Noten für Gesang: Finden Sie Ihre Stimme
A Beaded Bag composed by Sigmund Romberg and Jean Schwartz with words by Alex Gerber in the key of F Major arranged for voice and piano.
A Beaded Bag composed by Sigmund Romberg and Jean Schwartz with words by Alex Gerber in the key of F Major arranged for voice and piano.
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Vocalise No. 1 (Voix elevees) composed by Henri Bedex and Pierre Duclos in the key of F Major arranged for voice and piano.
Vocalise No. 1 (Voix elevees) composed by Henri Bedex and Pierre Duclos in the key of F Major arranged for voice and piano.
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Vocalise No. 2 (Voix moyennes) composed by Henri Bedex and Pierre Duclos in the key of Ab Major arranged for voice and piano.
Vocalise No. 2 (Voix moyennes) composed by Henri Bedex and Pierre Duclos in the key of Ab Major arranged for voice and piano.
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Vocalise No. 3 (Voix graves) composed by Henri Bedex and Pierre Duclos in the key of A Major arranged for voice and piano.
Vocalise No. 3 (Voix graves) composed by Henri Bedex and Pierre Duclos in the key of A Major arranged for voice and piano.
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I'll Never Forget I Love You composed by Joe Sanders and Eddie Edwards in the key of Eb Major arranged for voice and piano.
I'll Never Forget I Love You composed by Joe Sanders and Eddie Edwards in the key of Eb Major arranged for voice and piano.
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Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Ab major arranged for vocal duet and piano.
Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Ab major arranged for vocal duet and piano.
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Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of F major arranged for voice and piano.
Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of F major arranged for voice and piano.
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Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of G major arranged for voice and piano.
Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of G major arranged for voice and piano.
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Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Eb major arranged for voice and piano.
Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Eb major arranged for voice and piano.
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Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Bb major arranged for voice and piano.
Bonnie Banks O'Loch Lomond composed and with words by Wallace Campbell in the key of Bb major arranged for voice and piano.
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The Bolshies Song composed by Bob Alden with words by Ronald Jeans in the key of A major arranged for voice and piano.
The Bolshies Song composed by Bob Alden with words by Ronald Jeans in the key of A major arranged for voice and piano.
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Blue Filey Bay composed by Cuthbert Clarke with words by Percy Pinkerton in the key of G major arranged for voice and piano.
Blue Filey Bay composed by Cuthbert Clarke with words by Percy Pinkerton in the key of G major arranged for voice and piano.
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A Blackbird In The Dawn composed by Alan Colville with words by Bryan Courage in the key of Ab Major arranged for voice and piano.
A Blackbird In The Dawn composed by Alan Colville with words by Bryan Courage in the key of Ab Major arranged for voice and piano.
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A Brittany Love Song composed by Harold Fraser-Simson with words by Edward Lockton in the key of C Major arranged for voice and piano.
A Brittany Love Song composed by Harold Fraser-Simson with words by Edward Lockton in the key of C Major arranged for voice and piano.
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A Bunch Of White Heather composed by Guy Jones with words by C.H. Bovill from the play with music "The Gay Gordons" in the key of G Major arranged for voice and piano.
A Bunch Of White Heather composed by Guy Jones with words by C.H. Bovill from the play with music "The Gay Gordons" in the key of G Major arranged for voice and piano.
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Boodle, a vocal fox-trot from the new musical play Boodle, composed by Jack Buchanan with words by Douglas Furber in the key of Eb major arranged for voice and piano.
Boodle, a vocal fox-trot from the new musical play Boodle, composed by Jack Buchanan with words by Douglas Furber in the key of Eb major arranged for voice and piano.
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Go South composed by Richard Myers with words by Owen Murphy from the musical Greenwich Village Follies in the key of Eb Major arranged for voice and piano.
Go South composed by Richard Myers with words by Owen Murphy from the musical Greenwich Village Follies in the key of Eb Major arranged for voice and piano.
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The Grand Opera Ball composed by Raymond Hubbell with words by R.H. Burnside from Better Times in the key of Eb Major arranged for voice and piano.
The Grand Opera Ball composed by Raymond Hubbell with words by R.H. Burnside from Better Times in the key of Eb Major arranged for voice and piano.
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Fly, Butterfly composed by Ray Henderson with words by Buddy De Sylva from the musical George White's Scandals 1925 in the key of C Major arranged for voice and piano.
Fly, Butterfly composed by Ray Henderson with words by Buddy De Sylva from the musical George White's Scandals 1925 in the key of C Major arranged for voice and piano.
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What Do I Care? composed by Sigmund Romberg with words by Harry B. Smith in the key of Eb Major arranged for voice and piano.
What Do I Care? composed by Sigmund Romberg with words by Harry B. Smith in the key of Eb Major arranged for voice and piano.
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Forget All Your Books composed by Burton Lane with words by Howard Dietz and Samuel M. Lerner from the musical Three's A Crowd in the key of F Major arranged for voice and piano.
Forget All Your Books composed by Burton Lane with words by Howard Dietz and Samuel M. Lerner from the musical Three's A Crowd in the key of F Major arranged for voice and piano.
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Lift Up Your Hearts composed by Reginald Morgan with words by Harold Simpson as broadcast and recorded by The Luton Girls' Choir & Gladys Ripley in the key of Eb Major arranged for voice and piano.
Lift Up Your Hearts composed by Reginald Morgan with words by Harold Simpson as broadcast and recorded by The Luton Girls' Choir & Gladys Ripley in the key of Eb Major arranged for voice and piano.
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The Ninepenny Fidil based on an Old Irish Melody arranged by Herbert Hughes with words by Seosamh MacCathmhaoil in the key of G Major arranged for voice and piano.
The Ninepenny Fidil based on an Old Irish Melody arranged by Herbert Hughes with words by Seosamh MacCathmhaoil in the key of G Major arranged for voice and piano.
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As Far As I'm Concerned composed by Seymour Morris from the musical It's The Valet in the key of D Major arranged for voice and piano.
As Far As I'm Concerned composed by Seymour Morris from the musical It's The Valet in the key of D Major arranged for voice and piano.
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Moonlight Kisses composed by Con Conrad with words by Irving Caesar and John Murray Anderson in the key of Eb Major arranged for voice and piano.
Moonlight Kisses composed by Con Conrad with words by Irving Caesar and John Murray Anderson in the key of Eb 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.