Hey, trumpetguy, I'm a trumpet guy, too, so I understand what you're thinking: "I've gotta be able to play a certain range/have certain trumpet-playing abilities to play lead in a competitive Division I drum and bugle corps. What range/abilities do I need?"
This is the wrong line of thinking, despite what may seem reasonable at first glance. If we can believe what you've posted so far, then range/ability isn't an issue for you. To answer your REAL question (which is "What do I need to do to get into a competitive Div. I drum and bugle corps?"), look to CFI and Leland:
CFI BLOOO wrote:Corps are ALWAYS quick to take the ones that care less about themselves and more about how their personal performance is effecting everyone around them.
That kind of person is usually the most teachable and then best suited for quick success.
Absolutely. A player is worthless to the corps if he or she is damaging the ensemble's sound by being stubborn. It's just as bad as having no skill.
Welcome to the world of ensemble musicianship, where nobody cares what you can do individually, but cares a great deal about the sound of the group. I had very little patience with kids who refused to become part of the hornline's sound.
So you see, it's not about how high or long or loud you can play, dude. Not at all, not in any way. When I marched, I had the capability to play the split part with some ease, and the lead part with some work. But at age 15 my first year, I had no corps experience and only one year of marchng band, so I ended up on the second part.
I stayed there the next two years as well, not because I couldn't handle the other parts, but because that's where they needed me to play to fill out the section's sound. We had a fair number of woodwinds marching soprano, and most of them didn't have ANY range OR experience, so naturally they had to play 2nd. Unfortunately, that left all the chops up on the top two parts, so I and a couple of others moved back down to second to keep our line from being top-heavy. It's not like I didn't have to work hard to keep up my end of things, and no one said or implied or treated me like I was less of a Crossmen for having marched a lower part.
If you go to a corps, and the staff says "We need you on the 8th soprano/trumpet part," and you aren't willing to take it, you're up a creek. You need to understand that many Div. I corps only march ~4-6 lead spots TOTAL in a line of 18-25, and those are often reserved for vets who've already proven themselves in previous seasons.
Listen: the staff of the corps you go to the first time will HEAR your abilities when you play, whether during auditions or during the early rehearsals. They can tell who's missing notes and who can handle the range and who's still got chops four hours into the rehearsal block. That's what they get paid for, after all. Your claimed abilities put you well into the group that will make it past the initial cuts, but they also know that even mediocre players that work hard every day and on their own time will improve dramatically over the course of the season.
What they can't tell from auditions is who is going to BE that hard worker, and who is going to be content with what they've already got, only to be dragging the hornline back in August when they were out front in May. They need to know who can hack it on the road in the dog days of July when you feel like you've been on tour forever, you feel like you've got forever left to go, and will you all please take this one stupid part back to the beginning for the eighteenth time.
WHAT YOU NEED TO DO
1)go to every
camp (and for crying out loud let them know when you're going to miss one and why and you'd better have a good reason!),
2)listen to every word spoken by the staff,
3)keep your own mouth shut (except to ask pertinent questions at appropriate times),
4)do everything they ask you to do (without grousing!),
5)and get better every time they see you.
Be the best worker bee that you can, and your chance in the DCI spotlight will come.