Noten für Gesang: Finden Sie Ihre Stimme
Being Different, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
Being Different, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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Another Time, Another Place, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
Another Time, Another Place, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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And You Don't Even Know It, from Everybody's Talking About Jamie. Arranged for piano and voice with guitar chords in digital sheet music format.
And You Don't Even Know It, from Everybody's Talking About Jamie. Arranged for piano and voice with guitar chords in digital sheet music format.
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In Our Hands, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
In Our Hands, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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Making A Home, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
Making A Home, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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Maybe, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
Maybe, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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We Are The Children Of Europe, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
We Are The Children Of Europe, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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We Will Smile, We Will Sing, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
We Will Smile, We Will Sing, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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Whatever I Do, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
Whatever I Do, composed by Lin Marsh, taken from 'Songscape Assembly' arranged for voice and piano.
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Somebody Stole My Gal, written by Leo Wood, arranged for voice and piano.
Somebody Stole My Gal, written by Leo Wood, arranged for voice and piano.
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The Pretty Miss Brown, composed by Richard Addinsell with words by Arthur MacRae, from Living For Pleasure in the key of F Major arranged for voice and piano.
The Pretty Miss Brown, composed by Richard Addinsell with words by Arthur MacRae, from Living For Pleasure in the key of F Major arranged for voice and piano.
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Under A Blanket Of Blue, written by Jerry Levinson with words by Marty Symes and Al J Neiburg, arranged for voice and piano.
Under A Blanket Of Blue, written by Jerry Levinson with words by Marty Symes and Al J Neiburg, arranged for voice and piano.
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Give Me A Carriage With Eight White Horses, written by Fred Elton and Berl Rotfeld, as recorded by Dickie Valentine, arranged for voice and piano.
Give Me A Carriage With Eight White Horses, written by Fred Elton and Berl Rotfeld, as recorded by Dickie Valentine, arranged for voice and piano.
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Glen Echo (Will Ye No Come Home?), written by Harry Parr-Davies: with words by Michael Carr, arranged for voice and piano.
Glen Echo (Will Ye No Come Home?), written by Harry Parr-Davies: with words by Michael Carr, arranged for voice and piano.
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Miss Furr and Miss Skeene (from 'Loving Repeating'), written by Stephen Flaherty with words by Gertrude Stein, arranged for voice and piano.
Miss Furr and Miss Skeene (from 'Loving Repeating'), written by Stephen Flaherty with words by Gertrude Stein, arranged for voice and piano.
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Miss Furr and Miss Skeene: Introduction (from 'Loving Repeating'), written by Stephen Flaherty with words by Gertrude Stein, arranged for voice and piano.
Miss Furr and Miss Skeene: Introduction (from 'Loving Repeating'), written by Stephen Flaherty with words by Gertrude Stein, arranged for voice and piano.
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Good Clean Fun, written by Sandy Wilson from 'The Buccaneer', arranged for voice and piano.
Good Clean Fun, written by Sandy Wilson from 'The Buccaneer', arranged for voice and piano.
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The Gorilla, written by Kenneth Alwyn, as featured by Ian Wallace, arranged for voice and piano.
The Gorilla, written by Kenneth Alwyn, as featured by Ian Wallace, arranged for voice and piano.
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Her Presentation Dance, written by Hero De Rance, arranged for voice and piano.
Her Presentation Dance, written by Hero De Rance, arranged for voice and piano.
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Home-Coming, written by Mirrie Hill with words by Hugh McCrae. Arranged for piano and voice with in digital sheet music format.
Home-Coming, written by Mirrie Hill with words by Hugh McCrae. Arranged for piano and voice with in digital sheet music format.
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Hush-A-Bye, Ma Baby (The Missouri Waltz), from an original melody procured by John Valentine Peel, arranged by Frederic Knight Logan with words by James Royce Shannon, arranged for voice and piano.
Hush-A-Bye, Ma Baby (The Missouri Waltz), from an original melody procured by John Valentine Peel, arranged by Frederic Knight Logan with words by James Royce Shannon, arranged for voice and piano.
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This is an arrangement in G minor for voice and piano of 'La virgen lava pañales' for voice and orchestra, a Traditional Spanish work arranged by Colin Matthews.
This is an arrangement in G minor for voice and piano of 'La virgen lava pañales' for voice and orchestra, a Traditional Spanish work arranged by Colin Matthews.
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Jenny's Piano Song from Love Story the musical, arranged for voice and piano and available as print-it-yourself digital sheet music.
Jenny's Piano Song from Love Story the musical, arranged for voice and piano and available as print-it-yourself digital sheet music.
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I Could Be Happy With You, written by Sandy Wilson from 'The Boyfriend', arranged for voice and piano.
I Could Be Happy With You, written by Sandy Wilson from 'The Boyfriend', arranged for voice and piano.
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I Had A Heart (When I Came In), written by Fred Jay, Irving Reid and Charles Albert, as performed by Betty Madigan, arranged for voice and piano.
I Had A Heart (When I Came In), written by Fred Jay, Irving Reid and Charles Albert, as performed by Betty Madigan, 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.