Bidārī, a Sanskrit term, refers to the act of dividing. According to classical texts, there are two types:

a) Gīta Bidārī - When a composition or poem is divided into metric units, it is known as Gīta Bidārī, where "Gīta" translates to composition and "Bidārī" means divided.

b) Pada Bidārī - This type involves a division into melodic phrases. Specifically, Pada Bidārī occurs when the final note is one of the following: Aṁśa Svara, the Vādī note, or its Saṁvādī, both the fourth and fifth of the Aṁśa Svara or Anuvādī, the major third or sixth, and also the Nyāsa Svara or final note. It is important to note that the Nyāsa Svara, in some cases, is one of the notes mentioned above.

When a division is made, the final note is termed Apanyāsa Svara. Notably, the Apanyāsa Svara may coincide with the Aṁśa Svara or its Saṁvādī, or its Anuvādī. Similarly, the Nyāsa Svara can also be found as Aṁśa, Saṁvādī, or Anuvādī Svara.

Any note, excluding the Vivādī or dissonant of the Aṁśa Svara, can conclude a division, becoming a Sanyāsa Svara in that particular case.

When a phrase is further divided into minor fractions, the final note, if not the Vivādī compared to the Aṁśa Svara, is called Vinyāsa Svara. For example, in the phrasing of the Rāga Yaman, where the Aṁśa Svara or Vādī Svara is Ga, and the final note or Nyāsa Svara is Sa, the following cases arise:

a) Pada Bidārī with the use of Aṁśa Svara ṆRG

b) Pada Bidārī with the use of the Saṁvādī of Aṁśa Svara mDN

c) Pada Bidārī with the use of the Anuvādī of Aṁśa Svara mGP

d) Pada Bidārī with the use of the Nyāsa Svara of Yaman ṆRS

In these cases, the Aṁśa Svara becomes Apanyāsa Svara in the first case, the Saṁvādī of Aṁśa Svara becomes Apanyāsa Svara in the second case, the Anuvādī in the third, and the Nyāsa Svara in the fourth becomes Apanyāsa.

The example for Sanyāsa Svara will be explained later. A note, if not the Vivādī or dissonant of the Aṁśa Svara, for example, Ga in Yaman, is defined as Sanyāsa Svara if it occurs as the final note. In the diatonic major scale, Dha is not Vivādī or dissonant with Ga, so Dha can be used as the final note. Therefore:

e) Pada Bidārī with the use of a note that is not Vivādī or dissonant of the Aṁśa Svara mND. It is worth noting that, in this case, both Ni and Dha are Saṁvādī Svara with respect to Ga (Vivādī in Yaman). However, since Ni is considered by most as the Saṁvādī Svara of Yaman, Dha is excluded from being considered Saṁvādī Svara of Yaman.

A note that is not Vivādī or dissonant of the Aṁśa Svara could serve as the final note of small divisions of a phrasing or Pada. This applies when considering phrases of at least six notes, as dividing a phrase into three notes would be impractical.

f) Subdivisions of Pada Bidārī using a note that is not Vivādī or dissonant of the Aṁśa Svara: For example, consider a phrasing like mNDmDP, which, divided into two phrasings, becomes mND and mDP. In this case, both Dha and Pa are Vinyāsa Svara.

In summary:

(A) Vocal or instrumental music concludes on a Nyāsa Svara.

(B) Pada Bidārī concludes with an Apanyāsa Svara.

(C) A note that is not Vivādī or dissonant of the Aṁśa Svara, and not itself Apanyāsa Svara, can be a concluding note termed Sanyāsa Svara.

(D) The Vinyāsa Svara concludes a subdivision of a phrasing or Pada.