Little Bit More composed by Fred Fischerwith words by Alfred Bryan in the key of G Major arranged for voice and piano.
And A Little Bit More composed by Fred Fischerwith words by Alfred Bryan in the key of G Major arranged for voice and piano.
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At Eventide composed by Frank Moir with words by Gynby Hadath in the key of G Major arranged for voice and piano.
At Eventide composed by Frank Moir with words by Gynby Hadath in the key of G Major arranged for voice and piano.
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April Daffodils composed by Herman Finck with words by Douglas Furber in the key of F Major arranged for voice and piano.
April Daffodils composed by Herman Finck with words by Douglas Furber in the key of F Major arranged for voice and piano.
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April Daffodils composed by Herman Finck with words by Douglas Furber in the key of G Major arranged for voice and piano.
April Daffodils composed by Herman Finck with words by Douglas Furber in the key of G Major arranged for voice and piano.
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All My Love based on a theme by Emile Waldteufel with words by Al Jolson, Saul Chaplin and Harry Akst in the key of F Major arranged for voice and piano.
All My Love based on a theme by Emile Waldteufel with words by Al Jolson, Saul Chaplin and Harry Akst in the key of F Major arranged for voice and piano.
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The Amber Necklace composed by Reginald Somerville with words by F. Kinsey Peile in the key of F Major arranged for voice and piano.
The Amber Necklace composed by Reginald Somerville with words by F. Kinsey Peile in the key of F Major arranged for voice and piano.
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The Amber Necklace composed by Reginald Somerville with words by F. Kinsey Peile in the key of D Major arranged for voice and piano.
The Amber Necklace composed by Reginald Somerville with words by F. Kinsey Peile in the key of D Major arranged for voice and piano.
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Never The Time composed by Jack Strachey with words by Desmond Carter from the revue Shake Your Feet in the key of G Major arranged for voice and piano.
Never The Time composed by Jack Strachey with words by Desmond Carter from the revue Shake Your Feet in the key of G Major arranged for voice and piano.
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My Legionnaire composed by Marguerite Monnot with French words by Raymond Asso and English words by Carlene Mair in the key of D Minor arranged for voice and piano.
My Legionnaire composed by Marguerite Monnot with French words by Raymond Asso and English words by Carlene Mair in the key of D Minor arranged for voice and piano.
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As Freinds At Eventide (Who Say Goodnight) composed by Stanton Jeffries with words by Harold Simpson in the key of Ab Major arranged for voice and piano.
As Freinds At Eventide (Who Say Goodnight) composed by Stanton Jeffries with words by Harold Simpson in the key of Ab Major arranged for voice and piano.
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As It Were composed by Herman Finck with words by Clifford Grey in the key of C Major arranged for voice and piano
As It Were composed by Herman Finck with words by Clifford Grey in the key of C Major arranged for voice and piano
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The Girl Friend Of The Whirling Dervish composed by Harry Warren with words by Al Dubin and Jonny Mercer in the key of D Minor arranged for voice and piano.
The Girl Friend Of The Whirling Dervish composed by Harry Warren with words by Al Dubin and Jonny Mercer in the key of D Minor arranged for voice and piano.
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All Along The Way composed by Oscar Verne with words by Stanhope Gray in the key of Bb Major arranged for voice and piano.
All Along The Way composed by Oscar Verne with words by Stanhope Gray in the key of Bb Major arranged for voice and piano.
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All Along The Way composed by Oscar Verne with words by Stanhope Gray in the key of G Major arranged for voice and piano.
All Along The Way composed by Oscar Verne with words by Stanhope Gray in the key of G Major arranged for voice and piano.
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All Among The Summer Roses composed by Virginia Gabriel with words by Miss Horace Smith. A ballad from the operetta in one act of A Rainy Day in the key of G Major arranged for voice and piano.
All Among The Summer Roses composed by Virginia Gabriel with words by Miss Horace Smith. A ballad from the operetta in one act of A Rainy Day in the key of G Major arranged for voice and piano.
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All Are Sleeping, Weary Heart composed by Noel Johnson with words by H.W. Longfellow in the key of Eb Major arranged for vocal duet and piano.
All Are Sleeping, Weary Heart composed by Noel Johnson with words by H.W. Longfellow in the key of Eb Major arranged for vocal duet and piano.
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All In The Hush Of Twilight composed by M Piccolomini with words by G. Hubi Newcombe in the key of G Major arranged for voice and piano with an additional obbligato violin part.
All In The Hush Of Twilight composed by M Piccolomini with words by G. Hubi Newcombe in the key of G Major arranged for voice and piano with an additional obbligato violin part.
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All Is Fair In Love And War composed by Harold A. Jeboult with words by G.B. Nichols from the opera In The Days Of The Siege in the key of C Major arranged for voice and piano.
All Is Fair In Love And War composed by Harold A. Jeboult with words by G.B. Nichols from the opera In The Days Of The Siege in the key of C Major arranged for voice and piano.
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Ann Maria composed by Noel Johnson with words by Florence Gertrude Attenborough from a cycle of three Doll Songs in the key of F Minor arranged for voice and piano.
Ann Maria composed by Noel Johnson with words by Florence Gertrude Attenborough from a cycle of three Doll Songs in the key of F Minor arranged for voice and piano.
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A Thousand Beautiful Things composed by Haydn Wood with words by Richard Corrin in the key of Bb Major arranged for voice and piano.
A Thousand Beautiful Things composed by Haydn Wood with words by Richard Corrin in the key of Bb Major arranged for voice and piano.
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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.