At least this is what I thought at that time. I found it disturbing that this chapter only address musical issues of students who haven't achieved good techniques from the former teacher, but not much about the psychological impact of the change of a teacher. This chapter gives a lot of advises on how to help a student achieve to the highest level of musicianship. For example, developing reading, practicing skills, rhythmic skills. Makes it sound like a transfer student is someone foreign and has to assimilate to fit into your studio.
Every student has their own strengths and weaknesses.
I also don't like the wording Uszler used. Aside from the musical issues, the attitude problem between the teacher and the student is the greatest barrier to effective learning. Treating a new student like a foreigner only diminishes the trust towards the teacher. I think lack of trust is the biggest reason why a student leaves a studio, not because of musical issues.