god of the gaps is a piece that navigates the connections between Persian classical music, West African music, Western classical music, and experimental electronic music. The form of the piece is built on guided improvisation. Persian classical music uses unfixed quarter tone flat pitches called Koron. In god of the gaps, you will hear an E Koron in the Darâmad of Dastgâh-e Shur, the Chahârmezrab of Dastgâh-e Shur and the Darâmad of Âvâz-e Esfahân. god of the gaps begins with the Darâmad of Dastgâh-e Shur. When the cyclical rhythm picks up in the piece, this is a combination of Chahârmezrab of Dastgâh-e Shur and a fast Atsia from Ewe music of the Ewe people in Ghana west Africa. When the rhythm dissipates we move into the Darâmad of Âvâz-e Esfahân. Here we navigate free flowing motifs at phrases found in both Western classical music and Persian classical music. god of the gaps ends in Dastgâh-e Mâhur. The title god of the gaps refers to humanity’s application of deification to explain the gaps in our understanding of the environment around us. The performance approach of unmetered cells with out a pulse was inspired by the piece Retuning by Ann Southam.