In the piano teachings of Barry Harris, the whole tone thirds exercise in contrary motion serves as both a technical study and a harmonic foundation for understanding altered dominant seventh chords. Harris explained that all whole tone harmony originates from only two whole tone scales, which he humorously referred to as the “Adam and Eve” scales. By practicing thirds while the hands move in opposite directions, students develop finger independence, balance, and a deeper awareness of symmetrical interval relationships across the keyboard. The exercise also reveals how whole tone structures generate the color tones commonly associated with dominant chords, including raised fifths and sharp elevenths. Through this approach, Harris transformed a simple technical pattern into a complete system for hearing, visualizing, and improvising modern jazz harmony at the piano.