Here are a few of the many endorsements for the LINEAR TRANSITIONS system.

"I finally got a chance to go through your Linear
Transitions book. Very cool. As I see it 'Connecting' is the 2nd BIG
step after just learning the chord/scales. Nice layout too. The various
tempos on the CD help.
So here's the deal. I'd like to get 2 sets of the 'Jazz Ensemble Pack'".
Denis DiBlasio, Director of the Maynard Ferguson School of Music at Rowan University, Glassboro, NJ
YES..... the DENIS DiBLASIO former music director of the Maynard Ferguson Band, and one of the top Jazz Baritone Saxophonists and Flutists on the planet

"I absolutely love your book "Linear Transitions". The step by step approach you have
thoughtfully put together in the book is one of the major keys for
achieving a good understanding of the nuts and bolts challenges associated
with jazz improvisation. John, you clearly point out the importance of
developing FLUENCY in the playing of all scales and patterns, I thank you
for this. We start school a week from Tuesday, and I cannot wait to pass
out the texts to our students at Sunset High".
Greg Hall, Director of Instrumental Music at Sunset High School, Portland Oregon

"I have checked out your book, and you really did a great job! "
John Mastroianni, Director of Jazz Studies at Hall High School, West Hartford, Connecticut, 
and Jazz Ensemble Director at the University of Connecticut

"Hi John--I got a blast out of playing your method book over the summer!"
Marc La Force, band director, tenor saxophonist with the Portland Jazz Orchestra and the Seacoast Jazz Orchestra

" I do like how you've organized everything and I'm excited to use it with my kids. Can't wait to get them started in your book. I spent all year trying to piece together a warm up system to teach my kids the tools of improv from various sources. I would LOVE to have it all available in one book/CD. My kids play at an advanced level for high school, and I want to push them further. I was considering writing my own, but it's hard to find time to do it! I like what you have to say and am familiar with Steps Ahead".
Samantha Blake, Band Director at Moorpark High School, Moorpark, California

" I received your set...thanks for the quick turnaround....I am so impressed.   My entire band played the first few scale exercises together on Friday (major and mixolydian), and it was incredibly productive.  Your lessons are really well organized and accessible to any kid, and it was really cool to watch the 'lightbulb' come on with my musicians. Thanks so much."
C. Brent LaCasce, Director of Fine Arts, Fryeburg Academy, Fryeburg, Maine

"Your system is definitely comprehensive. Good luck w/ sales and thanks for sending."
Tim O'Dell Saxophone Instructor, University of Southern Maine

"Thanks again for the great book".
Brian Logan, Band Director, Wheeling High School, Wheeling, Illinois

"I received the package of Linear Transitions this morning. I already had my block 1 and 2 classes work our way through reviewing the music theory, speed drills and into exercises on pages 1 and 3. That was a little overwhelming for them to play right now, but we will definitely make a daily routine of the speed drills around the circle.
This will be fun".
Patrick Bolin, Director of Bands Biddeford High School

"How can anybody not want to use this? The jazz ensemble pack is definitely a steal at that price."
Pat Michaud Director of Instrumental Music, Hampden Academy

" I feel it's a very strong approach to playing. A student (young or old) needs to 
really commit to the program but if one wants to play jazz on a serious 
level you'd have to commit anyway. There are so many methods out there
(published or not) but I feel your approach will really work with a 
serious musician." 
Terry White, Bandleader, Music Educator, Composer/Arranger, Jazz Trumpet

"Monumental. Good luck with the publication."
John Foss, former Las Vegas Lead Trumpet extraordinaire, Music Educator

"Great stuff."
Dean Neal, Director of Instrumental Music, Maine Central Institute

"My top tenor player is presently using Linear Transitions.  I can hear his playing
changing, even though it has only been two months."
Kyle Smith, Band Director, Wesbrook High School, Westbrook, Maine

"I like your way of explaining things."
Ryan Blotnick, Jazz Guitarist, NYC 






The bottom line of this system? No tricks, bells or whistles. My STEPS AHEAD system has always really been about musical fluency....... knowing ALL your keys, ALL your modes, ALL your chords. LINEAR TRANSITIONS enables the student to learn and drill all of those things (every key,every day), but also to learn ALL of the chord progressions, and to be able to navigate creatively towards any approaching chord tone in a linear way......... This book is innovative and comprehensive because of it's format. No one can "speak" creatively in a language that they aren't articulate in. This book is set up to "HYPER" develop a student's(and the whole jazz combo/ensemble) music fluency.
All books contain over 140 pages of ESSENTIAL drills / patterns to assist everyone in your ensemble playing a melodic / harmonic instrument to become FLUENT in the LANGUAGE OF MUSIC (Every Key, Every Day) As a matter of fact, there are:  49 Preliminary drills to learn; all 12 Major scales and Mixolydian Modes;  55 Mixolydian Mode “Linear Transition” drills in all 12 keys, from every possible dominant chord progression. Up from 1, down from 5, up from 3,down from –7, and down from 9.  1,793 linear patterns (digital) to play off of every dominant chord progression. Patterns set up to start on beat 3, on the + of 2, off bea t2, off the + of 1, and using triplets starting on beat 2. Bonus Section II - 22 Dorian to Mixolydian Mode (ii7 to V7) “Linear Transition” drills in all 12 keys, up from 1, and down from –7.30 linear patterns (digital) to play off of every ii7 to V7 chord progression. Patterns set up with 8th notes starting on the + of 1 using triplets on beat 2. 

There are 57 Bass lines (written out) running off of every dominant chord progression in all 12 keys (in the bass book / and score).

Left hand 3 note comping chords using 4 different inversions for every drill in the book (in the piano book / and score).


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