It did not receive attention as a proper instrument by the Iranian musicians at that time, and it was treated as a decorative object, placed at the corner of a hall in Golestan palace, and forgotten.
[1] In 1866, a French company started selling pianos in Tehran, and this gradually increased the popularity of the instrument among Iranians.
It also found its own innovative types of tunes, namely Rast-Kook and Chap-kook, which made the instrument compatible with the traditional Persian scales.
He drew upon the Iranian approach and added Classical composing methods of harmonisation and variation, that broke free from the strict Persian style.
Throughout the twentieth century liano became more integrated with the classical Persian music and appeared in the ensemble playing, accompanying Sehtar, Tombak and Kamanche.
The key musicians of the Iranian piano at this period were Motamed-ol-Molk Yahya'ian, Moshir-Homayoun Shahrdar, Morteza Mahjubi and Javad Maroufi.
He also achieved a sound quality similar to Tahrir - which a "sobbing" kind of vocal embellishment - through the use of ascending or descending arrays of trills.
His other technique, named Eshareh Ve Tekeih, is literally translated as "lean and pointing", was also commonly used before, especially in Avaz and Santoor.
He also integrated the technique of Khafeh Kardan, which in Western music is known as Damping, to piano by applying a very subtle damper pedal.
For example, he used the plus symbol + to indicate a musical rest, brackets ( ) to point out a complete repetition of the whole measure and the letter "b" to show that the note should be played on Black key.
His most notable pupil is Fakhri Malekpour, who was trained under Mahjubi for twelve years and who dedicated her life to passing down the method of his teacher to the younger generation.