295. Paṭa Tore Kavana Deho Toraa
Raag: Yaman
Taal: Teentaal
Tempo: Vilambit
Devanagari:
पट तोरे कवन देहो तोरा
तू सूर ज्ञान महमदसा ए चतुर बालमुवा ॥
एक तो हरी जी का भइलवा
सदारंग रीझे आनमुवा ॥
Romanized:
Paṭa tore kavan deho torā
tū sūr gyān mahmadsa e catur bālamuvā ॥
Ek to harī jī kā bhailvā
sadarang rījhe ānamuvā ॥
Composer / Gharana:
This is a Sadarang composition (attributed), commonly sung in Yaman / Yaman Kalyan.
Associated strongly with the Jaipur–Atrauli lineage due to Mallikarjun Mansur’s iconic rendering.
Bandish Insights:
A serious, weighty vilambit bandish—excellent for deep vistaar and bada khayal development.
The text and phrasing offer natural pauses for meend, andolan, and exploration of both Shuddha Ni and Teevra Ma characteristic of Yaman/Yaman Kalyan.
Key specialty:
- Mallikarjun Mansur’s interpretation seamlessly blends Shuddha Ma into the melodic line, giving a unique Jaipur-style Yaman Kalyan texture.
- The antara (“Ek to Hari ji ka bhailwa…”) opens beautifully into upper register exploration.
Anecdote:
This bandish is strongly identified with Pandit Mallikarjun Mansur.
His style:
• Begins in dignified vilambit
• Gradually builds pace
• Transitions into a semi-drut feel without changing the bandish
Venkatesh Kumar’s approach is different—he maintains the vilambit structure with smoother, more linear progression.
Links to Listen (Available on YouTube):
Singer: Mallikarjun Mansur
Notes: A landmark Jaipur–Atrauli interpretation.
Mansur ji’s signature: he weaves Shuddha Ma naturally into the raga, giving a glowing Yaman Kalyan feel.
Singer: Pandit Venkatesh Kumar | Posted by: Sugnan Dani – Indian Music | Notes: Venkatesh ji’s treatment differs from Mansur ji’s; he retains the vilambit structure and does not convert the bandish towards drut pacing.