Written for International Contemporary Ensemble and the Luna Composition Lab Festival 2026:New Moons
AnchiWang-Hall
Negative Spaces
2026 for Clarinet, Percussion, and Piano
NegativeSpaces Program Note ne day, one of my dear composer friends posted some of his wonderful art on O social media, with a caption along the lines of: “I think I need to start approaching negative space in my music like negative space in my art.” Even though I am a visual artist myself, and have been obsessed with ideas surrounding space and silence in music for years at this point, I had never thought to make that connection. This all got me thinking about what negative space can mean. It can reveal things that it implies or outlines, reflecting clarity and contrast. Or, it can be a sign of something missing, reflecting discomfort. These ideas are embodied in this piece by scattered musical fragments that are missing context, or that have their contexts added or taken away from them.
Personal Note bsence and loss have been very prevalent themes in my work for years. A Sometimes I choose to directly communicate this meaning to the audience, and sometimes it’s more subtle, or holds a deep personal meaning to my life. “Negative Spaces” not only reflects how I perceive and work with negative space as a visual artist, but also how I experience the feeling of something being missing from my life, or from my personality. I believe that when we experience loss or when we sense that something is missing in our lives or ourselves, these experiences can reveal aspects of ourselves that we never knew about before. Not only does this work aim to reflect a piece of my own experience with that idea, but it alsorepresentsit. When I was writing this piece, I was swamped with the incredibly competitive conservatory audition process, which left me feeling like my sense of purpose in music-making was missing. I decided to write based on how it felt to come to terms with this negative space in my life, and that process revealed “Negative Spaces,” a piece that beautifully and unexpectedly represents an experience in my life that I aimed to merely describe.
Front matter continues on the next page.
Performance notes Instrumentation -flat Clarinet B Percussion ● Vibraphone ● Suspended Cymbal ● Required beaters: ○ Soft, Medium, and Hard mallets ○ Triangle beater Piano
Percussion Vibraphone: Pedal duration of each note unless otherwise indicated.
General HIS SCORE IS TRANSPOSED T Accidentals hold through measure Approximate Duration: 3’40”
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Written for International Contemporary Ensemble and the Luna Composition Lab Festival 2026: New Moons
Negative Spaces
TRANSPOSED Score
Anchi Wang-Hall
b b b 6 ‰ ‰ flz. ææj ææ ord. Œ ™ b & 8 œ œ™ œ™
ord. ‰ ‰ œææj œææ™ œ ™
q. = 84
Bb Clarinet
Vibraphone
Piano
Vib.
Pno.
{
Vib.
? b b b b 6 Œ™ bb 8 ææ ord. œ ™ nœ ™
p
bb & b b bb
∑
? bb b b bb
∑
&
∑
soft mallets
Ϫ
pp
∑
p
∑
bbbb
Ϊ
Ϫ
∑
∑
mf
? bb b b œ ™ œ ™ bb
¿ ¿ ¿ ¿ ‰ Œ™ ∑
œ ™ Œ™
p
p
˙™ ˙˙˙ ™™™ p
Ϊ
>-œ ™ -œ ™ ∑
Ϊ
∑
¿ ¿ ¿ ¿ ‰ Œ™
Ϊ
f
nœ ™
>-œ ™
Ϫ
>™ œ™ œ
Ϊ
∑
senza ped.
∑
-œ ™
p
˙˙ ™™ ˙™
∑ Œ™
Ϊ
ord.
mp
Ϊ
Ϫ
p
˙™
mf
˙™
Ϊ
‰‰ j œ ˙™ mp
œ™ Œ ™ œœ ™™ œœ ™™ œ ™
∑
Ϊ
∑
Œ ™ œœ ™™
mf
con ped.
∑
œ Œ™ œ™ œ œ œ > œ œ œ™ mf P ø
œ ™ œœ ™™ œ ™
p
∑
mp
mp
P
mp
Ϫ
˙™
˙™
˙˙˙ ™™™
∑
p
flz. ‰ ‰ ææj ™ œ ˙
Ϊ
Ϫ
mp
Ϫ
∑
ord.
mp
˙™
∑
˙™
˙™
p
∑
˙˙ ™™ ˙™
pp
∑
pp
flz. ‰ ‰ ææj ææ™ œ œ
Ϊ
pp
∑
Ϊ
light pedal
p
œ ™ Œ™
∑
(air sound + key clicks, pitches not specific)
f
flz. ord. j j ‰ ‰ œææ œææ™ œ ™ œ ™ ‰ ‰ œææ flz.
mp
pp
∑
∑
Ϫ
∑
mp
œ ™ Œ™
∑
Ϊ
∑
flz. ord. ‰ ‰ ææj ææ™ ™ bœ œ œ
Ϊ
p
˙™ p secco
∑
b & b b b b b œœ ™™ œœ œj œ ™ œ ™ -
{
pp
pp
bb & b b bb œ ™ œ ™
Pno.
Ϊ
q. = 84
b & b b b b b Œ ™ nœœ ™™
14
Cl.
{
p
b 6 & b b b b b 8 Ϊ
b & b bb
7
Cl.
b 6 & b b b b b 8 Ϊ
pp
flz.
Ϫ
p
Cl.
Vib.
&
bbbb
b & b bbbb
{
?bbb bbb
b & b bb
28
Cl.
Vib.
∑
Pno.
{
? bb b b bb
‰ P
œœ ™™
mf
∑
œ œ
p
œœ ™™
œ > œ œ
Ϫ
ø
mp
∑
œœ ™™
Ϊ
‰ ‰
j œ œ
œ œ œ
p
™
mf
˙˙˙ ™™™
∑
mf
∑
∑
Ϊ
∑
Ϊ
œœœ œ œ œ
Ϊ
Ϫ Ϫ
œ œ œ œ
œ œ œ
mp
∑
P
Ϊ
Ϫ
œ
p
bb & b b bb b & b bbbb
™ œ œ œ
œ
mf
b & b b b b b œœ ™™
Pno.
Ϊ
Ϫ
to the fore
∑
œ œ œ
Ϊ
mp
Ϫ
p
œœœ ™™™
mf
œ ™™ œ
œœœ ™™™ œ ™™ œ
™
∑ ∑
Ϊ
‰ ‰
˙˙˙ ™™ ™ Œ™ Œ™
j œ p
œ ‰
™
9 8
œœ œœ
œ > œ œ
9 8
œœ œ
œ
9 8
œ œ œ
mf
ø
P
œœœ œ œ œ
∏∏∏∏∏∏∏∏∏∏∏∏∏
23
∏∏∏∏∏∏∏∏∏∏∏∏∏
2
Ϫ Ϫ
œ
mp
P
∑
f
œ œ
9 8
b >œ ™ œ. b œ. b œ. œ. œ. n 6 n n n 8 Œ™ nœ. Œ ™ œ œ œ œ™ f
b 9 & b b b 8 Ϊ
32
Cl.
Vib.
b 9 & b bbbb 8
{
b 9 & b bbbb 8
Pno.
Vib.
&
& Ϊ
Perc.
/
{
&
Pno.
&
bb œœ ™™ b ˙™
f
¿ ¿ ¿ ¿ ‰ Œ™
ø
∑
‰ ‰ æœ æJ ∑
b œœ ™™ œ™
∑ ord.
œ œ œ J J
œ œ œ œ™
p
∑
Ϊ
f
b œ. b œ. œ. f
∑
mf
> / œ œ œ œ™ p
œ œ œb œ œ œ b œ™ œ œ bœ œ bœ ™ &
mf
™ œ œ œ b œœ ™
2Π4
e = x (q = 63)
2 4
Ϫ
Ϫ
™ ‰ œJ œ
œœ
triangle beater
>œ œ œ œ œ
∑
œ œbœ œ 2 œ b œœ œ œœœ œœœ 4
e = x (q = 63)
2 œ œ œ 4œ œ P
∑
b œœ ™™ œ™
mp
mf
˙™
∑
bœ ™ bœ ™ bœ ™ bœ ™
hard mallet
∑ ∑
œ ææ
secco
P
flz. ord. ‰ ‰ ææj ææ™ ™ bœ œ œ
Ϊ
p
flz.
mf
Suspended Cymbal
ff
œ. œ œ. .
b œb œ œ ‰ bb œœ b œ
bnœœ ™™bbb œœœ ™™™ nœ ™
Ϊ
p
˙™ œ nœ ø
mp sub.
f
∑
œ. # œ œ. . œ. #œ. œ. ™ Œ
∑
f
mp
œ œ œ œ #œ œ Œ ™ f
™ bœ ™ Œ ™ nnnn n 86 bb œœ ™ b œ ™ n
Ϫ Ϫ
∑
? Ϊ
Ϊ
™ b œ ™ b œ. . œ. Œ ™ nnnnnn 86 b œœœ ™™bb œœ ™™ b œ Œ ™
œœ ™™ œœœ ™™™
P
44
Cl.
Ϫ
∑
P
& nœ nœ œ nœ
{
nnnnnn 86
mp
∑
&
Pno.
f
˙™
? b b b 9 bœ ™ b b b 8 œ™
38
Cl.
mp
b ˙™
œ œ ¿ ¿ ¿ ¿ ‰ Œ™ ‰ ‰
3
mf
∑ ∑
Ϊ
∑ œ œ œb œ œ œ œ œ bœ œ
bϪ f
p sub. poco
∑
œ œ œ œ bœ œ
con ped.
œ J
‰
œ mp
œ
œ J
‰ œj œ œ œ œ œ >
Œ
œ œ œ b œœ œœ œ bœ œ mf
œ
‰
œ
œ
œœ œœ P
mf
œ-œ
Œ
p
∑
4
Cl.
Perc.
/ Œ
‰ œ œ œ œ œ œ œ > >
{
flz.
f
b œ b œœ œ b œœ œœ bœ œ œ œ mf
Pno.
p
Œ
Œ
Pno.
& Œ
≈ œb œ œ
> / œœœœœ
‰ œ œ ˙
∑
œ œ œ œ œ mf >
∑
f
Œ
f
b˙ ø
bbb œœœ
bœ bœ
ff sub.
?
P
secco, staccato
bb œœ
nn œœœ nœ
mp
bœ bœ œ bœ œ
bœ
{
˙
f
?
∑
ord.
> ≈œœœœ
∑ bb œœ
≈ æœ æœ œ æR æ flz.
‰
mp
& ˙˙
∑
œœ
œ œ bœ
pick up hard mallets
∑
p
bœ
bb œœ
bœ bœ œ bœ b œ bœ bœ œ
mp
bœ
œ
œ
œ Œ
∑
&
P
œ œœ b œ b œ œ œ bœ
~~~~~~ Ÿ ˙ œ ˙ # œ 3 #œ ™ #œ œ ¿ ¿ ¿ ‰ 2 4æ ¿ 4 (timbral trill)
&
∑
flz.
ord.
f
> > > 3 # œ & ##œœ œ œ œ#œœ 4 ˙˙ œ ˙ œ œ f P ø 3 ∑ & 4#˙
{
≈
bœ œ j b œ bb œœ œ bb œœ œœ œœ
p
Œ
2 Œ nœææ 4
Œ
2 4
∑
2 4
∑
Vibraphone
Perc.
Œ
to the fore
60
Cl.
œ
mp
P
55
Perc.
ord.
‰ bb œœ
& bœ bœ œ bœ œ
Cl.
œ ‰ œJ
& Œ
&
Pno.
œ™ æ
‰ ææœJ
50
&
∑
p
? 3 #˙
4 ˙
Œ
p
f
æ œæ
œ ææ
Œ
pp sempre staccato
Œ
œ œ
Œ
&
≈b œ b œœ œ œœ œ œœ œ pp dry, flat
p
˙ ææ
>œŸ#~œ # Œ f
˙ ææ
f
∑
∑
∑
∑
œ b œ œœ œ Œ
∑
in the background
œœ œœœ Œ
œ
Ÿ~~~~~~~~~~~~~~~ b >œ b œ ˙
˙ ææ
∑
scrape with stick end of mallet
67
Cl.
Perc.
Pno.
&
<Ÿ>~~~~~~~~~~~~ <#>˙
Perc.
Pno.
p
˙ & ææ
{
æ œæ œ
¿ ¿ ¿ ¿ Œ
flz.
f
mp
ff
to the fore
ord.
Y
˙
o
Œ
∑
∑
∑
œ
∑
∑
∑
?
œ #œ Œ œ œ
∑
∑
∑
∑
&
{
&
flz. ord.
jŒ <b> œ. œ.
˙
j œ
bœ
œ
œ
Ϫ
j b œ ˙ œ p j œœœ b œ ™œ bb œœ œ œ b œ œ b œ bœ œ œ bœ œ
æ œ- œ -œ œ œ æ̇ mp
3
p
mf
∑
3
o
∑ Œ
∑
œ
p
œ
Œ œ
˙
œ
˙
p
pp
Œ
Œ
œ
œ
p
Ÿ~ 6 UŒ ™ ‰ 8 b œ bœ
Y
˙
q = q.
mf
∑
∑
p
<Ÿ>~~~~~~ flz. Ÿ~~~~~~~~~~~~ ord. j æ æ Œ ™ ‰b œ bœ ˙ ™ Œ ™ ‰ ‰ b œæ œæ™ œ ™ & <b>˙ ™ pp
mp
pp
U ∑
6 8
∑
q = q.
6 U˙ 8
œ ∑ ∑ ∑ ‰ œbb œœ b œœ Œ ∑ ∑ Œ œ œ œ œ œ & J mp pp j j j œ œ œ œ œ œ ™ ™ ? œ b œ ™ œ b œ œ b œ ™œb œ œ Œ ∑ œ b œ œb œ ‰Œ b œ œb œ Œ ‰ b œJ œJ ‰ Œ ∑ ∑
œ
6 8
∑
P
86
Cl.
‰
una corda
‰ œ ææœ œ œJ ¿ J
3
˙
pp con ped.
∑
∑
flz.
mf
medium mallets
∑
ord.
∑
(air sound)
&
75
Cl.
5
o
Œ ™ b œ ™ œ ™ Œ ™ Œ b œJ œ ™ œ ˙ p
o
f
∑
4 4
Suspended Cymbal
& Ϊ
soft mallets
Perc.
Pno.
{
&
?
bϪ
∑
pp
∑ ∑
˙™ mf
Ϊ
bœ™ ∑
∑
∑
∑
b >-œ ™ -œ ™ ∑
b˙™ p
Œ ‰
œœœ pp
∑
b˙™
b˙™
∑
Œ™ œ ™
scrape with triangle beater
/
mp
∑
∑
∑
∑
∑
∑
∑
∑
∑
4 4
b ˙˙ ™™
4 4
mp
∑
4 4
6 96
Cl.
Perc.
q. = q
4 &4 Ó
{
5 4 Ϫ
œ
> 5œ œ œ 4
4 /4
∑
q. = q
bœ
p
5 4
P
{
?
4 4
∑
4 4
∑
4‰ 4
j bœ œ ˙ bœ
4 bœ 4 bœ œ
∑
bœ
œœ ™™
‰
half P
Œ
Ó
p
œ
∑ b ˙˙
œœ mf
˙
∑
mp
œ
&
Pno.
Ó
∑
5 4
˙
& w o /
¿
pp
99
Perc.
Œ
p
œ œ ˙
? 4 bœ 4 bœ œ
Cl.
j j b œ œ nœ ™
ord. triangle beater
4 & 4 bœ
Pno.
Œ
Ó
œ #œ ˙
Œ
œœ ˙˙ œ & #œ œ P
half P
Œ
scrape
˙
Ó
∑
œ bœ œ
∑
Œ
p
U
∑
p
∑
#œœ
Y
pp
half P
pp
Ó
‰ b œJ ˙ ø
œ
U l.v.
U
l.v.