Mr. Macbeth,
Resonance is one of those words that means something specific to a scientist and of course something much less specific to musicians.  In either sense, however, there are primary resonators and secondary.  The strings of a
violin are outside of the instrument and yet the shape of the inside does effect the sound quality.  That is a secondary resonator.  Of course with an electric or amplified violin, the instrument can be solid body and the amplifier and speaker take the place of the hollow cavity.
  Of course the trumpet is the primary resonating chamber in trumpet playing.  The oral cavity, however, is a secondary resonating chamber, as well as the place we tongue, as well as a passage for the air to get to the
lips.  I don't know if I agree or disagree with most of your ideas about playing the trumpet.  I have a hunch we would agree on a lot.  I do think the shape of the oral cavity does have a noticeable effect on resonance in the sound,  even if the lips are already providing maximum vibration and the trumpet is resonating to its potential.  In other words, the trumpet provides the quantity of resonance more than the quality of resonance.  The size and shape of the oral cavity provides the quality of resonance and to a lesser degree the quantity of resonance.  Interesting topic.

John Daniel
Prof. of Trpt
Penn State Univ.

>This is a rebuttal to the statements that Ed Lewis directed to me in
>which he stated " I personally try not to let my tone change and thus
>avoid the syllables.  However...the tone sounds best when the oral
>cavity is open at exactly the right amount to enhance the resonance."
>Then he goes on to defend his theory.
>
>Mr Lewis, what I understand about resonance is it usually related to the
>developement of a singer or in the bowels of the instrument such as a
>trumpet, violin, piano and etc.  There is no way you can get the
>resonance of the trumpet sound until the air creates a viberation of the
>lips and thats after it passes through the oral cavity.
>
>The theory is as simple as this:  To play the trumpet you have to assume
>the role of a human bellow, push the air between lips that are loose and
>relaxed so you can send a maximum of viberation through the trumpet,
>trombone or any other brass instrument. Then and only then will you get
>a resonance from your horn.
>
>The object of all of this is to be able to play from pedal c to the high
>g, a, and b flats above high c. With the same embouchure.
>Then you can play the music that is written for todays trumpet players
>and not be concerned with whether you can play the parts.
>
>Also this is a system of minimum pressure and because your body is
>relaxed increased endurance.
>"LEARN TO PLAY EFFORTLESSLY AND YOU CAN PLAY ALL DAY." Maggio,
>
>The reason I am answering this rebuttal Mr.Lewis is because that many of
>the players on the internet are students and looking for a better way to
>play and increase their progress.  The reason that I ask that they visit
>my web-site is that in order to get a through outline of the program and
>a better understanding of the system check it out.  See all of the great
>players that were students of Louis Maggio and use the syllable technic.
>
>http.//www.childreg.com/maggio
>
>Sincerely, Carlton MacBeth, Author of the Maggio System.