The National Poet, song writer (and composer) Kazi Nazrul Islam also introduced some new chhandas on which new taals can be made. The new chhanda, rhythm, is to be sufficient to become a Taal when it is presented with some appropriate sounds, the Tabla notes. Unfortunately, the Taals were not really constructed and used in musical compositions. Nazrul created around four and half thousand songs, called by Nazrul Sangeet, and he himself used his own chhandas in a very few songs. Probably he was just doing some experiments with rhythms and Taals.
Here we are having one Taal and one chhanda as two Taals for Tabla from a huge variety of chhandas developed by Kazi Nazrul Islam.
Nobonandan (20 beats)
It is of twenty beats with five Pads of equal lengths. So, it is a somopadi Taal. Nobonandan has all five Taalis, at the first, fifth, nineth, thirteenth and seventeenth beats. It has no Khali. This Taal is used mostly in Nazrul’s songs. But it can be used in serious classical compositions like Kheyal, and also in Thumri or light classical compositions.
Theka of Nobonandan:
Swagota Chhanda/Tothagoto (16 beats)
This is, actually, a rhythm taken from huge list of rhythms developed by Nazrul namely priya, motdarik, motakar, monimala etc. But Nazrul did not make any Taal for Tabla on this. Here we have a construction to represent this rhythm on Tabla as a Taal, which was named as Tothagoto.
It is of sixteen beats with five Pads of different lengths. So, it is a bisomopadi Taal. It has all five Taalis, at the first, fourth, ninth, thirteenth and fifteenth beats – no Khali. This Taal (chhanda) is also used only in Nazrul’s songs. But it can be used in serious classical compositions or even in modern songs.
Theka of Tothagoto chhanda:
|tere||koTa |||godi||ghene ‡||Dha|
* These two Thekas of Nazrul’s Taals are constructed by the great musical personality of Bangladesh Shree Jagadänanda Barua.