Introduction
A senior and favorite disciple of mine. Amod, asked me my permission, before beginning to write this book. I readily agreed with him. I gave him a few instructions. I asked him to write it in a very easy and lucid language, so that the Alankara students of Gandharva Mahavidyalaya, and M.A. students of various Universities, as well as those students appearing for the NET (National Eligibility Test) examination, benefit immensely from it. I asked him to write in such a manner that the theory of Tablä-playing, the Aesthetics of tablä-playing, the various Layakäris, the Mathematics of the Tal, all these topics are touched upon. Due to this, the students of tabla will wish to refer to it repeatedly, and maintain a copy in their library. Not only has Amod heeded all my instructions, he has challenged the critics of the tabla, by presenting his own purely logical thinking. Tabla is a supreme instrument of the Tål. The uneducated stalwarts have composed lakhs of compositions of the tabla. But what does a Gat imply? They are unable to define the forms such as the Gat-Tukda, the Chakradar, the Kayada, the Rella, the Rou, etc. Ustad Amir Hussain Khăn Säheb opposed this, Numerous texts were written on The DashPran of the Tal, on the Types of Laya (tempi) and their relevance to modem bandishes (compositions), on The Aesthetics of Tabla-playing, etc., as thinking progressed along the above lines. Imparting full justice to the title of his book, namely, "Complete Tabla," he has covered almost all the topics appropriately, in his book. In particular, he has dealt with 'the creation of the Visham (odd) Tåls, 'doing the Padhant (recitation), along with the claps of the hand', 'How to do the Ideal Riyaz, 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. We find various types of qualities in the students of tabla. 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 tablä-player, Guru, theorist, or maker. In this book, a lot of these facets have been covered. However, there should have been some thinking, as regards the possibilities of changes in the future, pertaining to the making of the instrument tabla. I am certain that the First Edition of "Sarvängeen (Complete) Tablä" will speedily sell, and Amod will definitely incorporate this thinking in his further editions.
About The Book
Amod is one of the highly acclaimed Tabla artists and a worthy representative of the younger generation of the famous Farrukhabad Gharana. Amod was first introduced to Tabla by his elder brother Late Pramod Dandage at the tender age of ten. Amod received "Taleem" from the renowned Gurus like Ust. Mammhulal Sangaonkar and Pandit Omkar Gulwadi. He is fortunate to receive seena-b-seena taleem from one of the most eminent and renowned Tabla Artist Pt. Arvind Mulgaonkar. His rigorous training and efforts, his faith in his art, are equally responsible for his success in his sphere. Because of his twenty years of experience as a teacher in his art, he is accepted as a 'Guru,' the respectable guide, by many of the experts in his faculty and in the various universities in India.. With vast experience as a Guru, his lectures, workshops are a regular feature in Lalit Kala Kendra, University of Pune and many such renowned institutes all over India As an Accompanist, Amod has accompanied with a number of Indian Classical singers viz. Pt. Venkatesh Kumar, Pt. Anandbua Limaye, Jayashri Patanekar, Pt. Vikas Kashalkar, Pt. Arun Kashalkar, Jaytirth Meundi and also Instrumentalist such as Ust. Usman Khan, Sudhir Phadke, Pt. Anand Murdeshwar, Pt. Nityanand Haldipur (Flute), Pt. Purshottam Walawalkar, Pt. Manohar Chimote,, Shri Vishwanath Kanhere Pradip Barot.
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