This study aims to analyze types and features of ‘Vibrating Tone’ appearing in Seodosori using a sound and audio analysis program called Praat. Prior to this study, I analyzed the Vibrating Tone used in Susimga, and for this paper, I studied the Vibrating Tone used for other folk songs, Jwachang and Songseo in addition to Susimga. As musical pieces analyzed in this study, folk songs included popular folk songs and local folk songs. I also analyzed Jwachang titled Baettaragi and Songseo titled Chupunggambyeolgok. While looking into types and characteristics of the Vibrating Tone in various songs belonging to the Seodosori category, I tried to find differences from Susimga. For this study, I used Praat, a voice analysis program, to analyze patterns of the Vibrating Tone. Based on the data analyzed, I summarized the patterns of operation of the Vibrating Tone by faction used in folk songs, Jwachang and Songseo as follows. Various patterns of Vibrating Tone types are used for folk songs compared with Jwachang and Songseo. In the case of Songseo that is sung like a recitation, in particular, the Vibrating Tone isn’t used relatively frequently. Vibration isn’t used for notes with long siga from the beginning but used from the middle. In the case of the Vibrating Tone used for ‘A’ note (G note occasionally), in which long siga appears successively, the same patterns are not used repeatedly and changed patterns are used instead. I did not analyze the categories of Sichang and Seodosori in detail in this study, but the Vibrating Tone seems to be used limitedly for songs belonging to Sichang among Seodosori and restrained types are used. Considering this, the Vibrating Tone appears in folk songs the most among Seodosori. In summary, more diverse forms are used for slower songs and the most diverse forms of Vibrating Tone are used for Susimga. The purpose of this paper was to analyze the types and characteristics of trembling sounds in Seodo-sori using the voice and sound analysis program Praat. In this paper, he covered other folk songs, sit-downs and songwriters. The folk songs were analyzed in this collection, including popular folk songs and local folk songs, while the song is composed of boat-following and songseo-ro. Looking at the shape and characteristics of trembling voices in these various musical pieces in the Seodo Sound category, we also tried to compare how they differed from Susim-ga. This paper used a speech analysis program, Praat, to analyze the shape of the trembling neck. Based on the analyzed data, the operation patterns of trembling trees used in folk songs, sit-downs, and songbooks are summarized as follows : Vibrating neck is used in folk songs, while the sedentary window and songseo are not used in ibrating neck compared to folk songs, especially in the case of Songseo, which is called a recital, a relatively less trembling voice is used. In addition, a long poem note is not used from the beginning, a middle note is used, and a long poem is used for continuous A notes (sometimes G notes) is not used repeatedly, but a changed form is used.