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Selmer Mark VI Tenor Saxophone

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$3,000.00 Price Tier: Standard

5.0 (2)

1 Critic Review

1 Review

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Page last updated Jul 04, 2026

Pricing and availability

We compare 600+ stores and found this item at 1 store. Prices updated July 4, 2026.

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5.0 (3)

$3,000.00 14 available Used

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Average Price: $3,000

Standard/Professional

$1800

$4001+

Price Tier

In the Tenor Saxophones category, Selmer Mark VI Tenor Saxophone is priced in the Standard/Professional range. This is quality gear at a fair price point, suitable for beginners, hobbyists, and pros alike.

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Standard

High-end

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Description

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The Selmer Mark VI Tenor Saxophone is a revered instrument among professional musicians and passionate amateurs alike. Crafted between 1954 and 1974, this saxophone is celebrated for its exceptional build quality and remarkable tonal versatility, offering everything from warm, velvety lows to bright, crisp highs. Its enduring legacy is marked by an impeccable design that continues to influence modern saxophone construction.

The Selmer Mark VI is particularly esteemed for its ergonomic keywork, which allows for fluid transitions and effortless playability. Players appreciate the meticulously crafted neck and octave mechanism that contributes to its precise intonation and rich harmonic overtones. Many saxophonists regard the Mark VI as not just an instrument but an extension of their musical voice, offering a playability and sound quality that have made it a legend in the jazz world and beyond.

Whether in a concert hall or an intimate jazz club, the Selmer Mark VI Tenor Saxophone delivers a performance that commands attention and resonates with audiences. Its timeless appeal lies in its ability to adapt to a wide range of musical styles, making it a versatile choice for both solo performances and ensemble settings.

Key Features:

Crafted by Selmer, a leading name in professional saxophones
Known for its ergonomic keywork for enhanced playability
Renowned for producing a rich and versatile tonal range
Vintage model favored by jazz and classical musicians
Durable construction and high-quality materials for long-lasting use
Features a meticulously crafted neck and octave mechanism for precise intonation

Product specs

Brand	Selmer
Model	Mark VI Tenor Saxophone
Finish	Lacquered Brass
Year	1970 - 1975
Categories	Saxophones

FAQs

What makes the Selmer Mark VI Tenor Saxophone highly sought after by musicians?: The Selmer Mark VI Tenor Saxophone is renowned for its exceptional tone quality, superior craftsmanship, and responsive action, making it a favorite among professional saxophonists since its production era from 1954 to 1981.
How does the finish on a Selmer Mark VI Tenor Saxophone affect its sound?: The lacquered brass finish of the Selmer Mark VI is believed to contribute to its warm, rich tone, although opinions vary among players. The finish can also affect the instrument's resonance and projection.
Is the Selmer Mark VI Tenor Saxophone suitable for jazz music?: Yes, the Selmer Mark VI is particularly favored in the jazz community for its versatile sound and ability to produce a wide range of dynamics, making it ideal for both solo and ensemble performances.
How does the Selmer Mark VI Tenor Saxophone compare to other models in terms of playability?: The Selmer Mark VI is praised for its comfortable keywork and ergonomic design, which allows for smooth and intuitive playability, making it a preferred choice for many seasoned saxophonists.
What should I consider when purchasing a vintage Selmer Mark VI Tenor Saxophone?: When buying a vintage Selmer Mark VI, consider the instrument's condition, serial number, original parts, and any previous repairs or modifications, as these factors can significantly impact its value and performance.

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Reviews

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Owner Insights

We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Selmer Mark VI Tenor Saxophone.

Build quality

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It's noted that the Mark VI's keywork heavily influenced modern saxophones, with many current models copying its design innovations.
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User experience

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It's noted that no two Mark VI tenors play identically, and finding a truly great one is considered rare and valuable.
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Owners mention a special feel and sound when playing the Mark VI, although recordings reveal little difference across horns.
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Owners express that the Mark VI offers a unique voicing well-suited to the progressive jazz styles of the 50s-70s, providing a break from the preceding big-sax sound.
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A player noticed their 83,xxx Mark VI has a unique punchiness missing from a modern Keilwerth SX90R, highlighting a distinct player feedback and sound characteristic.
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Features and functionality

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The early Mark VI models feature D rings instead of ball joints for side keys, offering a unique mechanical feel.
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The Mark VI was the first saxophone to introduce the tilting Bb spatula, enhancing the ease of movement, although some find the pinky table design remains awkward.
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The robust lower register, especially on C and Bb, is highlighted as a standout feature, even when the instrument needs repairs.
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Comparisons

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Some players note that modern horns have better intonation and ergonomics, despite the Mark VI's revered status.
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Discussions highlight that while the Mark VI is cherished, many newer horns like the Selmer Paris Series III offer superior tone, intonation, and mechanics.
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One user preferred the tonal consistency of their Bueschers over the Mark VI, citing the latter's variability in intonation from top to bottom as a drawback.
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The Selmer SBA is noted for filling the room more effectively compared to the Mark VI, which is described as having a more directional sound.
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Use cases and applications

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Some players find the Mark VI's harmonically rich tone highly adaptable across various styles, making it a versatile choice for jazz musicians.
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Value and pricing

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There is a perception of a "lost magic" in later Selmer Paris models, with many owners seeking the distinctive tonal qualities attributed to the Mark VI.
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A $2500 Mark VI needing $1000 in repairs is considered a good deal, as these saxophones can often sell for significantly more after refurbishment.
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Mods and upgrades

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Neo Pads are being considered as a replacement for the existing pads, implying a focus on enhancing playability.
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Setup and maintenance

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It's advised to ensure the neck is original and check for any neck pull-down or bell damage before purchasing.
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Critic Reviews

Selmer MkVI tenor saxophone review

shwoodwind.co.uk

The Selmer Mark VI Tenor Saxophone, often hailed as a legend, is a mixed bag of history and craftsmanship. It boasts impressive build quality and a rich, confident tone, but inconsistency between individual horns can lead to unexpected surprises. While it shines in jazz settings with its unique character and responsive action, it suffers from mechanical quirks like uneven tone and tuning issues. The wear and tear over decades necessitate careful maintenance. Though not revolutionary, its evolutionary design set a benchmark, yet it remains a sax that demands patience and skill to master.

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5.0 out of 5

Based on 1 Review and 2 Ratings

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ulli_juenemann

over 9 years ago

Selmer MK VI

best horn 4 all kinds of music jazz, classical, pop

Artist usage

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Boney James (James Oppenheim)

Composer, Music Producer

Verified via McGill Music Sax School

In this interview by the McGill Music Sax School, Boney's gear is listed at the bottom of the interview, which states that he plays on a Selmer Mark VI Tenor Saxophone.

David McMurray

Saxophonist

Was (Not Was)

Verified via Photo

In this photo David McMurray is seen with a Selmer Mark VI Tenor Saxophone.

Clare Hirst

Singer, Keyboardist

The Belle Stars

Verified via Muzines

"I play a Selmer Mark 6 tenor sax which is a great instrument. I used to play a Mark 7 but I find this model suits me better. I'm also learning alto and soprano and as soon as the money situation improves I'll be splashing out on those. For keyboards I just use a Casio 202 which is fine for this band. We tend to use the funky clavinet and electric bass settings mostly and so far we've only used it for live work. In the studio I tend to use whatever is available."

Chad Jeffers

Guitarist, Saxophonist

Carrie Underwood Backing Band

Verified via Photo

In this photo you can see Chad with a Selmer Mark VI Tenor Saxophone.

Neal Sugarman

Music Producer

Sharon Jones and the Dap-Kings

Verified via Photo

Visible in this September 6, 2010 photo of Sugarman and as mentioned in this April 29, 2010 KeyboardMag interview with the Dap-Kings.

The gear, techniques, and even the sports metaphors are old school at Daptone. But that’s just how co-owners Gabriel Roth and Neal Sugarman (the latter who plays a Selmer Mark VI saxophone as part of the Dap-Kings) like it.

Jake McMurchie

Composer

Michelson Morley

Verified via Photo

Jake McMurchie uses a Selmer Mark VI Tenor Saxophone. In the image provided by michmorleymusic on Instagram, the saxophone's branding reads "Selmer," and its design characteristics align with those of a Selmer Mark VI.

Steve Gregory

Composer

Eric Burdon & the Animals

Verified via Facebook

"Steve himself told me the story about how on a wet, cold Wednesday evening in early 1984 he received a call through his usual ‘fixer’ to attend the studio ASAP. Session musicians do not have much idea what they are going to be recording until they arrive, and this was the case for Steve and another saxophonist who was ahead of him in the cue. As usual there was a lot of waiting around and the guy infront of Steve threw in the towel saying, ‘it’s only going to be some crappy B side anyway so I’m off’. Steve waited and then discovered that the solo wasn’t that easy to play in the written key, as his old Selmer Mark VI tenor didn’t have a top F# key. So, the engineer slowed the tape down so that Steve could record the solo a semitone lower than intended. Once the tape was put back to the normal speed, a ‘unnatural’ saxophone sound was created that sounded a bit like an Alto in the Paul Desmond vibe, but lacking a bit more depth and darkness to the sound. George Michael had just arrived at the studio and said ‘that’s the one, that’s the sax solo I want’. This could be down to that whole 80?s synth concept where sounds became increasingly ‘manufactured’, or just that George never recognised it was ‘wrong’. Either way, the song became a worldwide hit and the sax solo ranks alongside ‘Baker St’ in the pop saxophonists repertoire."