Così parlò Frederick Hemke ...... :-leggi-:

Frederick Hemke Appraises the Mark VII Saxophone

For two and a half years, I watched the growth and development of a remarkably innovative Saxophone, the Selmer Mark VII, under the vision and supervision of lean Selmer and the advice of Michel Nouaux, solo saxophonist of the Garde Republicaine Band.

In order to acquaint the saxophonist with this new instrument. a number o technical and mechanical changes demand discussion. but by far the most significant change involve the concept of the new instrument's sound. It is vibrant. full, rich, and gratifying. Moreover, the sound is in uniform with these qualities throughout the entire range of the instrument-a unique achievement. The combination of the new design, a new neck and the new –square chambered S-80 mouthpiece has produced a sound similar to that of its great predecessor, the Mark VI, but with a richer, more controlled, more uniform quality that seems almost effortless to produce. The sound of the Mark VI was beautiful: the Mark VII has neatly refined and enhanced this attribute. While such differences might not he perceived in the beginting student's sound, the accomplished performer will immediately appreciate the subtle but significant change.

The Mark VII has not lost any of the established quality look of Selmer saxophones. but a close examination reveals pertinent mechanical improvements The right hand little finger spatulas of the Eb and C. keys have been redesigned to improve their gliding characteristics. The two keys are now mounted on separate posts and rods, which results in a lighter, easier and faster action. The left hand little finger spatulas have also been redesigned into a larger finger board area. More controIled shifts to low B and Bb are the result .A new height to the high left hand D Eb and F keys places them closer into i the left hand palm and allows a freer. more controllable feel. The octave key has been provided with a new pivot point for easier operation. All of the lower stack rods which provide articulation to and from the left hand little finger, have been mounted on a single arch for a more comfortable left hand feel. The professional saxophonist will also appreciate the elongated and newly shaped right-hand chromatic F# key and the redesigned shape of the right hand high, E and F# keys.

The performer will also notice changes in the body ,calculated to improve the intonation and response. Bore changes create for the performer, a tremendous potential for a room filling exspansive sound.The instrument possesses a richer dynamic: range. from must be the ultimate of pianissimos to a fortissimo more powerful than ever. The neck affects the intonation and production of sound conspicuously enough to allow the sensitive listener as well as the performer to recognize the improvement .To the discriminating musician these differences are substantial enough to cross the line between that which was excellent and that which has been refined into something truly unique.

During the developement of the ,Mark VI I, I worked intermittently !n an advisory capacity with Jean Selmer and his prlzed new instrument, and it has been gratifying to observe how a large instrument cornpanv has not closed its mind and ears to the possibilities of innovation and improvement, Selmer has consistently sought to accommodate The suggestions of those of us who have worked with the instrumenrt They have rernained keenly aware of the performers aesthetic and mechanical needs, and of the listener's fresh musical experience. This will surerly not be the final Saxophone which the Selmer Company will produce. but it is, at present the ultimate achievement in Saxophone design. it truly represents "the state of the art".