The score given here of Orlando di Lasso's motet In me transierunt includes the spelling of the notes in the contemporary system of sol fa as well as the rhetorical terms that Joachim Burmeister (1606) gave to different passages in this motet (defined here in the order of their first appearance in the motet):

• Exordium: The introductory part of an oration
• Fuga Realis: Each succeeding voice imitates the melody stated in the first voice
• Hypallage: Contrary motion of the voices
• Confirmatio: In an oration, the proof of the case, confirming or validating what has been put forward
• Hypotyposis: an ornament by which the text is seen to acquire life (such as repeated notes denoting trembling or terror)
• Climax: Repetition of the same motive in stepwise progress
• Anadiplosis: Interlocking imitation between several voice groups.
• Anaphora: A partial fugue involving fewer voices than the full number of parts.
• Mimesis: Imitation.
• Pathopoeia: Arousing affects by introducing semitones that do not belong to the mode of the song (here, the Phrygian mode, to which the F# in measure 41 and the B♭ in measure 43 are foreign).
• Noëma: A homophonic declamatory style.
• Epilogue: The concluding section (or postscript) of an oration.
• Auxesis: When a harmony made up only of consonances under one and the same text while being repeated grows and rises.