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Along with a concerted effort to commission new works for brass quintet since 1967 the bulk of any brass quintet's repertoire consists of arrangements of pre-existing music. Victor Ewald's four brass quintets are the first serious attempts at establishing a repertoire for the ensemble, though they do not stand up to typical string quartet repertoire of the same and preceding eras. The Chicago and New York Brass Quintets made sustained efforts to commission new works, and much of the original repertoire for brass quintet from the mid-20th century derives from their groundbreaking work. In the 1960s the mantle of creating a repertoire for brass quintet was taken up by the American Brass Quintet and the New York Brass Quintet, with both groups essentially establishing the brass quintet as a part of the chamber music field. Notably, only two brass quintets have ever been awarded the Walter W. Naumburg Chamber Music Award, considered by many to be the highest achievement in brass chamber music: The Empire Brass Quintet in 1976 and The Saturday Brass Quintet in 1990. But it was Canadian Brass that developed the pragmatic approach to repertoire allowed the ensemble to reach a wider audience. They developed a two prong approach to performance, developing a masterpiece approach to repertoire that popularized the brass quintet as an ensemble into what was essentially a "pops" ensemble. Meanwhile, the ensemble has been pursuing an aggressive 45-year commissioning schedule. Though this ensemble is seldom recognized for its achievement in the contemporary sphere, they have created well over 100 newly composed works for brass quintet, though few of the Canadian Brass commissions of original compositions have taken hold in the repertoire of other brass quintets.
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It is generally agreed amongst brass players[ citation needed ] that the tuba is the dominant choice for brass quintets, with the ability to play smaller instruments such as bass trombone or baritone for certain repertoire such as Renaissance. The American Brass Quintet has always used bass trombone instead of tuba, and their extensive commissioning has validated use of this instrumentation. It is not uncommon for composers to write interchangeable parts for tuba and bass trombone to enable both types of quintets to perform their work.
