Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its conclusion, to be devoid of pañcama and ṛṣabha¹¹ and having been born of ṣadjodicyavati (jāti). This means – bhinna – şadja is related to şadjagrāma on account of being born of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is pentatonic with the omission of ṛṣabha and pañcama. Niṣāda and gāndhāra are kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the entry of the hero in a situation where he is inclined towards the use of all implements or tools (upakaraṇa), has an aversion to fighting which does not match his disposition (vijātīya) and proceeds for hunting. Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata obtains¹². Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. ......This bhinna-pañcama is said to be svarabhinna.¹ Its description is thus- The knowledgeable ones in svara have spoken of bhinna-pañcama being similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its concluding note and is (applied) in the entry of the sūtradhāra¹³. This means-bhinna-pañcama is related to madhyamagrāma on account of being born of madhyamā and pañcamī jātis⁶.⁹ Dhaivata is the graha and amśa, pañcama is the nyāsa, niṣāda is kākalī here. Sometimes niṣāda⁴⁹ is also used and this (rāga) is complete. It is applied in the entry of the sūtradhāra.⁷ Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada.