One big difference of improvisers in the Bebop era from earlier Jazz styles was their use of target notes and chromatic approaches to these targets. This book introduces these concepts and gives mandolinists a way to practice to make these sounds a part of their improvising.
Using examples of players such as Charlie Parker, Clifford Brown, Wes Montgomery, Sonny Stitt, Bill Evans and others the book goes into great detail of how targets and approaches were used by Bebop players.