1.2 Methodology

The research has been carried out in two major blocks, on one hand, there is the theoretical aspect, and on the other, the practical aspect. In them, different methods and research techniques have been employed, always aiming to provide a new approach that expands our knowledge regarding the Wagner tuba today.

Firstly, the aim has been to search for and understand the entire background of the instrument, from the idea to its construction and introduction into the orchestra. The intention is to immerse the reader in the history of the Wagner tuba and provide the necessary historical data to understand issues that are later studied. For this purpose, the well-known technique of the 5 Ws (what, who, when, where, and why) has been used, providing a comprehensive view of the topic. This section has primarily relied on written sources from specialists in the field, such as books, articles, websites, or podcasts.

Secondly, a thorough study has been conducted on the instrument in physical and practical terms, constituting the most in-depth research in this work. On one hand, there is the analysis of the instrument itself, understanding everything related to its construction and providing answers to everything that a person can visually appreciate (construction, lengths, materials, etc.). On the other hand, there is the practical (non-visible) study of the instrument, which aims to address everything related to the practice of playing the Wagner tuba. For this block, various primary research sources conducted by me have been utilized, such as recordings, surveys, or interviews. The objective, of course, is to understand how the instrument works and to identify those points or topics of interest that a horn player wanting to learn to play the Wagner tuba might need to know, thus facilitating the learning process.

Finally, I would like to add that this research, although it may seem obvious, is primarily of interest to horn players since they are the ones who can benefit the most from exploring and learning with the instrument. However, I would not like to limit this research to that minority, as I believe it can also be useful for other areas such as composition or conducting. After all, what this research offers is a comprehensive understanding of how the instrument works, something that a composer, arranger, or conductor can also benefit from.

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