边弹边哼唱是古尔德的标志，他声称这种哼唱是下意识的，源于他幼年接受母亲的音乐教育时养成的习惯。录音师总要费尽心机把他的哼唱去掉。但我总是会被那种精神所感动，毫不掩饰的，率真的，投入的，让人心生敬畏哼唱。现在听他的演奏录音总是刻意地寻找他的背景哼唱，他的嗓音很迷人。
下面这段视频可以算是他最自然的边弹边唱了。虽然不敢苟同古尔德先前对莫扎特的评论，但这段演奏实在是美，更喜欢听他的哼唱，听得过瘾。
这两段比较短，可以用320K采样减少失真。仔细听可以很清晰地听见他的背景哼唱。
哥德堡变奏主题曲，1981年的录音。
这一段特别美，极富歌唱性。哥德堡变奏曲第七变奏，1981年的录音。
下面这首古尔德自创的歌剧式的赋格曲可以清晰地反映出他对歌唱的喜爱。他的这首赋格曲实在是非常可爱。
赋格是一种很严肃的体裁，但他编排的这首赋格曲，从歌名和歌词，到曲子中的活泼和风趣，都让人觉得非常地幽默搞怪，忍俊不禁的同时又感觉曲子十分的优美，节奏十分动感。我感叹古尔德真的是个天才。
歌词：
So You Want to Write a Fugue ？
So you want to write a fugue.
You got the urge to write a fugue.
You got the nerve to write a fugue.
So go ahead, so go ahead and write a fugue.
Go ahead and write a fugue that we can sing.
Pay no heed, Pay no mind.
Pay no heed to what we tell you,
Pay no mind to what we tell you.
Cast away all that you were told
And the theory that you read.
As we said come and write one,
Oh do come and write one,
Write a fugue that we can sing.
Now the only way to write one
Is to plunge right in and write one.
Just forget the rules and write one,
Just ignore the rules and try.
And the fun of it will get you.
And the joy of it will fetch you.
Its a pleasure that is bound to satisfy.
When you decide that John Sebastian must have been a very personable guy.
Never be clever
for the sake of being clever,
for the sake of showing off.
For a canon in inversion is a dangerous diversion,
And a bit of augmentation is a serious temptation,
While a stretto diminution is an obvious allusion.
For to try to write a fugue that we can sing.
And when you finish writing it
I think you will find a great joy in it.
or so...
Nothing ventured, nothing gained they say
But still it is rather hard to start.
Well let us try right now.
Now we are going to write a fugue.
We are going to write a good one.
We are going to write a fugue ... right now.