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In this article, I attempted to examine from the outside the vibrato employed in the northwest folksong ‘Sushimga.’ There are generally three main types of vibrato employed in northwestern folksong: moving above and below the main note, rising from below the main note, and coming from above the main note. The characteristic vibrato style in ‘Sushimga’ is that of the second type described above, rising from below the main note. If you take the series of notes in the line ‘Sug-im’, you can see (below) that from above the fundamental tone of the melody the notes then dip beneath this tone to create the vibrato: gb’ – eb’ –bb – ab A raise in the central melodic series by two degrees is demonstrated by the following: ab’ – f’ – c’ – bb Namely, you can see from the description above the typical melodic series in the ujo mode family. While the article delves closely into an examination of the vibrato techniques used specifically in ‘Sushimga,’ I also explores the difficulty of both describing and prescribing performance techniques using conventional notation methods. With the collaborative use of standard notation and computer graphs, I contends that the vibrato techniques employed in a performance of ‘Sushimga’ can best be described. Likewise, similar use of notation and graphs can communicate proper performance techniques to those learning the folksong via notation. Such an examination of the vibrato in ‘Sushimga’ can communicate the centrality of vibrato to the performance of this northwestern folksong.