1, your situation is not very good, it should be said that the method is wrong! It is likely to make some fundamental changes;

I posted the second and sixth points related to you in one of my articles for your reference:

1), the second point: mouth shape: mouth shape is very important, but it cannot be generalized, let alone absolute.

Trumpet is a musical instrument invented by westerners according to their physiological characteristics, which is naturally more suitable for westerners' mouths. Their lips are introverted, while ours tend to be extroverted. Therefore, first of all, we should tighten our lips against our teeth to change the protruding situation of our lips to adapt to the performance-I often say to students, "First, shape our eastern population into the mouths of westerners." In addition, it should be noted that the size of the finished mouth should be the same as that of the original mouth, which is different from the traditional "pulling to both sides".

Teacher Ji Ruikai said four points in his teaching film, which are reproduced here as follows:

(1), tightening the muscles of the lips.

(2) the lips are close to the teeth.

(3), the original mouth is big, how big the mouth will be after it is made, never open it.

(4) The distance between the upper and lower teeth is the distance between two matches-that is, about two millimeters.

Mouth position: try to be centered in the left and right direction, and the upper and lower positions are preferably three-fifths of the upper lip and two-fifths of the lower lip. It is absolutely necessary to go up and down in half or three fifths. Everything is based on "natural comfort"! There is no absolute right or wrong. Stretch as much as possible when playing alto, relax as much as possible when playing bass, and gather in the middle appropriately when playing treble to reduce the "key".

It should be noted that when playing, try not to squeeze your lips with the bell mouth, and blow the horn with minimum pressure.

2) The sixth point of treble Many friends are always worried about treble. My opinion: success is natural! Don't worry, don't worry. Haste makes waste, haste makes waste, but painting a tiger into a dog. So what should we do? Some precautions:

(1), the "treble" I'm talking about here is aimed at amateur self-taught trumpeters, so the scope is very small, that is, G in the second group of fine print to C and D in the third group of fine print, excluding the third group E in Dancing in the Moonlight by Feng Fengcheng, and not including the last group F in Venice by Marales.

(2) When playing high notes, the mouth shape is very important. Do a good job of mouth shape-the corner muscles are slightly tightened, and the orbicularis oculi muscles are gathered inward, just like tightening a pocket. Make the vent smaller, so that the air velocity and air pressure will increase, thus making a high-frequency sound. If the abdomen is stressed and the air pressure increases, a "treble" can be formed;

(3) You must have the pitch concept of "treble" you want to blow out, otherwise you don't know where your voice has gone, so don't talk about "treble";

(4) Practice bass more and play bass well-I often say to some friends: If you can play bass well, you may play treble well. You can't play bass, and you can't play treble! In fact, in order to generate enough vibration, you need to relax your lips as much as possible.

(5) If you want to make steady progress, you must practice bit by bit. Don't try to squeeze out some unpleasant sounds in pursuit of the "treble" that you haven't mastered yet-the treble should be straight, bright, penetrating and indomitable!

(6), can't have psychological barriers! Often psychological barriers are the enemy of playing high notes! Once you see the sound of an extra line on the score, you will feel scared. If you are afraid, then the sound must not be played well! What shall we do or the old saying goes: step by step. Fortunately, I have long noticed that the etudes of basic textbooks are progressive, and two lines are added without coming up. When you are ripe and mastered, you will not be afraid in your heart, and you will be blown up if you are not afraid. This is dialectics!