A group of some of the most seasoned professional musicians in Canada once played through a new arrangement — written by Ron Harrison — of the classic Québecois folk song Un Canadien Errant.

When they finished playing, they looked at each other in awe — and then stood collectively as one to give him a standing ovation. That doesn’t happen very often among professional musicians. But then, Ron Harrison has a talent that doesn’t happen very often among professional music writers.

Harrison was in the front ranks of Canadian composers for many decades, largely because of his ability to seamlessly match music with visual images on the screen, somehow creating a third dimension — one that speaks to the emotional core of the viewer.

In retrospect, it almost seems Harrison was genetically and culturally pre-disposed to become a film composer. His father Harold was a big band leader in Britain before he emigrated to Canada and played piano in silent movie theatres in Hamilton. When talkies killed the industry, the elder Harrison became a film projectionist.

“I was brought up on music and film my whole life to the point where I could look at a film and know exactly what kind of music it needs,” Harrison says. More than one of his employers has told the self-effacing Mississaugan that he was the most talented film composer they’d ever worked with. One even told him “You hit the nail on the head every time.”

Harrison has scored more than 750 television series, specials and films and was recruited by Disney Corp. when they came looking for, quote/unquote “The Best Composer in Canada.” He was subsequently nominated for a Grammy for his writing for the How The Grinch Stole Christmas CD-ROM.

He demonstrated his ingenuity and adventure in that project by showcasing Silent Night in a minor key, highlighted by Black Sabbath-style guitar played by his son David.

Harrison’s legacy will endure most profoundly in the vocabulary of the music that accompanies nature films. He was originally commissioned to do four wildlife film scores. He proved so adept at it that it “snowballed” into a whole industry and many him a very much in-demand commodity for a great many years.

In the Audubon Wildlife series of more than 100 films that were sold in 60 countries around the globe, Harrison pioneered not only a style of sound for wilderness productions but what amounted to a new language. “He won’t take credit for it,” says his daughter Anne, who heard much of that language being developed as her father worked at the piano. “But if you listen to what they’re doing now, you’ll hear his influence in those long-held notes and extensions.”

A lifelong learner, Harrison had his own band at 15, studied with fellow Mississauga Music Walk of Fame inaugural inductee Oscar Peterson in his 20s, attended the Eastman music school in Rochester, took film composition at UCLA and studied with the famed Canadian composer and music theoretician Gord Delamont for seven years.

Perfectionist that he is, Harrison was finally shown the door by Delamont who told him “there’s nothing more I can teach you.” After he’d finished putting together a project, Harrison would always ask the question: “Who shall we get to conduct this now?” The answer was almost always the same – he’d be told he should do it himself.

Reluctant though he was, he always handled the job with skill and aplomb and — as usual — he proved to be the best man for the job.

The Mississauga Music Walk of Fame Committee is delighted to welcome a very deserving Ron Harrison to its ranks.