Himesh has used mesmerizing prolonged bansuri pieces to convey TRADITIONAL INNOCENT OUTDOOR FEEL and to maintain that TRADITIONAL AUTHENTIC touch in those compositions. It was a trend that he used AT DA SAME SPOT i.e. IN BETWEEN 1ST STANZA GAP in these pre ABA songs.
Basically these PROLONGED BANSURI convey the innocence of love (pyaar ki masoomiyaat) in terms of the lover's desperation plea for his loved one:
> The BEST EVER Indian Flute / Bansuri TUNE piece is in between 1st stanza gap from 3.05 to 3.13 in OODHNI from TERE NAAM.
> In between 1st stanza gap from 2.53 to 3.02 in TERE NAAM TITLE TRAX.
> In between 1st stanza gap from 2.10 to 2.20 in O JAANE JIGAR from YEH HAI JALWA.
> In between 1st stanza gap from 1.56 to 2.21 in DIL MERA TODO NA from MAIN AISA HI HOON.
> In between 1st stanza gap from 2.24 to 2.34 ISHQ HAI ISHQ HAI from ANJAANE - THE UNKNOWN.
Other great use of Bansuri pieces:
> HISTORY innocent feel bansuri piece from 3.29 to 3.31 in OODHNI from TERE NAAM.
> The pleasant likeable bansuri piece from start to 0.48 and used intermittently throughout in MEETHI MEETHI BAATAN from AAP KI KHATIR.
> Emotional feel bansuri from 0.24 to 0.35 in DHOOM TERE ISHQ KI from KARZZZZ.
Himesh - the pre ABA composer used off-da-hook majestic GROOVY FLUTE pieces:
> From 3.56 to 4.07 & 4.41 to 4.43 in AHISTA AHISTA TITLE TRAX.
> From 1.48 to 1.50, 2.17 to 2.20, 2.27 to 2.28 & 4.04 to 4.05 in TERI GALIYON SE from MAIN AISA HI HOON.
Himesh also made exceptional use of ORIENTAL FLUTE mainly in serene ballads, mostly at start and intermittently in between stanza gaps:
> From 2.00 to 2.05 in TUM CHAIN HO from MILENGE MILENGE (ORIGINAL).
> From 0.20 to 0.40 in DEEWANAPAN DEEWAANGEE from MAIN AISA HI HOON.
> From start to 0.13 in IS TARAH DEEWANE from INSAN.
> From 0.04 to 0.12, 0.54 to 0.59, 2.30 to 2.33 & 3.50 to 3.55 in CHURA LIYA HAI TUMNE TITLE TRAX.
> From 1.00 to 1.20 & 4.29 to 4.39 in AAKHIYAAN LADA JAA from BLACKMAIL.
> From 0.52 to 1.11 & 1.34 to 1.36 in O SAJAN from TAARZAN - THE WONDER CAR.
> From start to 0.09 in DHADKAN HO GAYEE from JULIE.
> From start to 0.10 in MAINE CHUN LIYA from DIL MAANGE MORE.
> From 1.48 to 2.09 in AHISTA AHISTA from SILSILAY.
> From 0.01 to 0.30, 0.55 to 1.13 & 2.07 to 2.24 in TANHA TERE BAGAIR from AHISTA AHISTA.
> From 0.06 to 0.21 in APNE TOH APNE HOTE HAIN from APNE.
He has also used a same well structured gradually rising flute piece in two songs:
> From 2.59 to 3.19 in O JAANA LOVE U MISS U from ROCKY - THE REBEL.
> From 0.24 to 0.45 in KESARIYA from NANHE JAISELMER.
He has also used mesmerizing flute pieces that give a 'mysterious haunt feel' at start of two songs:
> From 0.09 to 0.25 in AFREEN TERA CHEHRA from RED - THE DARK SIDE.
> Mesmerizing desperation feel flute from 0.13 to 0.27 in MILE HO TUM TOH from DIL DIYA HAI which melts down the listener.
He has also used 'cute sounding flute' pieces:
> From 0.12 to 0.24 & 3.13 to 3.24 in ISHQ MEIN DIL KO from BANARAS.
> From 0.31 to 0.50 in THE HEART OF TAARZAN from TAARZAN - THE WONDER CAR.
> From start to 0.29 (with echo effect) in TANHA TERE BAGAIR from AHISTA AHISTA.
> From 3.56 to 4.07 (oriental flute) in AHISTA AHISTA TITLE TRAX.
> From 3.38 to 3.49 in BADI DILCHASPI HAI from 36 CHINA TOWN.
He has also used 'wicked oriental flute':
> From 3.28 to 3.36 in BADI DILCHASPI HAI from 36 CHINA TOWN.