I’m probably not really qualified to say either way, but I doubt it.

FWIW, I found the following forum on this question on a flute player forum (https://www.reddit.com/r/Flute/comments/kafdcs/cupids_bow_lips/). I realize Flute and Trumpet are different, but there are probably some common responses here.

My gut is that your issue is something more common to what I and many others were battling prior to finding WindWorks and other resources which unlocked are understanding of how the trumpet actually works.

I’ve been playing for the past 3 years or so after a pretty long break (20 years, give or take). I never touched High C and my effective range was a G above the staff, an A on a good day. Endurance was very short.

Back in the 80’s, everything was Tongue Arch… Not how the instrument works…

Shape determines Pitch. Air is for Volume and Long Notes.

Experimentation with Passively released air (but a good full, but relaxed breath) and objectively observing how that effects your sound–including your ability to hit the pitches your after will help you refine Shape and achieve your goals on the horn.

I’m still on this journey myself but continue to get to new milestones. Lately, I switched back to a Bach 3C after playing a 1 1/4C and a Bobby Shew Lead mouthpiece (for different reasons). On my 3C lately, I’ve reached a level of ease above the staff of a whole new level. E above high C is rather easy and I get the G more and more without straining.

The “aperture corners” as Greg refers to contract towards the air column, reducing the aperture, which is what causes the pitch to be higher (my understanding).

The lips aren’t buzzing in a flat/linear plane, the part that vibrates is the inner part that touches the air. Visualizing the air column as a 3 dimensional straw as I’m releasing air through the embouchure helps me at times, as does looking down on the leadpipe as I’m releasing the air.

The WindWorks exercises are very helpful as well. Harmonic slurs–making sure to do them both with quality sound at a slow tempo at first, then focusing on speed, and back and forth helped me a lot.

I believe you’ll get there, FWIW, just takes time and an open mind and focusing on RESONANCE / quality of sound and learning how to refine Shape to improve the quality of the resonance/quality of your sound.

Range comes from effiency, not strength/power IMHO. To play loud up high requires some extra wind support/speed. But less air moves through the horn the higher we play, so very little air is required to play a Double G–it’s just a faster vibration, there’s more compression.

My $.02 FWIW. Good luck!