Sarvangin Tabla

sarvangin tabla
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Imparting full justice to the title of his book, namely, “Complete Tablā,” Amod has covered almost all the topics appropriately, in his book. In particular, he has dealt with ‘the creation of the Visham (odd) Tāls, ‘doing the Padhant (recitation), along with the claps of the hand’, ‘How to do the Ideal Riyāz,’ etc. with full confidence. All these subjects, when personally spoken about, and explained, by him, are a lot more attractive than, when read or studied, in the book. Āmod has challenged the critics of the tablā, by presenting his own purely logical thinking.

We find various types of qualities in the students of tablā. To illustrate, these include the creative powers as regards compositions, the skill in playing, the analytical bent of mind as regards the theory, an affinity to teach a particular thing beautifully (teaching), the research leanings as regards the making of the instrument, etc. These qualities go into the making of an excellent tablā-player, Guru, theorist, or maker. In this book, a lot of these facets have been covered.

Āmod has integrated and systematically presented the thoughts embedded in the Sanskrit work, pertaining to the theory of the Tāl, in his own book.

A book on Tablā comprises two dimensions and has a happy balance of the two dimensions, the first dimension being the theory of the Tāl, and the second dimension being the ‘art of tablā playing.’ The student must understand the theory. Amod has accomplished this dual task most effectively. In fact, all books written by Amod have been written beautifully, and in a lucid style. Students and readers have deeply appreciated these books.

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