OK that's enough complaining. I'm sorry but you hear a lot of self pity and I can't. I saw Jacoby dismiss a student because he said I can't. He told me that with a negative attitude that the student in question would not make any real progress. And as JAKE had a waiting list someone else got his spot. Was that harsh? YES. However , the music business itself is harsh. If we don't teach that to our students then we are doing them a disservice. Lets say for the sake of arguement that you can PLAY everything in the Arban book. But you are still not reliable in the upper register. Let's look at how you developed your range. From low c to g on the staff you played scales, etudes, songs, ect. From high c to super c you played arpeggios holding the top note. So your lower register was developed by making music and it IS musical. While the upper register was 'developed' by making noise and it is NOT musical. I hope that my point is clear. Arpeggios are only for power. To make music you must play music. Maynard Ferguson developed his range by playing the Arban book an octave up. Jacoby had me use the Williams book. It's the same idea. To be reliable you have to play music. You have to work on tonguing, lip trills, vibrato, phrasing, you know total music. That's what makes Maynard Ferguson, or Bill Chase different. They played musically.
So you say that you have tried all of this yet still the notes don't come out. Then you are not letting the sound out. There are several ways that this can happen. Too much lip compression will roll the lips in so far that the air can NOT come out. Too much pressure on your top lip can pin it and again hold in the sound. Finally Too much lip curl will prevent the notes from coming out. As I said before this is difficult to relearn. In the next part I will include some practice tips for an embouchure change.