Selmer Mark VI

Selmer Mark VI tenor saxophone Concert model with high F#, right hand G#, D to E flat trill and C to D trill using the palm key E flat

The Selmer Mark VI is a saxophone that was made from 1954 to 1974. The Mark VI was introduced in 1954 and was available in sopranino, soprano, alto, tenor, baritone and bass saxophones for nearly 20 years, until the introduction of the Mark VII model in 1975. There were no Mark VII sopraninos, sopranos, baritones, or bass saxes, as these continued to be the Mark VI design until introduction of the Super Action 80 saxophones. There are reports of a select number of baritone saxophones labeled as Mark VIIs but these horns are of the same design as the Mark VI. The entire line of Selmer horns was not updated until the introduction of the Super Action 80 series in 1980.

All Mark VI saxophones were manufactured in France. After manufacture, instruments designated for the British/Canadian or American markets were shipped unassembled and unengraved to their respective markets for completion. The style of engraving on the bell of the instrument is an indicator of the place of assembly.

Eric Marienthal playing his Selmer Mk VI tenor saxophone
Bell of a Selmer Mark VI alto saxophone in the 80,000 serial number range.

The French-assembled Mark VI engraving is usually of a butterfly and floral motif, and the engraving typically extends to the bow. Some French-assembled Mark VI's lack any engraving other than the brand stamp. Nickel or silver-plated keys with a lacquer-finish body were offered among the French-assembled horns.

The British/Canadian Mark VI's often have a symmetrical medallion engraved on the front of the bell, and a design reminiscent of the chambered nautilus along the sides of the bell.

American-assembled Mark VI's have floral or scroll engraving, not extending to the bow.

The design of the Mark VI evolved over time. Switching over from its predecessor, officially named the Super Action, but also called the Super Balanced Action, Selmer's earliest Mark VI models were transitional, incorporating design elements from both the preceding and the current saxophone. Tonally, early examples are considered to have a "dark" tone, while later examples are thought of as having a "bright" sound. The bore taper, bow, neck designs, and some mechanical features changed throughout the history of the Mark VI.[1] The changes were not documented by Selmer. The length of the bow was increased on altos during the 90K serial number range to address certain intonation issues. In subsequent years the short bow was reintroduced. Some altos had baffles soldered into the bow to correct intonation issues. At least three changes to neck design were made on the tenor during the 1950s and 1960s, and once again in the 1970s. Some contend that the neck design changes account for the different tonal and playing qualities between earlier and later Mark VI's. Others contend that Mark VI's produced after about SN 180,000 had harder metal as a result of a change in the metalworking process.

Latter-year Mark VIs gained a reputation of being lower quality than early versions (possibly due to Selmer's higher annual production output of the popular saxophone), leading to a greater demand of early-year Mark VIs with a five-digit serial number. A description of the assembly and quality control process at Selmer USA during the 1960s indicates that different quality Mark VIes were sold through different channels; the top tier was offered to musicians under contract to Selmer ("Selmer Artists"), the second tier went to pro dealers in major markets, and the third tier went to the general market.[2] The best assurance of the quality level of any given Mark VI may correspondingly be its known sale history.

The high F key also shows up on various serial number ranges, though some players believe that instruments without the high F key have better natural intonation. During the mid-1960s optional keywork was offered, including the rare 'Concert' model with a high F#, right hand G#, D to E flat trill key and C to D trill key using the E flat palm key. There are also somewhat rare low A alto and baritone models. The timbre on this instrument is very nice. The low A baritone is especially sought after, whereas the low A alto model is somewhat less desirable (which presumably suffered intonation issues). Nonetheless, Ornette Coleman played a low A alto.

The quality and ergonomics of the keywork design of the Mark VI can be observed in current saxophone designs: most modern saxophones have keywork that is more or less identical to the basic Mark VI design.

Urban legend

Some claim, offering completely no evidence, that early postwar Selmers were manufactured using recycled World War II artillery shell casings, accounting for the tonal qualities of those horns. A variation of that story involves recycled churchbell bronze being used for shell casings (never mind that bell bronze is a different alloy from brass, unsuitable for shell casings), and eventually finding its way into Selmer saxophones.[3] Jerome Selmer has stated that such stories are not true. Postwar Selmer saxophones were manufactured from the same industry standard "cartridge brass" stock as most other saxophones.

Years of production by serial number

The "Official" Serial number guide issued by Selmer was not exact and Selmer never meant for it to be so. There can be as much as an 18-month (+/-) variation in actual production dates. This has been verified by original owners with receipts of their instruments showing purchase dates earlier than they would have been produced according to this chart. An example exists of an 89,000 series instrument sold in 1959. Some uncertainty surrounds the process and actual timing of the transition from Mark VI to Mark VII altos and tenors. Mark VI examples in the 236,000 (1975) serial number range challenge the 231,000 Mark VII change-over. One hypothesis is that the announcement of the transition in Selmer's 1974 literature was premature. Another is that Selmer produced both the Mark VI design and early Mark VII horns concurrently, or possibly until the existing parts for the Mark VI were used up. Reported early Mark VII examples have Mark VII keywork on Mark VI type body tubes.

The Mark VI Soprano, Baritone, and Bass models were produced from 1954-1981. It is possible to find confirmed examples of these instruments in the serial range of # 55201-365000. The Mark VI Sopranino model was produced from 1954-1985 and can be found within the serial number range of # 55201-378000. The Mark VI was succeeded by the Mark VII, which was produced as alto and tenor saxophones only.


External links

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