Saxology: Times Lie: 5 Saxophones SAATBar & Piano, Guitar (Ad Lib), Double Bass, Percussion Conductor Score & Parts

Ramon Ricker's arrangement captures the laid-back charm of Corea's original concept while giving your saxophone section genuine ensemble writing that sits beautifully across five voices. The optional trumpet and trombone parts expand your casting options without compromising the piece's character, and the jazz waltz/samba trajectory keeps players and audiences engaged throughout.

Times Lie has the unhurried sophistication of a late-night jam session. The waltz section unfolds with gentle swing and harmonic elegance, then shifts into a samba that's groovy without losing its poise. Throughout, there's a sense of musicians enjoying each other's company rather than racing through the material.

This works well for saxophone quintets, community jazz ensembles, and university jazz combos looking to expand beyond standard instrumentation. The optional parts make it adaptable for groups that have trumpet and trombone players but want to lead with reeds.

• Balance the saxophone voices so the soprano and alto lines stay audible above the lower reeds; the tenors and baritone set the harmonic foundation but shouldn't mask the melody.
• Establish a clear tempo grid with the rhythm section before the ensemble enters. The transition between the waltz and samba sections depends on tight ensemble feel rather than metronomic precision.
• Let the piece breathe during the quieter passages. The laid-back quality comes from space and relaxation, not from rushing into the next section.
• Treat the guitar part as truly optional; the arrangement holds completely without it, so use it only if you have a player comfortable with comping in this style.

Pair this with other Corea compositions or with Latin-tinged jazz standards to anchor a set that explores rhythmic and harmonic variety. It works particularly well in concert settings where you want to showcase both your ensemble balance and your rhythm section's sensitivity to style.

• Reading and executing jazz articulation across five saxophone voices
• Comping and harmonic awareness in a Latin jazz context
• Balancing melody and harmony in close-voiced ensemble writing
• Transitioning fluidly between swing feel (waltz) and Latin feel (samba)
• Listening for and locking into groove-based ensemble playing