Pandit Onkarnath thakur once said,"meri awaaz riyaz se kamai hui hai".. highlighting the importance of practice (riyaz) in honing the voice.
Vidushi Shalmalee Joshi's voice is as much a gift of nature as an arduously honed voice. It spans 3 octaves with ease and clarity.
The timbre is different than most other lady vocalist so it is difficult to compare with other vocalist's voices.
Her taleem have given her a huge "dam-saans" breath sustenance ability.
The voice depth in kharaj (lower octave) for instance allows her ease to explore lower octave ragas like todi shree puriya. Her reach into higher octaves make raagas like sohini and adana well within her reach.
Another attribute of her voice is the shruti (microtone) specific swara -a special feature (khasiyat) of Jaipur gharana. For instance the Komal gandhar of darbari and bageshri are different in frequency as are the Rishabh of raag marwa and shree.
A typical Jaipur gharana feature with regard to Komal dhaivats of bibhas..it is the third shruti between Komal and shuddh dhaivats.
This elusive mystery of the shruti is felt palpably in Vidushi Shalmalee Joshi's music because the voice responds to the correct shruti held in the mind.
The easy mobility and seamless transition between phrases and swaras...the use of meend (most evident in her rendition of raag Komal Rishabh asavari) are a function of the pliable nature of the voice. The rounded contour (golakar) is again a Jaipur gharana speciality which remains intact in all octaves.
She employs gamak sparingly but khatkas and murkis are plenty and effortless.
The use of sudden force and volume during a taan at certain points along its flow gives it power and a masculine grace.
All in all its a beautiful voice with matchless swar accuracy. This is achieved by sadhana and tapasya which have been regular daily endeavours of her music.