BOH, I think I can help.
I examined this book while looking for a species counterpoint text to use at Stanford University in 1998-2000 (IIRC). I did not choose the book you are considering, but that had little to do with what the book is about. More on my choice later.
About this book: As you probably know, this is another in a long series of strict counterpoint books--like those by Cherubini, Bellermann, Schenker, Schoenberg, Jeppeson, Saltzer/Schachter, etc.--designed to update the study of Species Counterpoint. All the strict counterpoint books by the above authors (and numerous others) are based on "Gradus ad Parnassum," which is a brilliant pedagogical abstraction for learning strict counterpoint, first (largely) expounded by Johann Joseph Fux, and written originally in Latin (Vienna, 1725).
http://en.wikipedia.org/wiki/Johann_Fux 
This pdf book (the "Package" you are asking about) is another Strict Counterpoint book, with some added material at the end. This book is very much like others in it's presentation of Fux's master student dialog. BTW, Strict Counterpoint and Species Counterpoint are terms for essentially the same thing.
My opinion of this package is that 95% of the book is available from your public library by checking out almost any Species Counterpoint manual. The 5% about how it applies to contemporary Rock/Jazz/Blues song writing might be interesting, but IMHO, if you listen to a lot of music, you already have internalized what is there.
As you doubtlessly know, Counterpoint is part of the general study of voice leading, and is most relevant to writing classical music, doing music analysis, and to applications where the style of music is either extremely conservative, or of an extremely "cultivated," type i.e., where we are not talking about songs with improvised bass lines and solo's, one or two primary voices, and rhythmic use of chords on guitars and keyboards without specific written out parts controlling each and every single pitch. Species Counterpoint is about writing lines that work well-together according to something like 30 rules that restrict every aspect of the lines and their interaction, rhythm, range, shape, everything. Chords are simply by-products of the proper use of consonant intervals. Root movement as a concept or expressive tool is non-existent. You start with one voice (line) and then work with two parts, three, four, etc. Dissonance and rhythm are regulated similarly with total strictness. Part of Fux's idea was to teach how to compose in the style of the late Renaissance. His method is a start toward that, but real 16th century counterpoint is much more subtle, complex, and expressive.
In addition, the style of counterpoint (Species) that Fux (and the "Package") teaches is a style that is so constrained that it is essentially useless as a compositional style, though it kind of simulates sacred polyphonic music of the 16th century, but with most of the really graceful stuff and formal/dramatic shape ironed out. It is so harmonically bland, it will shock you, but only for a short while before you stop paying attention.
Study counterpoint if you are interested in the ear training and greater musical awareness it affords. This manual is probably as good as the next. IMHO, counterpoint will not make you a better bassist or better Rock/pop/country/folk/funk/R&B songwriter, compared to simply writing music a lot, listening, recording yourself, and being deeply self-reflective.
So what book did I choose for my Stanford counterpoint students?
"A Handbook of Modal Counterpoint" by Stella Roberts and Irwin Fischer. New York, Free Press [1967].
Sadly, I believe it is out of print. Good, brief, and useable by students. It tries to connect the abstract Species with real Renaissance music to a degree. You can probably find a used copy on Ebay.
