Re: One Step Beyond - The Final Chapters coming from Mill Creek Entertainment
Did someone mention Harry Lubin?


I appreciate the music of both Frontiere and Lubin, for different reasons. I also realize that what one likes is often a matter of taste. For my own part, I greatly appreciate (and favor) Lubin's second season G minor closing theme to
The Outer Limits much more so than I do the first season theme. I like the first season theme (for me it meanders aimlessly at times, although it is interesting orchestrally if not as ambitious harmonically); however, the second season closing theme is IMO a 'common practice period' harmonist's dream. I also like the second season closer a great deal more than the similarly-themed music composed for
One Step Beyond, and the
TOL variations used in (e.g.)
Keeper Of the Purple Twilight during Ikar's ant-stamping tirade.
There is much to admire about that theme both melodically and harmonically -- whether it be the 'other-worldly' minor-major non-dominant seventh chord (G / B-flat / D / F-sharp) progressing to the gorgeous augmented sixth sonority (G / B-flat / C-sharp / E-flat) around which the opening ascending then descending melodic fabric is built, or the haunting dissonances created by the pungent
simultaneities of E-flat and D(!) during the dominant ninth shortly before the final re-entry of the opening melody. The harmonic tension in this segment is IMO uparalleled harmonically (again, personal taste, not fact) in television theme music. And then we are given the extraordinary secondary dominant tonality (A / C-sharp / E / G), which, when contrasted with the aforementioned augmented sixth sonority, the root of which resides a tritone apart from this 'new' sonority, the contrast -- in part a result of the function of harmonic memory -- is staggering. The dominant sevenths a tritone apart, as well as the melody moving downward a tritone from G to C-sharp (during the augmented sixth = E-flat 7 and again during the secondary dominant tonality = A7) are for me what makes the theme so creative and memorable (enharmonic equivalents of C-sharp as the third degree of A and D-flat as the seventh degree of E-flat are assumed here).
One of the rhythmic subtleties that I picked up only after listening to this theme for many hours a few years ago too was the repeated figure of the high F-sharp. For years, I had thought that it was prolonged. I eventually discovered the (very subtle and gently accented) repeated notes that continue to haunt the more I hear them. The eventual resolution upward to G is almost worth the price of admission for me.

Addendum: Another element of that theme I love is the nearly seamless entry from the sound effect to the opening notes which one hears on the GNP Crescendo recording. The sound effect is similar (it may be identical?) to the sound used for the 'wave' effect that you hear as the opening credits are given after the opening music has ended, right before the Vic Perrin voiceover occurs.
It is here if anyone is interested in it:
http://mythemes.tv/series/themes/closing/outerli3.mp3
It opens this short snippet; on the GNP Crescendo recording, I believe it opens and closes the track. It is not completely seamless, but it hints strongly as to what is to come.
