The music in The Third Story is an exercise in theme and development. The first trick was composing a theme, a short melodic hook, that sounded at home in all the various worlds of this play - a nineteenth century Russian fairy tale, a 1940's Hollywood gangster film, and the lab of a mad scientist. It needed to be able to be reinterpreted for both romantic scenes and action scenes. Once that melody was discovered, the next trick was making it all sound authentic (not a pastiche) and believably orchestral. Of course, there is no budget to hire an orchestra, so it all had to be done by me on my computer, using samples of real players and some music production tricks. Finally, there was the challenge of the scope of the score - there are over 120 music cues, ranging from short transitions to long underscores. The latter is often compromised of several overlapping elements that blend in and out at particular points in a scene so that the music remains specific to the dramatic moment. Just like a real film score. Hopefully.
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