Hi, folks!
I'll be addressing the previous postings about buzzing/top vs. bottom lip in another post, but wanted to offer a few ideas about this thread:
First of all, you really can't cheat by using a smaller mouthpiece(though you can _TRY_ to), and those who believe that they can do so without having spent the requisite time on development are deluding themselves....
Let me explain: a smaller diameter rim and shallower cup offer no more advantages to playing in the upper register than does the piccolo trumpet<Avaunt, demon flame throwers!> You really can't play any higher on the piccolo or the smaller mouthpieces than you can on a normally(and properly) sized mouthpiece...
Here is the reason: it actually takes MORE muscularity and control to play the smaller equipment than the larger equipment...at least, with a decent sound, good attacks, and good pitch. Hence, those who attempt to use either the piccolo or smaller mouthpieces for extreme upper range soon find themselves *bottoming out*, applying severe excess pressure, or simply being unable to produce any sound at all.
Younger players, consider this a warning: TINY MOUTHPIECES CAN DO DAMGE TO YOUR CHOPS IF YOU HAVEN'T DEVELOPED SUFFICIENT STRENGTH AND CONTROL TO PLAY THEM!
Sorry for the shouting, but it's a really important concept...Let me give you an analogy: when we first learn to write we learn to write huge letters on wide lines with a very thick pencil....As we gain better control of our fine motor skills, we progress to smaller writing implements and(hopefully) are able to write legibly with smaller sized characters....
You'll find, also, that though some experienced players, particularly those of us who play both sides of the horn(classical/symphonic and commercial/jazz), are able to switch rim sizes when a different tone color is desired, or simply to make the job of playing long hours in the extreme upper register over a loud ensemble...However, I suspect, with a little further investigation you'll discover that these same players are capable of playing in the same range on their larger, symphonic piece as they are with the smaller piece(it just requires a bit more work).....
When it comes to range and _power_ development(which is the _REAL_ issue in so-called *range* development), there is no substitute for proper mechanics, in other words: proper mouthpiece size and placement, proper useage of anatomy and physiology(that is, the use of your body and _how_ you use it), and proper use of air(both in terms of volume/quantity and velocity/speed)...
Once you have learned to play optimally, you should be able to play any style, and any range, in any volume/dynamic, requiring any particular technical demands(such as double or triple tonguing, for example) on _ANY_ mouthpiece....
Until you have spent sufficient time mastering the basics, however, you risk permanent damage to your chops by forcing them to tackle tasks for which they have not been prepared....
Would you send a talented junior high school football player out onto the field with adult, professional linebackers? Maybe he'd do okay for a while(if he could run very fast), but eventually he'd get tackled and the damage would be fatal....
Don't take the risk....Believe me, trumpet playing can be with you for your entire lifetime(I have colleagues and students in their 90's who are still playing and loving it! :^D...), and the time you spend practicing will pay off(and go faster than you'd ever believe possible....)
Patience is a virtue for range and power development, friends, just as it is in so many other areas of life, and a few extra months of rational work-outs will yield far better results than the crutch of a mouthpiece that isn't appropriate to your stage of development....
Returning to the seminary
now.....
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Take Care!
Jeannie