Himesh has always maintained that his compositions are simplied versions of complex uljhi hui raga tunes, keeping in mind da common man sensibilities.

While he has made ample use of raga tunes in his songs, these are the very best terrific penetrating intense raga tune pieces:

> The KILLER emotional feel raga tune from 0.18 to 0.38 that bowls over da listener, terrific penetrating intense raga tune from 1.13 to 1.16 & 1.20 to 1.23 that connects with listener in RAAT HAI ROYI SOYI from MAIN AISA HI HOON.

> The quick catchy raga tune from 5.36 to 5.38 in TERI GALIYON SE from MAIN AISA HI HOON.

> The catchy penetrating intense raga tune from 1.46 to 1.49 & 3.44 to 3.47 that gives completeness effect to Sunithi's preceeding lines in YAHI HOTA HAI PYAR from NAMASTEY LONDON.

> The catchy penetrating intense raga tune from 2.27 to 2.35 in SARZAMEEN SE from ZAMEEN.

> The terrific penetrating intense raga tune plays from 3.40 to 3.56 in AHISTA AHISTA TITLE TRAX.

> The catchy penetrating intense raga theme piece from 0.55 to 1.13 & 4.39 to 4.50 in TUM JOH MILE from AHISTA AHISTA.

> The catchy penetrating intense raga tune from 1.57 to 2.05, 2.20 to 2.40 & 4.08 to 4.34 in SAMJHO NA from AAP KA SUROOR.

> The catchy penetrating intense raga theme piece from start to 0.24 & 2.16 to 2.27 in TU HI MERA DIL HAI from YAKEEN.

> The catchy penetrating intense raga tune from 0.36 to 0.38, 0.43 to 0.46 & 6.18 to 6.29 in APNE TOH APNE HOTE HAIN from APNE.

> The terrific penetrating intense raga tune from 4.19 to 4.30 in KYUN KI ITNA PYAR from KYUN KI! ITS FATE.

> The quck rising catchy penetrating intense raga tune from 5.55 to 5.57 in AFREEN from KAJRAARE.

> The terrific rising penetrating intense raga tune from 1.25 to 1.28 in MAIN JAHAAN RAHU from NAMASTEY LONDON.

> The terrific penetrating intense raga tune in from 1.39 to 1.41 & 3.29 to 3.31 in HUM TUMSE DIL from JULIE.

> Catchy raga tune from 1.09 to 1.13 & 3.31 to 3.33 in TUM CHAIN HO from MILENGE MILENGE.

> The terrific penetrating intense raga tune from 0.05 to 0.16 in KUCH MEETHA HO JAAYE from KMHJ.

> The penetrating intense raga from 2.53 to 2.58 in DIL KE BADLE SANAM from KYUN KI ! ITS FATE.

> The terrific penetrating intense raga theme piece from start to 0.28 & 2.33 to 2.42 in O MERE HUMSAFAR from JULIE.

> The terrific penetrating intense raga tune piece from 1.18 to 1.25 & 3.14 to 3.24 in DIL NAIYO MAANE RE from PHIR HERA PHERI.

> The terrific penetrating intense raga tune from 3.50 to 3.51 in AHISTA AHISTA TITLE TRAX.

> From 0.40 to 0.54, 1.06 to 1.10 & 2.33 to 2.53 in MILE HO TUM TOH from DIL DIYA HAI.

> The catchy rising raga tune from 1.02 to 1.03 & 1.37 to 1.39 in MEETHI MEETHI BAATAN from AAP KI KHATIR.

> From 1.01 to 1.13 and intermittently throughout the song in TERIYAAN MERIYAAN from KAJRAARE.

> The emotional feel raga tune from 2.02 to 2.18 in AFREEN TERA CHEHRA from RED.

> The emotional feel raga tune from 0.36 to 0.43 in DHOOM TERE ISHQ KI from KARZZZZ.

> From 4.05 to 4.06 & 4.10 to 4.12 in ISHQ MEIN RUSWA from DANGEROUS ISHHQ. 

> From 4.40 to 4.49 & 5.59 to end in NANHE YAAR from NANHE JAISELMER.

As there are different types and variations of raga instruments from the orginal whole raga set, Himesh has used a peculiar type of string based raga tunes in some of his post ABA songs:

> From 1.44 to 2.00 & 3.16 to 3.24 in AMEEN from RED - THE DARK SIDE.

> From start to 0.30 in DIL NAIYO MAANE RE from PHIR HERA PHERI.

> From 0.05 to 0.35 in CHALO DILDAR CHALO from DIL DIYA HAI.

> From 2.08 to 2.24 in TERE HI LIYE from MR FRAUD.

Off-da-hook string based bazz raga instrument that gives 'halke se kick':

> From 0.02 to 0.35 in AARZOO from MR FRAUD.

> At 2.24 & 4.02 in TERI GALIYON SE from MAIN AISA HI HOON.

Raga tune used in a 'cult wicked' way:

> From 0.10 to 0.22 in AA AASHIQUI ME TERI from 36 CHINA TOWN.

Other string based raga instrument tunes:

> The catchy string based raga tune in between 1st stanza from 2.00 to 2.20 in MEETHI MEETHI BAATAN from AAP KI KHATIR.

> Thr saddistic depressing raga theme piece from 0.20 to 0.43 in SANU GUZRA ZAMANA from KAJRAARE.

Raga based compositions

Kismat Se Tum from Pukar is in the Raag Bhimpalash. There are many variations of raags like Raag Kaafi, Raag Durga, Raag Gandharva etc with their own Bandish, Taane etc...so, if a composer composes in a specific raag, it means he must have studied or learned all about raags, it cannot be fluke e.g. AR Rahman must be knowing about all raags, also Himesh...as he said that some songs of Namastey London were Bandish tunes, and that many of his compositions are raag based i.e. in albums like Banaras, Kuch Meetha Ho Jaaye and other semi classical based songs in his albums...composing in any specific raag cannot be just by fluke or by learning from others or by chance...it is of the realization that semi classical music is actually very complicated with different depths and variations in each Raag gharaana. It must require great education and learning for any composer to be able to compose in each gharaana within their boundaries and with their specific nuances.