• Skip to main content
  • Skip to primary sidebar
  • Skip to footer

Website of Steve Neff

  • BLOG
  • SHOP
  • MY ACCOUNT
  • RAVES
  • CONTACT

Search Neffmusic

You are here: Home / Reviews / Mouthpiece Reviews / Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece Review

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece Review

February 20, 2025 by Steve 5 Comments

Today, I will be reviewing a Claude Lakey Original 7*3  tenor saxophone mouthpiece that I was able to borrow from Ellis Music (a local music store here in Vermont).  The last time I tried a Claude Lakey mouthpiece on the tenor saxophone was in college about 37 years ago.  I remember the mouthpiece I tried out on my tenor sax back then was (in my opinion) too loud, too bright and too edgy for my tastes at the time.   Since that time, I have not crossed paths with another Claude Lakey tenor saxophone mouthpiece until now.   I decided to give this Claude Lakey 7*3 tenor saxophone mouthpiece a thorough testing to see what my conclusions are 37 years later……

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

Last year, I posted a review of three Selmer S80 classical tenor saxophone mouthpieces which were all on the darker side of the tenor saxophone tone spectrum.  Today,  I will be jumping to the opposite side of that tone spectrum by trying out one of the brighter tenor saxophone mouthpieces out there on the market, the Claude Lakey 7*3 tenor saxophone mouthpiece.  Let’s get ready to rumble.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

Here is how the Claude Lakey Original tenor saxophone mouthpiece is described on the website at ClaudeLakey.com:

“The Original Tenor mouthpiece showcases the classic Claude Lakey bright sound. Handcrafted for quality, this staple member of our Originals collection was designed by Claude himself to help players reach new highs and lows on their tenor saxophone. The innovation poured into this mouthpiece pioneered a better jazz mouthpiece that can give you a great range with lots of freedom. 

While traditionally Claude Lakey mouthpieces have been known for their work in jazz ensembles, that’s not the only genre where you can find this mouthpiece useful. The Original Tenor sounds great in rock, funk, or house music settings as well. The bright, crisp sound can be heard cutting through an ensemble, or blending in to a small section. The versatility and control you have with the Original Tenor is astounding, and you will soon find it is your favorite mouthpiece to play in multiple settings.”-Claude Lakey Website

Here is a breakdown of the Claude Lakey Original tenor saxophone tip openings

• 4*3 (.101) A great mouthpiece for students who need a little resistance. Easy to control.
• 5*3 (.105) Free blowing and easy to control. Clear, even sound with good projection. Very versatile and consistent up and down the horn.
• 6*3 (.109) Nice bright sound. Centered, clear, even, free blowing. Excellent projection.
• 7*3 (.113) Our most popular and versatile tenor mouthpiece. Bright, centered, round and clear sound up and down the horn.
• 8*3 (.117) Bright, free blowing, powerful mouthpiece for those who put a lot of air into the horn. Extremely popular in South American countries.
• 9*3 (.121) Longest facing and largest tip opening. Bright and free blowing.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

The Claude Lakey 7*3 Original tenor saxophone mouthpiece is made of a composite material (fancy words for plastic).   The mouthpiece has a built in white tooth guard on the beak of the mouthpiece that is unique to Claude Lakey mouthpieces.  These mouthpieces usually have a white engraved ring design around the end of the shank but that white ring is missing on this Claude Lakey 7*3 tenor saxophone mouthpiece for some reason.

The words “Claude Lakey” are engraved in a box on the middle of the mouthpiece table and the tip opening is engraved on the side of the mouthpiece as “7*3”.  The engraving on the table of the mouthpiece pretty much guarantees that the table has a concavity to it at least where the engraving is.  This is neither good nor bad as many great playing mouthpieces throughout the last century have had concave mouthpiece tables but many players these days like perfectly flat mouthpiece tables.  Whether a concave or flat table, I don’t care as long as the mouthpiece plays well.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

The Claude Lakey 7*3 Original tenor saxophone mouthpiece was in relatively good condition although this mouthpiece had been used as a trial mouthpieces for students who wanted to try them at the local music store so there is some wear and tear on this mouthpiece with dings, nicks and ligature scratches on the body of the mouthpiece.

The diameter and beak profile of the Claude Lakey 7*3 Original tenor saxophone mouthpiece is very close to the diameter and beak profile of a typical hard rubber tenor saxophone mouthpiece.  I used a Vandoren Optimum ligature for the sound clips below and the mouthpiece played well with a Vandoren Java green box #3 tenor saxophone reed.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

The Claude Lakey tenor sax mouthpiece tip, rails and table look and responded well when playtested.  The reed got suction easily when performing the suction test.  The left side rail of the mouthpiece seems to flare out and become wider as it nears the tip rail.   I don’t see this same flare with the right side rail.  The tip rail looks a bit vague and worn but the reed sealed well so everything was working as it should.   I don’t know how long this mouthpiece has been used for playtesting so the rails could have some wear to them if thousands of players have been trying this mouthpiece out for years or it could have come like that from the factory.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

The baffle of the Claude Lakey 7*3 Original tenor saxophone mouthpiece is what I would consider a medium high and long baffle.  The baffle terminates at a high height at the entrance to the mouthpiece chamber.  If you look at the photo above from the bore end of the mouthpiece, you can see how high the baffle terminates.  This makes the entrance to the chamber area much smaller and more narrow.  As you look at the photo above, you can see how much smaller that chamber entrance is compared to a typical Otto Link tenor saxophone mouthpiece where that chamber entrance would be a full circle.  The mouthpiece sidewalls are straight and the roof of the chamber is of a medium thickness.

The medium high and long baffle, coupled with that squeezed chamber entrance, leads me to believe that this Claude Lakey 7*3 tenor saxophone mouthpiece is going to be one bright mouthpiece……..

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

Upon first playing the Claude Lakey 7*3 Original tenor saxophone mouthpiece, my first impression was that this mouthpiece was very powerful and very bright indeed.  Along with the power and brightness in the tone, there was also a buzz and edge that increased as I played louder and higher.  Even in the beginning of the first sound clip, you can hear the brightness of tone increase as I play a line up into the higher register of the saxophone.

The tone is in your face and has a grittiness and edge to it that reminded me of that muscular sax player Tim Cappello in the 80’s who was always playing the saxophone without a shirt on (He was in that movie “The Lost Boys” if that helps).  I guess if I looked like that,  I might not wear a shirt while performing as well……..

The squeezed throat at the chamber entrance definitely made the tone laser beam focused and intense.  I’m not even sure the recording captures exactly how powerful, bright and focused this mouthpiece can be but while I was playing it at louder volumes it actually hurt my ears while playing.  I would say the volume was about a 13 or 14 when pushed on my 1-10 volume scale.  You can really hear that volume, brightness and edge on the altissimo sound clip below but I don’t even think the recording captures how loud the Claude Lakey 7*3 tenor sax mouthpiece was in my studio.  In fact, I had to turn the gain on my mic all the way down to as low as it would go just to get the levels on these soundclips which are still pretty hot.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

When playing my typical jazz lines in the first clip below the Claude Lakey 7*3 Original tenor saxophone mouthpiece wasn’t what I would describe as even throughout the range of the saxophone. I had a hard time keeping some of the notes from jumping out in volume and brightness from note to note.  That is probably more of an issue with me not being use to playing a mouthpiece with a smaller chamber entrance like the Claude Lakey 7*3 mouthpiece has.  Any slight changes I would make in air on a large chambered mouthpiece like an Otto link seemed like they were magnified on this mouthpiece.  You can hear this clearly at the 1:50 mark of the first clip where I start playing “My One and Only Love”.  You can hear how some notes really jump out as much brighter and louder than other notes in the melody.

The intonation was surprisingly good on the Claude Lakey 7*3 tenor mouthpiece.  I had anticipated the middle register and upper register of the saxophone to have issues with being sharp because of the high baffle and smaller chamber but I didn’t really find that to be as much of an issue as I thought it would be.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

The low notes on the tenor sax were a little more difficult for me to play at full volume without honking them out but they were easy to sub-tone which is kind of a way to cheat to make the low notes speak easier on higher baffled mouthpieces.

The Claude Lakey 7*3 responded well to manipulation of the notes via vibrato and bending.  I didn’t find the articulation as clean and fast as on other mouthpieces but it was ok.   It just seemed a tad sluggish to me on the fast jazz lines.

The altissimo range of the saxophone was really easy to get as you would imagine from a higher baffled mouthpiece.  I will say, that for me, this kind of mouthpiece really needs some reverb in the sound on a gig.  Without that reverb, I think the high notes would be too loud, too bright and too edgy in a dry sound setting.  I’m sure that, through practice, you could control that and tame it down a bit but I only had this mouthpiece for a few hours so didn’t have the time to learn how to best control it.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece

In my opinion, the Claude Lakey 7*3 Original tenor saxophone mouthpiece is a great tenor sax mouthpiece for those of you looking for a tenor sax mouthpiece that will help you be incredibly loud, really bright and give you the option of adding a lot of edge to your sound.  I typically would not suggest a mouthpiece like this for a high school student just because it could possibly be dangerous in the wrong hands. What I mean by that, is that at a time when they are playing in a concert band or jazz band in high school, you want them learning how to blend and fit into the sound of the section and not sticking out because they are drowning out everyone else in the band.  Could a player make the Claude Lakey 7*3 work in those settings?  Maybe.  But it would have to be mastered and tamed by someone with a temperament that is discerning and self controlled to handle such power wisely.

For the adults, I would personally not suggest the Claude Lakey 7*3 for jazz playing but more for a playing setting where you have to compete with really loud electronic instruments. I’m imagining the sax player from “Lost Boys” again……..  Could it work for jazz playing?  Perhaps….  If you dig a brighter jazz tone on the tenor sax like Michael Brecker had.  He played jazz on a Guardala tenor sax mouthpiece, so anything is possible….  You can listen to the clips and decide for yourself.

If you like the sound and look of the Claude Lakey 7*3 Original tenor saxophone mouthpiece, you can find them on Amazon at a very reasonable price.  *Neffmusic also gets a small commission from each sale using this link which helps support this website,  so thank you in advance if you use the link.

If you try a Claude Lakey 7*3 Original tenor saxophone mouthpiece or have any thoughts, comments or questions on this review,  I would love to hear what you think in the comments below.  Thanks,   Steve

Audio Player
https://cdn.neffmusic.com/2024/Lakery73Tenor.mp3
00:00
00:00
00:00
Use Up/Down Arrow keys to increase or decrease volume.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece-Vandoren Java Green Box 3 Reed-No Effects Added

Audio Player
https://cdn.neffmusic.com/2024/Lakey73TenorAltissimoReverb.mp3
00:00
00:00
00:00
Use Up/Down Arrow keys to increase or decrease volume.

Claude Lakey 7*3 Original Tenor Saxophone Mouthpiece-Vandoren Java Green Box 3 Reed-Altissimo Clip-Reverb Added 

Disclosure: I borrowed the sample mouthpiece reviewed above for free in the hope that I could try it and perhaps review it on my blog. I also receive a small commission when you purchase from the Amazon link in the review above that helps to support this site. Regardless, I only review sax mouthpieces that I enjoy playing and believe will be good for other saxophone players to try also. Steve

Filed Under: Mouthpiece Reviews, Tenor High Baffle Reviews, Tenor Mouthpiece Reviews Tagged With: 7*3, Claude Lakey, Original Tenor, review, saxophone mouthpiece, tenor sax

Steve

About Steve

Steve Neff has been playing and teaching saxophone and jazz improvisation around the New England area for over 30 years. He is the author of many best selling jazz improvisation methods as well as founding the popular jazz video lesson site Neffmusic.com.

Reader Interactions

Comments

  1. AvatarGiuseppe C. says

    February 24, 2025 at 5:08 am

    Hi Steve,
    this is an old story for me: I learned again that the .101 opening is a mouthpiece for students who need a bit of resistance and easy control.
    Everyone is free to think what they want; but including me.
    Aside from the fact that in my opinion “resistance” is a matter of personal taste that, in my opinion, concerns every saxophonist, regardless of whether he is a student or a professional, I could be wrong but it occurs to me that many saxophonists, probably still unsurpassed geniuses, have used what today are considered medium, or rather narrow, openings – I think of John Coltrane, Dexter Gordon, Stan Getz, Charlie Parker and others – and, therefore, I do not believe that a wide opening is necessarily necessary to play jazz.
    I have the impression that there is, perhaps, someone who believes that “the wider it is, the better I play”.
    Jokingly, a parallel comes to mind: as if someone who has small feet, say, 40 (Italian size), going to the shoemaker to buy new shoes, bought a size 45! “The bigger they are, the better I walk…” Or not?
    The problem remains, for those who are not satisfied with this reasoning, like me, of not finding on the market among “THE MANY” that produce quality mouthpieces, the size “of shoes” that best suits them.
    So they cannot buy the “shoes”, considering it useless and tiring to walk while they are losing them.
    Patience: if there is not a size for me, maybe a .085?, I will not buy it; they can continue to consider me a student.
    Actually, of course, I am, a student… All of us, after all, always try to improve a little; but I continue to think of Coltrane, Gordon, Getz, Parker…
    And, furthermore, in reality, I also see some students who buy what for me would be exaggerated openings: perhaps believing that in this way they will become professionals? And, then, after having struggled for a few days with the new mouthpiece, maybe, one day, they put it on sale on the internet.
    Unlike me, there are many others who are looking for the ever larger size…
    They will buy it.
    No offense, and with the utmost respect, for everyone: we live in free Countries.
    Giuseppe.

    Reply
    • AvatarGiuseppe C. says

      February 25, 2025 at 6:26 am

      Sorry, errata corrige:
      Where I wrote: “… for students who need a bit of resistance …”
      I meant to write: “… for students who need a little resistance…”.

      In any case, the mouthpiece seems excellent to me for those who want a very bright mouthpiece.
      In this context it is exceptional.
      Giuseppe.

      Reply
  2. AvatarRuss Paladino says

    March 5, 2025 at 1:10 pm

    Hi Steve,

    I have one of these too. I always left it in the drawer because people told me it was “paint peeler” and too bright and obnoxious. I took it out again recently and, actually, I don’t hear it that way at all.

    Your tone here is strong but certainly not shrill or obnoxious. It’s rather warm and centered. My issue with it for me is that it has a very pronounced midrange that’s cool for some stuff, and not so cool for others. All in all I think Lakeys get a bad rap. They’re very playable, have a nice balance of highs and lows, can get bright for rock and pop but also can smooth out and sub-tone, and they’re affordable.

    Reply
  3. AvatarNick Palise says

    March 9, 2025 at 1:41 pm

    Steve, I’ve been a big fan of yours for a number of years. Cudos to you on your mastery of the instrument. It’s obvious you’ve been in the trenches to be able to play all the different styles in order to demonstrate the different mouthpieces and sound great on all of them. I’m past my prime and still playing but my wind is quite a bit less. I’m trying to dial down on the tip openings and still be able to sound good and play longer phrases. Would it be possible to buy one of your sheets that you demonstrate when trying out new mouthpieces? I was using an Otto Link 8 that John Reilly opened up to an 8*. Now I’m playing a D’Addario D6M. It’s a good all around mouthpiece but short on some power and edge. Years ago I was playing Lakeys but it was not really what I was looking for. I heard you play the Drake version and again you sounded great. So, without rambling any more, I would like to get one of your demonstration sheets to get started and see if I can eventually master the demos of yours at 87 years young. Respectfully, Nick Palise

    Reply
    • SteveSteve says

      March 9, 2025 at 2:36 pm

      Hi Nick,
      Thanks for reaching out and I’m glad you’re a fan of the site. I’m not sure what you are asking for. What is a demonstration sheet? Let me know. Thanks, Steve

      Reply

Leave a Reply to Steve Cancel reply

Your email address will not be published. Required fields are marked *

Primary Sidebar

Cart

Subscribe to the Neffmusic Newsletter for the latest reviews and best deals delivered straight to your inbox every month. Join now and you will also receive my 40 Ultimate Michael Brecker Licks free!

Select list(s) to subscribe to


Thanks for joining!


NEFFMUSIC PRINTED BOOKS

Testimonials

1 2 3 4 5
I’ve been downloading your lessons for 4 months now (20 lesson) and I have noticed tremendous growth in my playing thus far! I’m so happy that I stumbled upon your site!
Bob
1 2 3 4 5

Thank You Steve. I think that I will be busy for years. Thank You for your great contribution to jazz music. Your books, more than teaching “how to play jazz”, actually teach “how to speak jazz”. I wish I found your methods years ago.  

Jean-Eric
1 2 3 4 5
I have found your videos and publications inspiring and your contribution to the world of saxophone playing is immense. Paul
Paul
1 2 3 4 5
Just a brief note to compliment you on your teaching skills and in particular for the honesty of your lessons.  I am a returning alto sax player in my 50’s and I was looking for a no nonsense, straight to the point kind of guidance. I had intended to email you with a few questions regarding the use of the bis key but then I noticed that there was a lesson on that specific topic and after viewing it,  all my questions were answered. I once took a group lesson with a well known professional sax … Read more
Patrick
1 2 3 4 5
I’m an experienced player in the pop/soul/funk areas of music and, previously, classical.  Over the decades I’ve been playing, I’ve always felt that I could do what I needed in those styles of music.  However, recently I began to feel limited by my use of the same old licks. When I discovered Steve Neff’s website, and heard the audio examples based on the exercises in his books, I realized they were what I needed.  I purchased all of them and have been working on them since.  It’s very hard work… Read more
Paul
1 2 3 4 5
I bought Steve’s dominant bebop book and took a couple of online lesson from him. I really appreciated Steve’s careful listening of what I wanted to get done in a lesson and his clear, concise ideas on next steps to improve my playing and musical interpretation.  His mastering  the Dominant Bebop Scale has lots of exercises to use a scale that addresses the largest percentage of chords I come across in pop/blues music. The dominant V7.  Needless say it has improved my playing.  I teach and a… Read more
Keith
1 2 3 4 5

Steve, just a note to say thanks.

I’ve been playing a long time, but your material, laid out in such a thoughtful way, helps me to understand concepts in a new and deeper way.

You are a true gift to the jazz community.

60 lessons and going strong,

Kevin Ledbetter

Kevin Ledbetter
1 2 3 4 5
Just wanted to send you a quick note to say thank you for being you, your playing, your website and your desire to help others. I’m a professional musician in the US Army and I’ve visited your website almost every day since discovering it a couple of months ago. Your lessons are profound and easy to use. I’ve purchased most of your PDF books and now am starting to delve more into the video and audio lessons.  Thank you for being a great resource!
James
1 2 3 4 5
I just started looking at my lessons and I have to say, dude you are awesome.  I ABSOLUTELY will learn from you!  I started the tenor about 1 ½ yrs ago and have since picked up an alto, and more recently a soprano.  I spend most of the time on the tenor, followed by soprano, and have only gotten to the alto a few times.  I think I’ll be sticking with tenor.  I’m having a great time and hope one day to play well enough to get regular gigs.  I’ve been playing keys for about 35 years (… Read more
Wil
1 2 3 4 5
Just to say thanks for your advice and lessons.  I’ve just read your amazing story.  I really appreciate what you do in regards to teaching.  I have bought a couple of your lessons and frankly they’re undersold.   I’ve learned much more with these two lessons than with 2 years of sax teachers.   Thanks so much………..
Mike
1 2 3 4 5
Hey Steve! I hope you and your family are well.  I’m just writing to say thank you so much for all the resources you have made available to the saxophone community. I have been using your material for many years and I always come back to it… in fact I just took a break from practicing to write this…( reviewing “CreatingModern II-V-I Lines with simple pentatonics”.) I am, and continue to be, one of your raving fans! Blessings to you and your family this holiday season! Wishing… Read more
Gerry Aylward
1 2 3 4 5

Your material is great! I got your New Altissimo Lesson 6 months ago and I have learned more from that than in all my 44 years of playing! I appreciate your down to earth teaching method and I really appreciate the heart that you teach with. I have been a subscriber to your lessons for the past 6 months and I have learned a great deal. Over that period of time I have had some questions and you have never failed to respond. Thanks! I have already recommended your lessons to a number of players in… Read more

Michael Byington
1 2 3 4 5
Your major diatonic patterns book is great. I”m studying the first twenty patterns (first twenty pages) each day with different articulation each day and slowly increasing the tempo each week or so.  There is a noticeable improvement in finger coordination across all keys and its amazing how much more secure I feel on the difficult keys when attempting to play pieces with 5+ flats/sharps. I’m able to sort out the fingerings for these pieces now much more quickly than before, often in one or two … Read more
Geoff
1 2 3 4 5
I just wanted to write a thank you note to you for this website. I play and teach saxophone, but I have always been intimidated by the gear aspect. Your website has helped me become a lot more knowledgable. Your knowledge is staggering! I’m telling all my students about your website. Pierre
Pierre
1 2 3 4 5
I’ve been having ‘ online’  lessons with Steve for a few months now. Being a teacher myself I had had some reservations with the idea at first and the practicalities of it .  Let me just say that my playing has taken a huge leaps forward while studying with Steve and continues to do so.Steve studied with some renowned player/teachers such as Bergonzi and Garzone– this in itself is invaluable but Steve teaches from his own books, which cover a a vast amount of  jazz language. Steve h… Read more
David
1 2 3 4 5
I want to let you know that your instructional material is transforming my playing.  It is an immense pleasure to learn and play now, and I can’t tell you how grateful I am. The instructional material I got from you is by far the best of any I own (and I have over 100 books, DVDs, and what not). I literally can’t thank you enough! Deric
Deric
1 2 3 4 5
I am enjoying your style of teaching, and you’ve done a great job with the videos….good sound quality and well constructed lessons.  Balances the more guitaristic material found on the majority of guitar based programs.  Jazz vocab is what I’m all about at this point in the journey.   I especially dig the fact that you’ve studied with Bergonzi…helps me see his voluminous output in a more  bite sized way.
Milton
1 2 3 4 5
Thank you for all the educational information you provide.  I am a classically trained musician.  Professionally, I am a 4th and 5th grade band teacher.  I have played piano and sax for many years, but now I am starting to gig out more. I have always improvised by ear in the past. I have gotten by with my strong sense of pitch, rhythm and melodic contour. However, I want to go deeper. I want to play with a greater variety of melodic and rhythmic ideas to pull from.  I have studied to gain a … Read more
Ray
1 2 3 4 5
Steve really changed my way of practicing: I got a whole lot of new ideas for my playing the tenor.  His lessons are really helpful, give a lot stuff to practice and give clear answers to complicated stuff.  Steve has a lot of humor and I wish I had laughed so much in my former days with the horn.  All topics, from Blues to Approach note are dealt with clearness that wet ones appetite to play and practice that great ideas.
Uwe
1 2 3 4 5
Thank you so much for the great job you are doing to help further our jazz studies. Though I make my living as a repairer of musical instruments I am a student of jazz and have been fortunate enough to be involved with a big band and a combo for the last several years. As my children began to leave “the nest” I had decided to dedicate the next half of my life to a more serious study of the sax but I didn’t know exactly how I would go about doing this until a friend of mine turned me onto your si… Read more
Jon
1 2 3 4 5

Hello Steve, I’m getting so much out of your lessons and books, amazing how much one may think one knows, there is always a new frontier or new way to view something you think you had somewhat down. You have taken it all to a new level and am so grateful. Your lessons are so down to earth and understandable and clear!  Thanks so much Steve! Cheers, Eddie

Eddie Parente
1 2 3 4 5

Hello Steve,

I just want to say thank you so much for your unbelievable work, it is just mind opening, thanks for sharing it.

Wolfgang from Berlin

Wolfgang from Berlin
1 2 3 4 5
Thanks so much for putting all this great learning material out there. I don’t often have the time to take a lesson with a teacher, so the ability to download lessons is really invaluable. My playing has improved enormously (I think :)) – and the lessons are so varied there’s always something to be inspired by. Incredible value too!
Roger
1 2 3 4 5
For anyone living in remote areas away from live jazz sax teachers, Neff is the way to go. In fact this is a great resource for anyone seriously interested in mastering the sax. I’ve never been disappointed in a lesson.
Oliver
Start
Stop
NextPrev

Featured Video Lessons

  • Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book) Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book)
    Rated 5.00 out of 5
    $19.99 Original price was: $19.99.$14.99Current price is: $14.99.
  • The Secret to Modern Outside Jazz Lines Lesson-Minor The Secret to Modern Outside Jazz Lines Lesson-Minor $9.99
  • Creating Modern II-V-I Lines with Simple Pentatonics Lesson Creating Modern II-V-I Lines with Simple Pentatonics Lesson
    Rated 5.00 out of 5
    $9.99
  • The Best Embouchure for Tone, Intonation and Endurance Lesson The Best Embouchure for Tone, Intonation and Endurance Lesson
    Rated 4.91 out of 5
    $9.99
  • The Secret to Altissimo (no one has ever told you about before) Lesson The Secret to Altissimo (no one has ever told you about before) Lesson
    Rated 4.75 out of 5
    $9.99

Now over 600 video and audio lessons to choose from!

Free Lessons

  • Free Lesson on The New Ultimate II-V-I Primer-Major Keys
  • Free Video Lesson on Mastering Altered Pentatonics
  • Free Video Lesson on Mastering the Blues Scale Volume 1 & 2
  • Free Video Lesson on Mastering the Dominant Bebop Scale and Language Book 1 & 2
  • Free Video Lesson on Approach Note Velocity Book

Recent reviews

  • Bebop Scale-Altered Scale II-V-I Practice Lesson Bebop Scale-Altered Scale II-V-I Practice Lesson by Noah
  • Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book) Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book) by Andy
  • Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book) Mastering the Dominant Pentatonic Sound over a Blues (Digital PDF Book)
    Rated 5 out of 5
    by Russ
  • Creating Modern II-V-I Lines with Simple Pentatonics Lesson Creating Modern II-V-I Lines with Simple Pentatonics Lesson
    Rated 5 out of 5
    by Timothy
  • The Best Embouchure for Tone, Intonation and Endurance Lesson The Best Embouchure for Tone, Intonation and Endurance Lesson
    Rated 5 out of 5
    by Ray Holland

Footer

Recent Comments

  • Steve on Vigilante NYII Tenor Saxophone Mouthpiece
  • Cash Farrar on Vigilante NYII Tenor Saxophone Mouthpiece
  • Dave on Theo Wanne Lakshmi Gold Tenor Saxophone Mouthpiece Review
  • Steve on The Best Saxophone Embouchure: Where’s that Bottom Lip?
  • Steve on “Live” Freddie Gregory Mark IV 7** Tenor Saxophone Mouthpiece

Top rated products

  • Mastering the Major Bebop Scale & Sound (Digital PDF Book) Mastering the Major Bebop Scale & Sound (Digital PDF Book)
    Rated 5.00 out of 5
    $14.99
  • Tune of the Week-Softly as a Morning Sunrise Lesson Tune of the Week-Softly as a Morning Sunrise Lesson
    Rated 5.00 out of 5
    $9.99
  • The Style of Dexter Gordon-Lady Bird Lesson 1 The Style of Dexter Gordon-Lady Bird Lesson 1
    Rated 5.00 out of 5
    $9.99
  • Tune of the Week-Days of Wine and Roses Lesson Tune of the Week-Days of Wine and Roses Lesson
    Rated 5.00 out of 5
    $9.99
  • Tune of the Week-Invitation Tune of the Week-Invitation
    Rated 5.00 out of 5
    $9.99

Product tags

alto sax alto saxophone approach notes audio lesson bebop scale beginner beginner saxophone blues blues licks blues patterns blues scale blues scales diminished scale dominant chords ear training fundamentals II-V-I improvisation jazz improvisation jazz lines jazz patterns jazz sax jazz saxophone jazz standard jazz standards licks Mastering the Blues Scale Michael Brecker modern improv modern improvisation online lesson patterns playing outside practice habits reading music sax basics sax lessons saxophone scales smooth jazz steve neff tenor sax tenor saxophone video lesson video lessons
  • Instagram
  • Facebook
  • Twitter
  • SUPPORT

Neffmusic © 2005–2025