Noten für Gesang: Finden Sie Ihre Stimme
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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She Walks In Beauty, written by Alexander L'Estrange with words by Lord Byron and arranged for piano and high voice in digital sheet music format and taken from The Best Of Singing Grades 4-5 (High Vo...
She Walks In Beauty, written by Alexander L'Estrange with words by Lord Byron and arranged for piano and high voice in digital sheet music format and taken from The Best Of Singing Grades 4-5 (High Vo...
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Après un rêve Op.7, No.1, composed by Gabriel Fauré with traditional Tuscan words. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
Après un rêve Op.7, No.1, composed by Gabriel Fauré with traditional Tuscan words. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
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Arpège Op.76, No.2, composed by Gabriel Fauré with words by Albert Samain. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with pia...
Arpège Op.76, No.2, composed by Gabriel Fauré with words by Albert Samain. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with pia...
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Clair de lune (Op.46 No.2), composed by Gabriel Fauré with words by Paul Verlaine. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
Clair de lune (Op.46 No.2), composed by Gabriel Fauré with words by Paul Verlaine. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
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Danseuse Op.113, No.4, composed by Gabriel Fauré with words by Renée de Brimont. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice wi...
Danseuse Op.113, No.4, composed by Gabriel Fauré with words by Renée de Brimont. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice wi...
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Diane, Séléné Op.118, No.3, composed by Gabriel Fauré with words by Jean de La Ville de Mirmont. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick f...
Diane, Séléné Op.118, No.3, composed by Gabriel Fauré with words by Jean de La Ville de Mirmont. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick f...
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Exaucement Op.106, No.1, composed by Gabriel Fauré with words by Charles Van Lerberghe. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high v...
Exaucement Op.106, No.1, composed by Gabriel Fauré with words by Charles Van Lerberghe. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high v...
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La Lune Blanche Op.61, No.3, composed by Gabriel Fauré with words by Paul Verlaine. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
La Lune Blanche Op.61, No.3, composed by Gabriel Fauré with words by Paul Verlaine. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
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Le Secret Op.23, No.3, composed by Gabriel Fauré wkith words by Armand Silvestre. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice w...
Le Secret Op.23, No.3, composed by Gabriel Fauré wkith words by Armand Silvestre. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice w...
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Les Berceaux Op.23, No.1, composed by Gabriel Fauré with words by Sully Prodhomme. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
Les Berceaux Op.23, No.1, composed by Gabriel Fauré with words by Sully Prodhomme. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice...
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Les Roses d’Ispahan Op.39, No.4, composed by Gabriel Fauré with words by Leconte De Lisle. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for hig...
Les Roses d’Ispahan Op.39, No.4, composed by Gabriel Fauré with words by Leconte De Lisle. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for hig...
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Lydia Op.4, No.2, composed by Gabriel Fauré with words by Leconte De Lisle. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with pi...
Lydia Op.4, No.2, composed by Gabriel Fauré with words by Leconte De Lisle. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with pi...
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Mai Op.1, No.2, composed by Gabriel Fauré with words by Victor Hugo. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with piano acc...
Mai Op.1, No.2, composed by Gabriel Fauré with words by Victor Hugo. Taken from the Gabriel Fauré Centenary Songbook arranged and edited by Roy Howat and Emily Kilpatrick for high voice with piano acc...
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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.