The master has evolved the Jafferkhani baaj, the simultaneous use of two strings, theproduction of harmonic notes, the creation of different types of echoes and wasresponsible for the original sawal-jawab. Adapting south Indian to Hindustaniclassical music, he introduced the ragas Kirwani, Hemavati, Latangi and Shanmukhpriya;revived obsolete ragas like Champakali, Rajeshwari and Shyam Kedar; and added his owncompositions such as Kalpana and Sharavati.
While contemporaries scaled notes of commercial grandeur, Khansaheb has no regrets.Life for him has been one lyrical movement: "Yahan manzil hi nahin musafir keliye, jise samjha tha mukam, woh raasta nikla (The traveller has no destination; theone which seemed so turned out to be another road)."
