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Of his output one can name a Mahur Pishdaramad with metric variations, also pishdaramads in Homayun (to be sung later as a tasnif: “Asheqam man” by Moluk Zarrabi), Shur, Esfahan, Bayat-e Tork, Dashti, and Segah. A tasnif in Bayat-e tork on the lyrics of M. Bahar (“Gar raqib ayad”) is one of his famous pieces. His compositional style was known as “rokni.” His reng in Homayun, his 3 pishdaramads in Dashti, Esfahan, and Chahargah have been published in the Method of Violin of Conservatoire, vols II-IV.
