Himesh reshammiya's sufi rwak singing has a typical high pitched nasal twang which he uses mostly.
But as fans know that himesh is a master of prolonged twists-n-turns and also sudden variations in pitch.
His high-pitched vocals are SHARP KNIFE EDGE vocals.
However, he has a killer weapon that is his ace trump card up his sleeve, none other his low bazz octave that he uses xclusively and selectively.
His low bazz octave is what I refer to as KILLER vocals and they have GREAT UNDERLYING DEPTH which is a stark contrast to his usual high pitch.
Whenever he sings with his lower octave vocals, he goes inner soul searching aur unki awaaz deep throated ho jaati hai aur bhar jaati hai, isiliye awaaz me ghehraayi aajati hai.
Ahista Ahista (Ahista Ahista)
The line parchaIAAAAAA(prolonged)AAAA(sudden abrupt down twist) from 0.25 to 0.27
The line TAN(emphasis)HAIYAAN(maximum LOWER OCTAVE) from 0.28 to 0.30
...JUST LISTEN TO THE DEPTH...and compare it with the HIGH-PITCHED stanzas of Junoon Junoon from Rocky - The Rebel (2006) to get an idea of the greatness and variation of RANGE in his PITCH.
Kola Laka Vellari (Welcome)
The lines TUJHE (lower octave emphasis) YAAD (lower octave emphasis) KARKE MUJHE CHAIN AAVE MERE (lower octave emphasis) JAANIYA VE from 0.26 to 0.41
The lines TUJHE (lower octave emphasis) YAAD (lower octave emphasis) KARKE MUJHE CHAIN AAVE MERE (MAXIMUM lower octave) JAANIYA VE from 5.07 to 0.41
The line MERE at 5.16 is a lower octave ripper.
Dil Naiyo Maane Re (Phir Hera Pheri)
The lines EK TERE SIWA...KUCHO NAIYO JAANE RE (lower octave impact) from 1.16 to 1.23
The lines KUCHO NAIYO JAANE RE (lower octave impact) from 2.34 to 2.36, 3.52 to 3.54
Ameen (Red)
The lines TERE ISHQ KO PAAU...EE (lower octave impact) NAAZNIII (MAXIMUM lower octave impact) from 0.46 to 0.52, 1.19 to 1.25, 2.34 to 2.41, 3.58 to 4.04
...just listen to LOWER OCTAVE DEPTH in the word NAAZ(emphasis)NIIII(MAXIMUM)
...this is terrific display of lower octave notes from a singer whose high pitch singing is capable of touching the sky...
Tanha Tanha (Fear)
The lines TUM JHO AAYE RUBARU ZAKHMI YEH DIL HO GAYA LAMHA JAISE THAM JAYA SUKUUN (MAXIMUM lower octave impact) SARA CHIN (MAX) GAYA from 1.02 to 1.27, 2.53 to 3.01, 4.18 to 4.26
The line SARA-AAAAA from 1.43 to 1.44, 3.15 to 3.16, 4.40 to 4.41
The max KILLER effect is when these lower vocals are used with extreme high pitched sufi-rwak vocals
The line RUBARU, HO GAYA is actually trying to eshablish a link with the inner conscience in the manner it is sung, just like trying to provoke/question/rip it out. This is serious stuff!
Ya Ali (AKS - The Moviee)
The lines AE DILE JAAN (MAXIMUM lower octave impact) from 2.23 to 2.27 & 3.45 to 3.49
Dhoom Tere Ishq Ki (Karzzzz)
The lines FURSAT KE PAL MEIN DOOB NA AAPNE DIL SE JUUJ NA LAGI KYUN LAGI YEH LAGAN AAPNI HI LAGAN SE POOCH NA from 3.12 to 3.25
The lines FURKAT NAA DENA TUM KABHI CHAHE ROKE TUMKO SABHI DE JANA MUJHKO YEH KASAM WAADA KAR JAANA TUM AABHI from 4.45 to 4.59
These lines just about fall in the lower category (low notes) but the idea was same of the lines YAADON KI PARCHAITA TANHAIYAAN TUM SE HI HAI from AHISHA AHISTA.