When I set out to write a brass quintet, I was determined to use material that only these instruments could play, i.e. it would be idiomatic to the point of not being transcribable to other instruments. This desire was partly based in my frustration with brass literature (and to some degree, music at large), especially for low brass, being arrangements of music written for other instruments. This guiding principle results in all instruments playing pitches derived from the natural harmonic series inherent in finger combinations or slide positions as opposed to “correct” equal-tempered pitches. The gestures performed by the brass instruments are also idiomatic to their instruments.