"improvised" alleluia of the same tone simply made by a similar intonation which is also using the plagal fourth A-D under the final note D according to the Carolingian concept of the plagal mode. On folio 131 verso there is another alleluia made of the same intonation, but here the same intonation is rather artificially cut into segments for the words of the sequence «Almifona». Here, the improvised melodic structure developed by a repetitive use of the intonation formula had turned into a sophisticated composition which dealt with the syllables of poetry. A central line, usually on F or G, was added and helped to recognize their horizontal organization, during the 12th century a second line was added until they were replaced by a pentagramm in square notation by the second half of the 12th century. Thanks to Aquitanian cantors the network of the Cluniac Monastic Association was not only a problematic accumulation of political power during the crusades among aristocratic churchmen, which caused rebellions in several Benedictine monasteries and the foundation of new anti-Cluniac reform orders, they also cultivated new forms of chant performance which dealt with poetry, and polyphony like discantus and organum. They were used in all possible combinations which turned improvisation into composition, and composition into improvisation. The imitation of these forms in Spain, and Italy were caused by papal reforms which tried to organize the church provinces in newly conquered territories or territories which conserved older rites, because reforms could hardly be established for a long time. The diastematic notation of Aquitanian cantors and their most innovative use in tropes and punctum contra punctum polyphony which can be also found in the Chartres cathedral, the Abbey Saint-Maur-des-Fossés near Paris, and Fleury Abbey, also influenced the Winchester troper (see its tonary), the earliest and hugest collection of early organum or discantus. Since 1100, the florid organum reproduced the original function of the earlier intonation formula as it can be found in the tonaries. An initial ornament called principium ante principium ("beginning before the beginning") in the Notre Dame school allowed the solistic organum singer to indicate the basis degree of the cantus by an individual intonation in the higher octave, while the finale octave of each section was prepared by an paenultima ornament, which had developed by the "meeting" (occursus) of chant and organum voice. Tonaries of the reform orders During this long period Cluny's power