Polyphony was neither invented at Limoges nor did it appear the first time in the notation of its scriptorium. An oral tradition of a polyphonic performance can be traced back to the time, when the "Musica enchiriadis" had been written, and Adémar was a contemporary of Guido of Arezzo, who described in his treatise "Micrologus" a similar practice as "diaphonia" (discant), which already allowed to sing more than one note against the cantus during cadences ("occursus"). Notated evidence of alternative practices, where the organal voice changes between different strategies of heterophony (parallel and counter movement) and holding notes which support the modal colour of the cantus, can be found as later added exemplification in monophonic manuscripts of the Abbeys in Saint-Maur-des-Fossés, Fleury, and Chartres. One example concerning the tradition of Fleury Abbey is an addition of an organal voice (similar to the organum notation of the Winchester Troper) in a hagiographic Lectionary (I-Rvat Cod. Reg. lat. 586, fol. 87v) for three Mass graduals «Viderunt omnes» (Christmas), «Omnes de Saba» (Epiphany), and «Gloriosus deus» (Fabianus and Sebastianus). The local style of the cantors were counter movement and holding notes with the syntactic structure underlined by occursus endings. The only exception was Winchester Cathedral, where a systematic collection of organa can be found in the troper part—the so-called "Winchester Troper". The earliest polyphony developed in a rather secular context and Cluny played a prominent role in it.