Raga Vijay Bhairav – Historical Notes & Origin

• It’s widely believed to have been composed/structured in the mid-20th century by vocalists experimenting with pentatonic and hexatonic variants of Bhairav to suit lighter classical or semi-classical performance.

• The name “Vijay” (victory) suggests it may have been either dedicated to a patron or event — some attribute its use in All India Radio’s early morning signature concerts to musicians like Pt. Vinayakrao Patwardhan’s disciples and Pt. Bholanath Bhatt, though no fixed authorship is documented.

• Structurally, it omits Re and uses shuddha Ni instead of komal Ni (as in pure Bhairav), giving it a distinct morning freshness and accessibility for lighter compositions and bhajans.

• Its first documented references appear in early AIR bandish anthologies (circa 1950–1960) and in some Sangeet Visharad syllabi as a “Bhairav-ang upa-raga” (sub-raga).

Reference Sources

1. Ragas in Hindustani Music – B. Subba Rao (mentions Vijay Bhairav under “rare ragas” in Bhairav Thaat)

2. The Raga Guide – Bor, Delvoye, Harvey, Nijenhuis (lists as a modern derivative raga, notes the absence of Re as distinctive)

3. Archive recordings from All India Radio Morning Transmission, 1960s–70s (notably by Pt. Omkarnath Thakur’s disciples and some Gwalior gharana singers)

4. Hindustani Sangeet Paddhati – Pt. V. N. Bhatkhande (later editions’ appendices by editors mention it as a “prakriti” or evolved form from Bhairav)

Thaat (थाट): Bhairav

Aroha (आरोह): S g M P N S’

Avaroha (अवरोह): S’ N D P M g M g S

• The komal Ga (g) and shuddha Ni combination with Bhairav’s Ma–g oscillations is the key signature.

• Dha appears only in avaroha.

• No Re in the structure, giving it a special pentatonic-hexatonic texture.

Vadi (वादी): M (Madhyam)

Samvadi (संवादी): S (Shadja)

Time of Performance: Early morning (1st prahar, sunrise)

Rasa (भाव): Peaceful (Shanta), devotional (Bhakti), with a gentle majestic quality (Veer).

Pakad (पकड़): g M P N S’ – S’ N D P – M g M g S

2. Aroha/Avaroha

Aroha: S g M P N S’

Avaroha: S’ N D P M g M g S

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3. Alaap Examples

(Each using meend and andolan where applicable)

1. S – g M – P – N S’

2. S’ N D P – M g – S

3. g M P – N S’ – N D P

4. M g M g S – g M P N S’

4. Taan Examples

1. S g M P – M g S

2. g M P N S’ – N P M g

3. S g M P N – S’ N D P M

4. M g S – g M P – N S’ N D

Vijay Bhairav – Performance Guide

Aroha (आरोह)

S (slide to) g M (glide) P N (straight) S’

Use a deep andolan (oscillation) on g and gentle meend from g→M.

Avaroha (अवरोह)

S’ (straight) N (touch andolan) D (plain) P (long) M (meend) g M g S

Komal g should always be touched from M with a small oscillation.

Pakad (पकड़)

g M P N S’ – S’ N D P – M g M g S

• Emphasize M as the vadi — let it resonate.

• Avoid direct jump S→N or N→S without P in between.

Full Alaap (आलाप)

Slow vistaar style (Vilambit):

1. S (meend) g (andolan) M – P – N S’ – S’ N D P – M g M – g S

2. S – g M – P N S’ – N D P – M g M g – S

3. g M (long sustain) P N – S’ – N D (slow) P – M g – S

4. Explore vakra: g M g S – g M P – N S’ N D P – M g S

Madhya laya (medium tempo):

• S g M P – N S’ – S’ N D P – M g S

• g M P – N S’ – N D P – M g M g S

• M P N S’ N D P M g – S

Taan Patterns (तान)

Chota khayal-style taans (all start on S or M to highlight vadi):

1. S g M P – N S’ N D – P M g S

2. g M P N – S’ N D P – M g M g – S

3. M P N S’ – N D P M – g M P – N S’

4. S g M P N – S’ N D P – M g S

Special Notes for Performance

• Ga (komal): Heavy oscillation (andolan) from Ma, never flat.

• Ni (shuddha): Can be touched from Pa with a quick upward slide.

• Avoid Re entirely — its presence changes the raga identity.

• Use vakra g M g in descent to reinforce Vijay Bhairav’s flavour.

• Suitable for vilambit khayal, chhota khayal, and bhajan styles.

S g M P N S’ | S’ N D P | M g M g S | – – – –

g M P N S’ | N D P M | g M g S | – – – –

S’ N D P M g | M P N S’ | S’ N D P | M g S –

g M P N S’ | N D P M | g M g S | – – – –