[This means -] when niṣāda takes up the two śrutis of pañcama⁵⁸ that is comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take up two śrutis? It is being answered. It is said to be comprised of four śrutis on the analogy of its former position. Just as in bhinnakaiśika rāga, the pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking recourse to its form comprised of four śrutis, similarly it will happen here also and hence there is no fault. And its description is thus - . . . . . . . . . . . . . . . . . . . . Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of rsabha¹⁰. This means-bhinnatāna is related to madhyamagrāma on account of being born of madhyamā and pañcamī jātis³. Pañcama is the graha and amśa, madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. Niṣāda is kākalī here⁵ and this (rāga) is complete. It is used in mature karuņa (rasa).60 The mūrchanā beginning with pañcama obtains⁶. Sañcārin is the varņa, prasannādi is the alarikāra⁷. The kalā is formed in the dakṣiṇa (mārga), the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math> prevails in the <math>citra</math> (<math>m\bar{a}rga</math>). A tāla like caccatpuţa obtains in the songs comprised of svara and pada. The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa¹. That is thus - "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma⁴." Thus bhinnas have been explained, now listen to the gaudas.