Book by Pt Shankar Ghosh Andha – the world of tabla. | Photo credit: Special Arrangements

Andha – the world of tabla An English translation of the original Bengali two-volume book titled Birutjatyu Sahitya Samilani, published by Calcutta. The Third Er Sutra. Interesting and informative, this is a must for tabla students.

The word ‘anadha’ refers to the skin over the hollow object that helps produce sound. So, it refers to any drum and not just tabla.

Pt Shankar Ghosh | Photo credit: The Hindu Archives

Tabla Pt. Shankar Ghosh (1935-2016) was also known for his impeccable communication skills. He trained under masters from three important tabla families, Farrukhabad (Pandt Gyan Prakash Ghosh), Punjab (Ustad Feroze Khan) and Lucknow (Pandt Sudarshan Adhikari). Bose is Arup. Chatterjee, and Parmal Chakraborty.

blind Not only traces the history of the tabla, and its practitioners, but also gives practical lessons on how to play, how to practice lyakari, drumming techniques, and composition of various genres.

Books are a fascinating treasure trove of knowledge – differences in tabla language terminology, why some families call the rhythm composition ‘Rila’ while others call it ‘Qaidas’. The forward sums it all up: “The information I have given in this book on three taals and jhap taals is enough for students to play an hour long lahra,” wrote Pt. Shankar Ghosh.

Pt Shankar Ghosh with his two disciples Son Bikram Ghosh and Tanme Basu Photo credit: Parth Sanyal

The chapter on ‘Sangat’ (meaning companionship) is a must read for tabla musicians. It explains how to play for artists from different styles. The author lists three types of accompaniment – accompaniment, gun accompaniment and question-and-answer.

There is a whole chapter for the ten aspects or old of the rhythm as described by Narada in his. Sangeet Makrand (circa 12th century AD). The author explains that the Carnatic system of Tala is based on one of the 10 aspects called ‘angas’, and there are six types of ‘angas’. The chapter concludes with the author writing, “These 10 ‘puranas’ of rhythm are almost extinct now. However, I believe that a proper study of these principles will add a new dimension to our music.” .

Volume I also includes an article by Pt. Guru Gyan Prakash Ghosh of Pt. Shankar Ghosh, who makes an important point that the tabla is primarily an instrument for vocal recitation, which, when it entered the field of acoustic music as an auxiliary instrument, evolved into an attractive art form of percussion music. He also emphasizes the need to standardize and regulate the art form.

Volume 2 delves into the subject by tracing the origins of percussion instruments through written records from the second century onwards. It covers the study of Lia, Taal, Pakhwaj gharana, and tabla playing style. Interestingly, the family tree of translators from Delhi, Lucknow, Farrukhabad and Benares families also find a place in the books.

blind Provides a valuable insight into the world of percussion and the philosophy that guides it. The book will help experts and young enthusiasts experience the joy of engaging with rhythm.