In certain Sufi Rwak songs, Himesh - the Sufi Rwak composer n singer takes the listener through a journey whereby the 1st stanza is a 'build up' and 2nd stanza 'reaches the peak and into the business end' of song, whereby finally Himesh nails right at the end with the 'vocal n instrumental' kill effect.

Aashiq Banaya Aapne Title Trax

The raw techno tune from 0.05 to 0.12 builds up jazba. 

The mighty bazz trumpet in between 1st stanza gap from 2.16 to 2.37 builds jazba. 

Its 1st stanza is a build up for the 2nd stanza.

2nd stanza reaches the peak and into the business end of song with Himesh's lines, SILSILA HAI (off-da-hook singing) from 4.36 to 4.37, DARDE (gets listener into the zone and gives jazba) at 4.38

Himesh nails it right at the end with his line NEEEEEAAAA (HISTORY vocal n instrumental kill effect) from 5.33 to 5.35

Tera Suroor from Aap Ka Suroor

The funky guitar riffs from 0.45 to 0.56 give jazba and the the listener into the zone followed by Himesh's passionate alaap from 0.56 to 1.03 which further builds up the jazba.

Its 1st stanza is a build up for the 2nd stanza.

2nd stanza reaches the peak and into the business end of song with Himesh's lines, AAYE (passionate emphasis vocals give jazba) from 4.12 to 4.13, NAZRON PE CHAAYA (gets the listener into the zone) from 4.14 to 4.16, TERA (off-da-hook singing whereby stanza reaches its peak) at 4.17

Jhalak Dikhlaja from Aksar

Its 1st stanza is a build up for the 2nd stanza.

2nd stanza reaches the peak and into the business end of song with Himesh's lines, ZARE ZARE SE MEIN TERI AAHAT SUNTA HOON from 3.45 to 3.49 which get the listeners into the zone big time.

Himesh nails it right at the end with line AAJA (HISTORY fulltu desperation plea emphasis croon which gives vocal kill effect) at 4.21 along with rwakin semi plugged beats followed by mast jhakass fast drum roll beats from 4.22 to 4.24 that give the instrumental kill effect. 

Ahista Ahista Title Trax

Its 1st stanza is a build up for the 2nd stanza, including the orchestration between 2nd stanza gap from 

2nd stanza reaches the peak and into the business end of song with Himesh's lines, CHAATON KA (terrific desperation plea vocals) from 4.07 to 4.08, KHWASHION KA (along with off-da-hook heavy beat effect that gives instrumental kill effect) from 4.14 to 4.17, YEH JOH KAAFILA HAI (terrific passionate feel) from 4.18 to 4.21, TERI JOH ANJUMANN HAI - AI (terrific sudden quick up twist) from 4.24 to 4.25, The underlying heavy beat effect from 4.28 to 4.29 gives kick. 

Himesh nails it right at the end with line SHAREEK HUE-EEE (casual raw ustad emphasis) from 4.57 to 4.59 followed by HISTORY gradually rising tune piece from 4.58 to 5.00 that gives instrumental kill effect. 

Dil Tumhare Bina from 36 China Town

The song keeps on building jazba as it progresses. 

The new age contemporary tune piece from 1.57 to 2.13 in between 1st stanza gap gives kick to the listener and the continuous bazz sound that joins in from 2.01 onwards gives jazba. 

Himesh's lines in 1st stanza, IN FAASLON MEIN (terrific singing) from 2.30 to 2.33, TERI YAAD JAANA (terrific singing) from 2.45 to 2.49 get the listener into the zone and make them feel it.

Himesh's lines in 2nd stanza, MERI AASHIQUI KE (terrific singing) from 3.49 to 3.43, HAR KHAYAAL PE HAI (terrific singing) from 4.06 to 4.09 get the listener into the zone and make them feel it. 

Right at the end, Himesh causes build up with his line, DIL TUMHAARE BINA KAHIN CHAIN NA PAAYE (terrific sooth feel vocals) from 4.40 to 4.48 and jus nails with line, AB TANHAA (off-da-hook fulltu high pitch) at 4.49, AAAAAA (prolonged) AAA (HISTORY despreation plea emphasis twist whereby he pours his heart out) from 4.53

Kola Laka Vellari from Welcome

The Sufi tune pattern from 3.30 to 3.38 in between 2nd stanza gap builds jazba.

Right at the end, Himesh cuses the build up with guitar riffs along with lower octave vocals in semi plugged mode that slowly get the listener into the zone from 5.05 to 5.17 and nails it with repetitive heavy beat effect from 5.18 to 5.19 that gives the kill effect and causes a sudden rush of adrenaline.  

Umrao Jaan and Dekhu Tujhe Toh Pyaar Aaye

Also, some Himesh songs take time to warm up in mukhda portion, and peak up in stanzas...and listeners are totally feeling it n in da zone when the stanzas arrive...e.g. UMRAO JAAN (DAMADAMM) the mukhda builds up gradually, and HR Rwaks it in his stanza lines, BAWARE JIYA KI SAARI THARAK MITADE, MERI TANHAIYON KI DUNIYA SAJADE from 2:01 to 2:!0 in 1st stanza, HOSH MERA LOOTE TERA KHUSHBO TIMAAMI, RAAT BHAAR KARUNGA TERI BAS TERI GHULAAMI from 3:03 to 3:12 in 2nd stanza whereby listener gets in groove n feels it, also in DEKHU TUJHE TOH PYAAR AAYE (APNE), whereby it gradually builds up n peaks in 2nd stanza with Himesh's slogan based middle octave lines, MUJHPE JOH CHAAYA HAI TERA JUNOON HAI, TU MERI BECHAINI MERA SUKOON HAI, TERA PYAAR HAI SAVAR MUJHPE TOH IS KADAR, IK SIVAH TERE NA AAYE KOI NAZAR from 3:32 to 3:48 whereby listener gets in da groove and feels it.

Conclusion

In certain Sufi Rwak songs, there is a graph and flow of the song whereby Himesh gradually builds up the jazba until the song reaches its business end, after which he nails it right at the end with his instrumental n vocal kill effect.