I absolutely love the Anton Slama book. There are so many studies in here which start like a basic scale exercise, but then take you someplace completely different. Many others are much more like a Bordogni vocalise. Regardless of style, tempo, or key (all sharps and flats found in here!), they always interest me.
In #22, I like to disregard the tempo marking of Moderato in order to get the whole thing done in one breath. Slide position suggestions are useful with a straight horn, but don’t make a lot of sense with an F attachment. The key is to practice difference lines slowly, and frequently switching the target areas, always staying cool and relaxed.