Even before 'typical unique HR melody' (which represented his distinctive trademark stamp) seriously kicked into Himesh - the pre ABA composer from 2002 onwards, he displayed some similar compositional traits / elements in his early days as a music director at / near his debut.

1. He used catchy theme pieces which were mainly guitar riffs pattern loop at start of songs and also intermittently through out.

> The catchy guitar riffs from start to 0.04 in JANE NA KOI YE RAAZ from ANDAAZ (1995).

> The catchy guitar riffs from 0.16 to 0.32 in AMAR PREM TITLE TRAX.

> The tune piece from 0.27 to 0.43 in JAANAM TERE LIYE from KURUKSHETRA (2000).

> The catchy guitar riffs from 0.57 to 1.05 in SANAM MERE HUMRAAZ from HUMRAAZ (2002).

2. He used drum hit patterns in underlying beats that gave HALKE SE RHYTHMIC KICK in context of overall associated lines.

> The profound drum hit pattern after each second interval i.e. from 0.22 to 0.23, 0.25 to 0.26, 0.27 to 0.28 and so on that gives halke se rhythmic kick in JANE NA KOI YE RAAZ from ANDAAZ (1995).

> The beat pattern from 0.18 to 0.33 that gives halke se rhythmic kick in AMAR PREM TITLE TRAX.

> The beat pattern from 1.24 onwards that gives halke se rhythmic kick in BALLE BALLE from BANDHAN (1998).

> The beat pattern from 0.43 onwards that gives halke se rhythmic kick in JAANAM TERE LIYE from KURUKSHETRA (2000).

> The beat pattern from 1.03 onwards that gives halke se rhythmic kick in YEH JODI HAI NUMBER ONE from JODI NO 1 (2001).

> The beat pattern from 0.39 onwards that gives halke se rhythmic kick in SANAM MERE HUMRAAZ from HUMRAAZ (2002).

3. He used an OFF-DA-HOOK DRUM HITS with a THUMP effect that HIT IT OLD STYLE to give intermittent effects.

> Off-da-hook thump effect from 0.19 to 0.21 in JANE NA KOI YE RAAZ from ANDAAZ (1995).

> Off-da-hook thump effect from 0.32 to 0.33 & 1.18 to 1.19 in AMAR PREM TITLE TRAX.

> Off-da-hook thump effect from 0.34 to 0.35 & 1.11 to 1.12 in JAANAM TERE LIYE from KURUKSHETRA (2000).

> Off-da-hook thump effect from 0.14 to 0.16, 1.26 to 1.27 & 1.51 to 1.53  in YEH JODI HAI NUMBER ONE from JODI NO 1 (2001).

> Off-da-hook thump effect from 1.04 to 1.05, 1.41 to 1.42 & 2.06 to 2.07 in SANAM MERE HUMRAAZ from HUMRAAZ (2002).

4. Prolonging specific lyric lines that ended up dragging the actual word on a particular note to give prolonged melody impact.

> Sanu's lines, JAANEEEEEE (prolonged voice shake) from 0.22 to 0.25 & 0.45 to 0.48, RAAAAAAAAZ (prolonged voice shake) from 0.28 to 0.30 & 0.51 to 0.53, ANDAAAAAAZ (prolonged voice shake) from 0.34 to 0.36, 0.40 to 0.42 & 0.57 to 0.59 in JANE NA KOI YE RAAZ from ANDAAZ (1995).

> Sanu's lines, AAJA-AAAAAAAAA (TERRIFIC prolonged that gets listeners into da groove, highest note) from 0.52 to 0.56, JUDA-AAAAAAAAA (awesome prolonged, lower note) from 0.58 to 1.02, & SADA-AAAAAAAA (awesome prolonged, lowest note) from 1.05 to 1.08 in AMAR PREM TITLE TRAX.

> Sanu's lines AMAR PREM MERA (prolonged) * 2 from 1.17 to 1.27 in AMAR PREM TITLE TRAX which is similar to tune of Sanu's line SANAM MERE HUMRAAZ (prolonged) * 2 from 1.30 to 1.40 from HUMRAAZ.

Hence, all these above compositional traits can be evidenced in the following songs that have a commonality with each other to an extent in terms of music arrangement:

Jaane Na Koi Ye Raaz - Andaaz (1995)

Amar Prem Title Trax - Amar Prem

Balle Balle - Bandhan (1998)

Jaanam Tere Liye - Kurukshetra (2000)

Yeh Jodi Hai Number 1 - Jodi No 1 (2001)

Sanam Mere Humraaz - Humraaz (2002)