Pt. Shankar Ghosh’s book Anaddha – The world of Tabla.
| Photo Credit: Special Arrangement
Anaddha – The World of Tabla published by Birutjatio Sahitya Sammilani, Kolkata, is an English translation of the original two-volume book in Bengali titled Tihai er Sutra. Interesting and informative, it is a must-have for students of tabla.
The word ‘anaddha’ refers to the skin over a hollow object that helps create sound. So, it refers to any drum and not just the tabla.
Pt. Shankar Ghosh
| Photo Credit:
The Hindu Archives
Tabla maestro Pt. Shankar Ghosh (1935-2016) was also known for his impeccable communications skills. He was trained under masters of three main tabla gharanas – Farrukhabad (Pt. Gyan Prakash Ghosh ), Punjab (Ustad Feroz Khan) and Lucknow (Pt. Sudharshan Adhikari.) Amongst his many students today are his son Bickram Ghosh, Tanmoy Bose, Arup Chatterji, and Parimal Chakravorty.
Anaddha not only traces the history of tabla, and its practitioners but also gives practical lessons on how to play, methods of practising layakari, drumming technique, and compositions of different gharanas.
The books are fascinating treasure troves of knowledge — the differences in terminology of the language of tabla, why some gharanas refer to rhythm compositions as ‘rela’ while others call them ‘quaidas’. The foreward sums it all up: “The information I have given in this book on Teen taal and Jhap taal is enough for students to play an hour-long lahara,” wrote Pt. Shankar Ghosh.
Pt. Shankar Ghosh with his two disciples son Bikram Ghosh and Tanmay Basu
| Photo Credit:
Parth Sanyal
The chapter on ‘sangat’ (it means giving company) is a must read for tabla accompanists. It explains how to play for artistes belonging to different styles. The author lists three types of sangat — saath sangat, gun sangat and sawaal jawab.
There is a full chapter dedicated to the ten aspects or prana of taal as enunciated by Narada in his Sangeet Makarand (approx. 12th century CE). The author explains that the Carnatic system of tala is based on one of these 10 aspects referred to as ‘anga’, and there are six kinds of ‘angas’. The chapter concludes with the author writing, “The practice of these 10 ‘pranas’ of taal has now almost fallen into disuse. However, I believe a proper study of these principles will add a new dimension to our music.”
Volume I also comprises an essay by Pt. Gyan Prakash Ghosh, the guru of Pt. Shankar Ghosh, who makes a significant point that the tabla is essentially a medium of vocal recitation, which on entering the field of vocal music as a supportive instrument transformed into an attractive art of percussion music. He also emphasises the need to standardise and regulate the art form.
Volume 2 delves deep into the subject by tracing the origins of percussion instruments through written records from 2nd century onwards. This leads to a study of laya, taal, pakhawaj gharanas, and tabla playing styles. Interestingly, the family tree of exponents of the Delhi, Lucknow Farrukhabad and Banaras gharanas also find space in the books.
Anaddha 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.
