Amir Khansahib had a rich baritone open-throated voice with a three-octave range. His voice had some limitations but he turned them fruitfully and effortlessly to his advantage. He presented an aesthetically detailed "badhat" (progression) in "ati-vilambit laya" (very slow tempo) using "bol-alap" with merukhandi patterns, followed by gradually speeding up "floating" "sargams" with various ornamentations, "taans" and "bol-taans" with complex and unpredictable movements and jumps while preserving the raga structure, and finally a "madhyalaya" or "drut laya" (medium or fast tempo) chhota khyal or a ruba'idar tarana. He helped popularize the tarana, as well as khyalnuma compositions in the Dari variant of Persian. While he was famous for his use of merukhand, he did not do a purely merukhandi "alap" but rather inserted merukhandi passages throughout his performance. He believed that practising "gamak" is essential to mastering singing.