by Claudio Fischer and Claus Hessler was published a book comparing and contrasting Konnakol to rudiments. Konnakol should not be confused with the practice in Hindustani music (the classical music of northern India) of speaking tabla "bols", which indicate the finger placement to be used by a percussionist. By contrast, konnakol syllables are aimed at optimising vocal performance, and vastly outnumber any commonly used finger placements on mridangam or any other hand percussion instrument. Further, all the differences between Carnatic and north Indian rhythms apply equally to konnakol and tabla bols. The artist improvises within a structure that interrelates with the raga being played and within the talam preferred in the compositions. In mridangam, kanjira, or ghatam, the percussion is limited to physical characteristics of their structure and construction: the resonance of skin over jackfruit wood, clay shells, or clay pots. The human voice has a direct and dramatic way of expressing the percussive aspects in music directly. Trichy Shri R Thayumanavar gave a rebirth to konnakol. His disciple Andankoil AVS Sundararajan, a vocal and miruthangam Vidwan, is a konnakol expert, as is Mridangam Vidwan Shri T S Nandakumar. Solkattu Konnakol uses rhythmic solfege for different subdivisions of the beat called "Solkattu." Common ones are: 2 subdivisions (Chatusra 1/2 Speed): Tha Ka 3 subdivisions (Tisra): Tha Ki Ta 4 subdivisions (Chatusra): Tha Ka Dhi Mi 5 subdivisions (Khanda): Tha Dhi Gi Na Thom 6 subdivisions (Tisra Double Speed): Tha Ka Dhi Mi Tha Ka 7 subdivisions (Misra): Tha Ka Di Mi Tha Ki Ta 8 subdivisions (Chatusra Double Speed): Tha Ka Dhi Mi Tha Ka Jho Nu 9 subdivisions (Sankirna): Tha Ka Dhi Mi Ta Dhi Gi Na Thom 10 subdivisions (Khanda Double Speed): Tha Ka Tha Ki Ta Tha Dhi Gi Na Thom, or Tha Ki Ta Dhim†2 Tha Dhi Gi Na Thom †'2' suffix signifies solfege syllable is held twice as long. See also Kuchi shōga Bol Counting (music) References Carnatic music