The concept of rhythm in the contexts of Indian music and human life are not different. Rhythm is the source of happiness both in life and music. As every relationship in a human life is unique, in Indian music also, every expression is unique, and depending upon the content and intent of the words (or poetry), demands a different melody (or sur) and different rhythm (or chandaḥ). Traditionally, in literature and music, rhythm has been defined on the basis of the meters (mātrā) of the poetry or the distribution of the musical beats over time. Whereas in Western cultures, the concept of tempo (or speed) and rhythm are linear, Indian philosophy emphasizes the cyclicity of the events in time. The three unique concepts of Indian music—laya (the time between two consecutive beats), chandaḥ (the infinite number of possible movements or pathways within the laya), and tāla (the cyclic rhythmic pattern) must be assimilated by anyone who wishes to understand the source of true happiness which can be experienced while singing, dancing, playing, or listening to music. Starting with a few glimpses of different Sanskrit chandaḥs, this chapter will attempt to explore the creation of rhythm taking examples from various genres of Indian music, namely, Carnatic and Hindustani classical music, Kirtan, film music and folk music. It will also examine how these creations are always guided by our everyday life, lived experiences, and their expressions.