邊彈邊哼唱是古爾德的標誌，他聲稱這種哼唱是下意識的，源於他幼年接受母親的音樂教育時養成的習慣。錄音師總要費盡心機把他的哼唱去掉。但我總是會被那種精神所感動，毫不掩飾的，率真的，投入的，讓人心生敬畏哼唱。現在聽他的演奏錄音總是刻意地尋找他的背景哼唱，他的嗓音很迷人。
下麵這段視頻可以算是他最自然的邊彈邊唱了。雖然不敢苟同古爾德先前對莫紮特的評論，但這段演奏實在是美，更喜歡聽他的哼唱，聽得過癮。
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這兩段比較短，可以用320K采樣減少失真。仔細聽可以很清晰地聽見他的背景哼唱。
哥德堡變奏主題曲，1981年的錄音。
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這一段特別美，極富歌唱性。哥德堡變奏曲第七變奏，1981年的錄音。
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下麵這首古爾德自創的歌劇式的賦格曲可以清晰地反映出他對歌唱的喜愛。他的這首賦格曲實在是非常可愛。
賦格是一種很嚴肅的體裁，但他編排的這首賦格曲，從歌名和歌詞，到曲子中的活潑和風趣，都讓人覺得非常地幽默搞怪，忍俊不禁的同時又感覺曲子十分的優美，節奏十分動感。我感歎古爾德真的是個天才。
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歌詞：
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.
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