Korean-German composer Isang Yun received international recognition as one of the successful and leading twentieth-century composers. Despite Yun’s lasting fame, some of his works remain lesser known such as all three of his violin concerti. Yun’s main compositional techniques in his violin concerti are abundant ornamentations and articulations that imitate the sound of Korean folk instruments but played on the violin. Without acknowledging Korean folk music performance practices and folk instruments, a violinist cannot accurately deliver what Yun’s music expressed. The fact that Yun’s Violin Concerto No. 3 imitates Korean string instruments, haegeum or komungo, it must be explained how Korean ornamentations are played and can be incorporated on the violin. The purpose of this paper is to provide these answers as well as technical suggestions regarding abundant ornamentations, frequent dynamic and articulation changes, as well as fingerings and bowings. It is hoped that this study will help violin performers to understand Yun’s Concerto No. 3 and encourage more frequent performances of it.