Drawn from a series of articles that he previously published in the Banjo Newsletter, Josh Turknett offers some helpful ideas about beginning and improving one's banjo playing (as he says, much of his text also applies to other instruments). He argues that good practice techniques are essential, and he suggests some ways of getting more bang for the buck out of practice sessions. Talent, he claims, is overrated; more important is laying down a foundation of good techniques. Failures should be regarded as feedback, to be welcomed rather than feared. And as many others besides Turknett have emphasized, being able to play slowly and accurately is a necessary precondition for playing well at higher tempos.
Turknett's comments about musical notation are especially interesting. While recognizing that musical notation (tablature for most banjo players) has its place, he prefers the aural tradition. When a person learns a tune from notation, the brain creates a connection between visual markings on a page and the movement of the player's hands. In contrast, when a tune is learned by ear, the brain establishes a connection between the sound of the tune and the movement of one's hands. Not only is the latter much easier to remember; it's vital for successful participation in a jam session. The goal would be to develop the ability to play any tune that one can hear in one's head, and to improvise as well.
Turknett suggests some ways of breaking bad habits by establishing better ones, and he presents some good ideas on how to improve one's ability to play by ear. It's not clear, however, that those who continue to learn their tunes from tab will be able to transition away from it to purely aural memories by using Turknett's recommended procedures.
The author, a neuroscientist, perhaps naturally cloaks much of his advice in the language of his profession, but this seems mostly to be a marketing gimmick. After all, instead of saying that a particular practice routine establishes an automatic neural network in the brain, you could say that it establishes a firm habit. Earl Scruggs managed to convey that notion in his classic instruction book published 50 years ago, and Scruggs did not hold a medical degree.
If you are a devotee of musical instruction books, you probably won't find much new in this one, but it doesn't hurt to be reminded of the important basics more than once, and to have them collected all in one place. Since this book is a useful reference, however, the absence of both a table of contents and an index is lamentable.