Pada Bidari denotes the division into melodic phrases, specifically when the concluding 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's important to note that Nyāsa Svara, in some instances, is one of the mentioned notes.

When such a division occurs, the concluding note is termed Apanyāsa Svara. It's noteworthy that the Apanyāsa Svara may align with the Aṁśa Svara or its Saṁvādī or Anuvādī. Similarly, the Nyāsa Svara can be found as Aṁśa, Saṁvādī, or Anuvādī Svara.

Any note, excluding the Vivādī or dissonant of the Aṁśa Svara, can serve as a concluding note, becoming a Sanyāsa Svara in that specific case.

Upon further division of the phrase into minor fractions, if the final note is not the Vivādī concerning the Aṁśa Svara, it is termed Vinyāsa Svara. For instance:

In the phrasing of Rāga Yaman, where the Aṁśa Svara or Vādī Svara is Ga and the final note or Nyāsa Svara is Sa, we have:

(a) Pada Bidārī using Aṁśa Svara ṆRG

(b) Pada Bidārī using the Saṁvādī of Aṁśa Svara mDN

(c) Pada Bidārī using the Anuvādī of Aṁśa Svara mGP

(d) Pada Bidārī using the Nyāsa Svara of Yaman ṆRS

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

Details on Sanyāsa Svara will be provided later. If a note, not the Vivādī or dissonant of the Aṁśa Svara, serves as the final note, for example, Ga in Yaman, it is termed Sanyāsa Svara. In the diatonic major scale, Dha is not Vivādī or dissonant with Ga, so Dha can be utilized as the final note. Hence:

(e) Pada Bidārī using a note that is not Vivādī or dissonant of the Aṁśa Svara mND. It's essential to note that in this specific case, both Ni and Dha serve as Saṁvādī Svara concerning Ga (Vivādī in Yaman), but since most consider Ni as the Saṁvādī Svara of Yaman, it is excluded that Dha is also regarded as Saṁvādī Svara of Yaman.

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

(f) Subdivisions of Pada Bidārī utilizing a note that is not Vivādī or dissonant of the Aṁśa Svara; for instance, consider a phrasing like mNDmDP, which, when divided into two phrases, becomes mND and mDP. In this case, both Dha and Pa function as Vinyāsa Svara.

In conclusion:

(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 or is not itself Apanyāsa Svara can serve as a concluding note, termed Sanyāsa Svara.

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

Refer to Bidārī for more details.