The Chanda talas are intended to form a framework to provide rhythmic percussion and melodic support for lyrical slokas/ mantras/compositions/poems/songs structured in the format of couplets/triplets/quadruplets/ quintuplets/ septuplets, etc.

The standard musical metrical structures (talas) deployed in Indian music are developed based on small units of whole/ fractional beats of ½ / 1/ 1 ½ / 2/ 2 ½ / 3 / 3 ½ / 4/ 4 ½ beats and higher beats with micro-counts/ pulse rates of the preferred numbers- 2/3/5/7/9 syllables/beat (aksharas/matra).

The structure of Chanda talas in terms of the numerical values of the individual unit elements are unevenly sized (vakra aakaara) in complex assortment. They do not follow any logic of mathematical progression. This makes it difficult for percussionists to memorize these structures. The rendering can therefore be based only on prior study of the structures and impromptu execution. The lead/presiding musicians are supposed to communicate the structure to the accompanists, especially the percussionists.

In the rendering of Chanda talas, the total number of beats is unimportant, but the adherence to the structure is important. The percussionists are supposed to follow the presiding musician through matching the rhythm support to the rendered music through orally synchronizing/keeping in step.

The first Chapter of this book introduces the subject of Chanda talas (prosody based musical meters), and the second Chapter gives an overview of characteristic features of talas (musical meters). The third Chapter gives the integration of talas to Kannada prosodic meters.

The fourth and fifth Chapters describe the structures of Chanda Talas of the great Tamil classic Tiruppugazh-a 14th century CE composed by Saint Aurnagirinathar. These are songs on Lord Murugan (Karthikeyan/Subramanian/ Arumugam/Kumaran). As of today, nearly 60 % of the 1300-1400 songs of Tiruppugazh are already set to one of the standard modern talas. But the remaining 40 % are in metrical sizes which do not confirm to any of the modern talas. In this book, these odd talas are structurally and numerically identified and the process of mapping percussion structures onto them is attempted.
The sixth Chapter describes the Karnatic mridangam thekas mapped onto Chanda Talas.

Musical meters based on independent syllabic structures identified through their mnemonics/ onomatopoeia like Ti/Ta, Tai as in the older variety of Tenkutittu Yakshagana talas and the Sri Lankan talas are described in the seventh and eighth Chapters. These mesh well with concussion musical instruments like Chakra tala (large cymbals), kai tala (small cymbals), and percussion instruments like Chende/ Gaata Beraya/ similar vertical and horizontal drums.

The nineth Chapter describes the prosodic elemental structures of the Persian/Arabic musical meters where the mnemonics/onomatopoeia like Ta, Tan, Tanan, Tananan are deployed. Marawis drum and medium sized cymbals are used for this ancient musical metering system.

These Chapters are followed by the references and glossary of vernacular terms associated with this book.