First, I would like to acknowledge the work of Gordon Mathie author of "Trumpet Teacher's Guide" and "Teleman Duets for Two Transposing Trumpeters". It is his initial research into correcting the errors found in Max Schlossberg's Daily Drills and Exercises that inspired me to look further into this matter.
After using the book for 25 years in my own practice, I investigated the suggested corrections that Mr. Mathie was kind enough to provide. As I began to do so, I found a number of additional errors, which had been initially overlooked. This is certainly understandable, since they were plentiful and time to revise such lists is often limited for teachers. So, I decided to augment his original list and have been using it with my students for several years. When a student commences his work in the book, I usually supply him with a copy of the corrections and encourage him to apply the appropriate changes as soon as possible, so that his work may begin "error free". I would encourage my students to continue the work of updating and expanding the list that I have started.
This book has been the mainstay of trumpet players for decades. All the great trumpet teachers and players have used it as one of the primary texts for constructing their daily warm-up and practice routines. This text has appeared on virtually every required study list at every music school in the country. The popularity of this method attests to its sensible and useful nature.
The question of why a 2nd edition of this text has never been published remains unanswered. Perhaps the common knowledge that the book was a collection of unpublished exercises (hand-written by Schlossberg) compiled by his brother, after his death, offers one reason for this being the case. In an age where new editions of Arban's and Clarke's books have been plentiful (not without their errors), one would hope that such an edition will be forthcoming.
As the culmination 25 years of my own teaching and practice, I hope to publish, in the near future, my own supplements and additions to this most useful text. In the meanwhile, please make the most of what is available in this most useful and time-tested method by applying the corrections that are humbly offered here. After giving a fair try to virtually every fundamental method available to a modern trumpet player (all of which remain in my file cabinet rather than my travel satchel), I still return to Schlossberg as my first and best basic workbook. I hope you will consider doing so as well.
Pete Estabrook B.M., M.F.A