The first thing I notice is the measure numbers don't make sense. It would help if you added measure number to each bar of your work so the plugin comments would be easier to relate back to the measures.
Some of the terms like "upper focal point" I don't recognize. I think it may mean a repeated highest tone in the line, called the climax sometimes. A general guideline for a melody it to have one climax near or just after the middle of the line. It may be calling out that.
You need to read the documentation, if there is any, for the plug in to understand what those messages really mean. But, honestly, I'm pretty doubtful about this plug in as a counterpoint study tool. It seems like it could be useful if you already know counterpoint methods and can then set the plugin options.
Fux's Study of Counterpoint is the original species counterpoint text. It an undisputed seminal work. It should be a precursor to using this plugin. The first sections on two part counterpoint are not too long. The writing style is conversational (literally, it's a dialog.) The plugin is working according to Fux's methods, even if indirectly through other species counterpoint texts.
Some general observations.
- The tritone in m. 2 or ex. 1, is a strong dissonance, usually avoided.
- M. 1, ex. 2, I understand this is a neighbor tone motion, but in species counterpoint I think you would avoid it as too repetitive. "Variety of tones" is one of the guiding principles. If you allowed for the repeated, return to a tone in
E D E, you would at least expect the other voice to move from
C to something else, and not involve another repeated tone with
- M. 3, ex. 2, you have a direct fifth, normally avoided, then the next thing is a leap to a dissonance with
A in the bass and
G in treble. You don't leap to dissonances, you prepare dissonances.
You might try thinking about counterpoint from two principle aspects: relative motion plus variety of tones. With relative motion there are certain "don'ts" like no parallel perfect consonances, and "does" like similar motion to imperfect consonances, or another "do" like prepare dissonances. Those are all just A to B single progressions, but if you really understand them, you've won half the battle. Then relative motion is continued in accordance with the variety of tone principle. Basically, don't repeat stuff. Don't keep using the same intervals, don't repeat tones, don't do melodic sequences, etc. etc.