In keeping with the custom of singing Marian hymns at the Offertory, the choir will sing Alma Redemptoris Mater. This is one of the four seasonal liturgical Marian antiphons sung at the end of Compline (the other three are Ave Regina cælorum, Regina cœli and Salve Regina). As you can see, the other three emphasize Our Lady’s queenship. Alma Redemptoris Mater speaks to her maternity. It is sung at Compline from the first Sunday of Advent until the feast of the Purification, February 2^nd. 

After the long wait, it’s now finally time for Christmas music!

During Advent, we sang O come, O come, Emmanuel several times as the processional. Now, we will sing O come all ye faithful. At the Communion, the choir will sing Tomás Luis de Victoria’s setting of O Magnum Mysterium, which, as you will recall, is the responsory to the 4^th lesson from Matins of Christmas.

We will sing the propers for the Sunday, and will sing Mass II (two), which is customary during Christmastide.

Grace Notes: Why we sing what we sing

Sunday within the Octave of the Nativity

In keeping with the custom of singing Marian hymns at the Offertory, the choir will sing Alma Redemptoris Mater. This is one of the four seasonal liturgical Marian antiphons sung at the end of Compline (the other three are Ave Regina cælorum, Regina cœli and Salve Regina). As you can see, the other three emphasize Our Lady’s queenship. Alma Redemptoris Mater speaks to her maternity. It is sung at Compline from the first Sunday of Advent until the feast of the Purification, February 2^nd. 

After the long wait, it’s now finally time for Christmas music!

During Advent, we sang O come, O come, Emmanuel several times as the processional. Now, we will sing O come all ye faithful. At the Communion, the choir will sing Tomás Luis de Victoria’s setting of O Magnum Mysterium, which, as you will recall, is the responsory to the 4^th lesson from Matins of Christmas.

We will sing the propers for the Sunday, and will sing Mass II (two), which is customary during Christmastide.

Part of singing the Divine Office is to chant The Magnificat each evening at Vespers. And, of course, an antiphon is chanted both before and after. Beginning on December 17^th, and continuing until December 23^rd, seven very particular and very ancient antiphons are used. They are referred to collectively as the Great Antiphons. Each starts with the exclamation, O, and then refers to Our Lord by a particular title (for example, O Wisdom, or O Dawn). For this reason, they are also known as the O Antiphons. (Note that these antiphons form the basis for the popular hymn, O Come, O Come, Emmanuel.)

Customarily, at the Offertory, we sing hymns dedicated to Our Lady, but at the Communion, we would normally only sing hymns dedicated to Our Lord. Today, we will do otherwise. The O Antiphon for today, December 23^rd is O Emmanuel. We will sing that antiphon, then sing The Magnificat, then, naturally, we will repeat the antiphon. Taken together, they are too long for the Offertory, and so we will sing them at the Communion.

The Vigil of the Nativity

Given that the Vigil of the Nativity does not fall on a Sunday, we will not sing the Asperges. And since we will not sing the Asperges, we will be able to commence immediately with the Introit, which we will sing in lieu of a processional. It is the final day of Advent, so we will sing Mass XVII for the last time (until Lent). And, of course, the organ will not be used.

Unlike during Lent, that other penitential season, the Alleluia is sung on Sundays and Feasts during Advent. On most other days during Advent, however, there is no Alleluia, and the rubrics for today’s Mass specify that the Alleluia is to be sung only when the Vigil of the Nativity falls on a Sunday. Thus, we will proceed directly from the Gradual to the Gospel.

The Nativity

Since Christmas does not fall on a Sunday, the Asperges is not sung, and so the Introit will be sung as the processional. We will leave Mass XVII behind until Lent, and will sing Mass II (two), which we will sing throughout the Christmas and Epiphany seasons. During that same period, we will sing Credo III, which, musically speaking, works nicely with Mass II.

Because Christmas is such a great feast, the choir of mixed voices will sing polyphonic pieces at both the Offertory, and the Communion. Noteworthy: At the Communion, we will sing the great piece O Magnum Mysterium, by Tomás Luis de Victoria. This piece takes its text from the Responsory that is sung after Lesson IV of Matins.It is customary at St. Anthony’s, to sing Angels we Have Heard on High as the recessional, and so we will continue with that tradition.

The Third Sunday of Advent

Today, known as Gaudete Sunday (because Gaudete is the first word of today’s Introit), is one of only two days during the year when the priest wears rose-colored vestments – the other being Laetere Sunday, during Lent. Normally, the organ is not used during Advent and Lent, but it is permitted on these same two days, Gaudete Sunday and Laetere Sunday.

Our main consideration in choosing hymns for today is the liturgical season, which, of course, is Advent. English-language hymns are not permitted during a sung Mass but they are permitted for the processional and recessional (neither of which is during the Mass), so we will sing O come, O come, Emmanuel as the processional, and Hark, a Herald Voice is Calling as the recessional.

The offertory antiphon is quite short today, which leaves a bit of time for a longer hymn. The Schola will sing Rorate, Caeli Desuper.At the Communion, the mixed choir will sing a version of Veni, Veni, Emanuel that alternates between the Gregorian and a 4-part harmony.

The Feast of the Immaculate Conception

You may have noticed that we did not sing a processional hymn for the feast of the Immaculate Conception. Why is that? Because we did not sing the Asperges. And why is that? Because the Asperges is only sung on Sundays. When the Asperges is sung, the Introit is sung subsequently. When there is no Asperges, there is no need to wait to sing the Introit. The Introit itself is a very fitting thing to sing during the procession and so on days when the Asperges is not sung, we will sing the Introit as the processional.

At the offertory, we sang the hymn, Tota Puchra Es in honor of Our Lady’s Immaculate Conception. The hymn is based on the Song of Songs and begins, Thou art all fair, O Mary, and there is no stain in thee. Almost exactly the same words appear in the Alleluia for the day: Tota pulchra es, Maria. Et macula originalis non est in te.

Normally, during Advent, we sing Mass XVII, but for this special feast, we sang Mass IX, which is used on feasts of the Blessed Virgin.

The Second Sunday of Advent

The world sings Christmas carols during Advent. But, in fact, that is not fitting. Advent is its own Liturgical season, and so it is fitting to sing hymns related to the Coming of Our Lord, and not hymns in which He is already come. We will save the carols for after Christmas.

The commons of Mass XVII are sung during both Advent and Lent. Mass XVII has two different versions of the Kyrie to choose from, A and B. We always sing A during Advent and B during Lent. That choice is completely arbitrary.

Grace Notes: Why we sing what we sing

The Feast of the Immaculate Conception

You may have noticed that we did not sing a processional hymn for the feast of the Immaculate Conception. Why is that? Because we did not sing the Asperges. And why is that? Because the Asperges is only sung on Sundays. When the Asperges is sung, the Introit is sung subsequently. When there is no Asperges, there is no need to wait to sing the Introit. The Introit itself is a very fitting thing to sing during the procession and so on days when the Asperges is not sung, we will sing the Introit as the processional.

At the offertory, we sang the hymn, Tota Puchra Es in honor of Our Lady’s Immaculate Conception. The hymn is based on the Song of Songs and begins, Thou art all fair, O Mary, and there is no stain in thee. Almost exactly the same words appear in the Alleluia for the day: Tota pulchra es, Maria. Et macula originalis non est in te.

Normally, during Advent, we sing Mass XVII, but for this special feast, we sang Mass IX, which is used on feasts of the Blessed Virgin.

The Second Sunday of Advent

The world sings Christmas carols during Advent. But, in fact, that is not fitting. Advent is its own Liturgical season, and so it is fitting to sing hymns related to the Coming of Our Lord, and not hymns in which He is already come. We will save the carols for after Christmas.

The commons of Mass XVII are sung during both Advent and Lent. Mass XVII has two different versions of the Kyrie to choose from, A and B. We always sing A during Advent and B during Lent. That choice is completely arbitrary.        

Why did we sing THAT today?

That is a good question! Sometimes, the answer is obvious, and sometimes, not so much. It’s a question we hope to answer each week before it gets asked.

Much of what we sing is determined by the liturgy. On the other hand, much of what we sing is discretionary. Today, there are two interesting things about the music, both of which are discretionary, and both owing to the fact that it is the First Sunday of Advent.

First, there is an optional bit of chant that is sung prior to the Introit. It is not part of the liturgy, per se, and so you won’t find it in your missals. It is used to introduce today’s Introit, and, in effect, to introduce the entire liturgical year of Gregorian Chant. Here is a translation of the words:

When the most holy Gregory poured out prayers to the Lord that He might surrender to him from above a musical gift in song, then the Holy Spirit descended upon him in the form of a dove and enlightened his heart to such a degree that at last he began to sing saying thus: Ad te levavi… (continue with the Introit).

The other interesting thing we will sing today is the Dies Irae. This great poem is normally associated with the Requiem Mass. So why sing it today? Because originally, it was the Sequence for the First Sunday of Advent. Once upon a time, many Masses had Sequences. These days, only five Masses do: Easter, Pentecost, Corpus Christi, Our Lady of Sorrows, and the Requiem.

The theme of the Dies Irae is Judgement Day and the Second Coming of Our Lord. Recall that Advent is not only about preparing for the First Coming of Christ, but it is also (as is evident from the Gospels throughout Advent) about preparing for the Second Coming.

Although the Dies Irae is no longer sung as a Sequence on this day, we will sing it as a hymn, at Communion.

What we must choose

For each Sunday, we must choose:

• The Propers
• The Ordinary
• The Credo
• Hymns
  • The Processional
  • The Offertory hymn
  • The Communion hymn(s)
  • The Recessional

In many instances, there is no decision to be made. It is simply a matter of determining what is prescribed. Otherwise, consideration must be given to many other factors.

The Propers

The Schola sings all of the full Gregorian propers as contained in (the 1962 edition of) the Liber Usualis. These propers consist of (according to the season):

• Introit
• Gradual (or Tract or first Alleluia)
• Alleluia (or second Alleluia)
• Sequence (rarely)
• Offertory antiphon
• Communion antiphon

The Ordinary and Credo

Traditionally, the Ordinary and Credo are sung at St. Anthony’s ad alternatim, alternating between the Cantors alone, and the Cantors, the Schola, and the Congregation, all together. 

St. Anthony’s has a fairly rich repertoire in singing the Ordinary, singing the following capably:

• Asperges (or Vidi Aquam)
• Mass I
• Mass IV
• Mass VIII
• Mass IX
• Mass XI
• Mass XVII (both Kyrie A and B)
• Mass XVIII
• Credo I
• Credo III
• Credo IV

Hymns

Customarily, at St. Anthony’s, the congregation sings the Processional and Recessional. Normally, they do not sing the Offertory and the Communion. [My preference is that only the schola or choir sing during the Mass, and so I avoid hymns the congregation would likely sing. Note that this is just a personal preference.]

Typically, the Processional and Recessional are sung in English, although this is by no means required. On the other hand, for a sung Mass, necessarily, the Offertory and Communion are sung in Latin.

The Choir, consisting of male and female voices, sings polyphonic works, typically, on the first and third Sundays of each month. This varies from time to time according to the availability of the members of the Choir and according to the Liturgical feast. In general, the Choir will be expected to sing on all great feasts, regardless of the Sunday during the month on which they occur.

At times, the Offertory and Communion are Gregorian melodies, sung by the Schola. At other times, the Offertory and Communion are sung in several parts by the Choir.

Choosing which hymns will be sung is complicated by the fact that there are a lot of considerations. 

Choosing which hymns will be sung for the Processional and Recessional is simplified by the fact that we are fairly constrained by the small number of possibilities offered in our hymnal.

As to the Offertory and Communion, though the number of hymns in the hymnal is small, there are other possibilities for sheet music. In any event, the repertoires of both the Schola and the Choir continue to grow and offer greater possibilities.

Considerations in choosing the music

A number of factors influence the choice of music for a given Sunday. These factors include:

• The liturgical feast
• The readings and propers of the day
• The liturgical season
• The calendar month
• Musicality
• Timing

The Liturgical Feast

The propers are sung as prescribed by the Mass of the day. Beyond that, at St. Anthony’s, we typically sing the following Masses on the Sunday following the feast, in lieu of the prescribed Sunday Mass:

• The Sacred Heart
• Corpus Christi
• Pope St. Pius the X 
• St. Anthony
• Holy days of obligation that fall during the week

Though we have not yet done so, it is permitted to solemnize the Feast of Sts. Peter and Paul on the Sunday following the feast.

The particular Liturgical feast should certainly also influence the selection of the Ordinary. So, for example, if a Marian feast (such as the Assumption) should fall on a Sunday during the time after Pentecost, it would make sense to sing Mass IX.

The Liturgical feast of the day should also influence the selection of hymns. Which hymns, and how many, are determined as much by what is available in the hymnal, or what is in the respective repertoires of the Schola and Choir, as by the importance of the feast.

If a hymn is to be chosen to honor a feast that occurs during the week, it is preferable to honor the feast on the Sunday following the feast rather than the Sunday before.

The Liturgical Season

The Liturgical Season plays a prominent role in the selection of the Ordinary. In some instances, the choice is suggested by the Church. In other cases, we have made selections from various alternatives proposed by the Church.

• Advent Mass XVII (customarily, at St. Anthony’s, Kyrie A)
• Christmastide Mass II
• Epiphany Mass VIII
• Septuagesima Mass XI
• Lent Mass XVII (customarily, at St. Anthony’s, Kyrie B)
• Eastertide Mass I
• Time after Pentecost Mass XI (Mass IV for feasts)

The use of either the Asperges or the Vidi Aquam is prescribed, according to the Liturgical season. In any case, they are used only on Sunday. Neither is used if a liturgical event (e.g., a procession) precedes Mass directly.

The Liturgical Season influences the selection of hymns, as well. The Season should be acknowledged in either the processional or recessional, and possibly both. And clearly, where possible, the Season should also influence the selection of the Offertory and Communion.

The Readings and Propers

On major feasts, or during the various liturgical seasons, the scriptures reflect the corresponding feast, and so choosing hymns based on the feast essentially also reflects what is in the readings and propers for the day. On the other hand, particularly during the long period after Pentecost, there is no specific theme for the feast to use as the basis for choosing hymns. It’s useful, in that case, to refer directly to the readings and propers, to choose hymns that correspond to the theme or themes of the readings. It’s especially useful to look at the themes of the Offertory and Communion antiphons when choosing the hymns for those parts of the Mass.

The Calendar Month

The calendar month can also influence the selection of hymns. The following is a list of customary dedications for each of the months of the year.

• January The Holy Name of Jesus
• February The Holy Family
• March St. Joseph
• April The Blessed Sacrament
• May The Blessed Virgin
• June The Sacred Heart
• July The Precious Blood
• August The Immaculate Heart
• September Our Lady of Sorrows and the Holy Cross
• October The Holy Rosary
• November The Poor Souls
• December The Immaculate Conception

Musicality

Because the Mass is a whole, it’s desirable to consider the musical aspects of the various pieces so as to create a certain “musical wholeness”. This primarily influences the selection of the Credo and the Hymns. The following table shows the common pairings we use at St. Anthony’s for the Ordinary and the Credo.

• Mass I Credo I
• Mass IV Credo IV
• Mass VIII Credo III
• Mass IX Credo III
• Mass XI Credo I
• Mass XVII Credo I 

Apart from the liturgical season, the Ordinary (and thus the Credo) are also influenced by the desire for variety, particularly during the long period after Pentecost.

The musical character of a particular hymn must suit its use. Each must have a sound that is fitting, given its purpose, be it Processional, Offertory, Communion or Recessional.

The key signature of the various pieces can also be a deciding factor in choosing hymns. 

Timing

The duration of the Gregorian Offertory antiphon can leave insufficient time for a long hymn, and in some cases, not leave enough time for any hymn at all. This is not usually a problem at the Communion.

In choosing hymns, consideration must be given as to whether or not the Choir will be singing that day.

How it works

The first thing to decide upon is the propers. Usually, this is predetermined, except as noted, above.

The Ordinary is then chosen, with the primary consideration being the liturgical season, then, where possible, the desire for variety is taken into account.

Then, the hymns are chosen, according to the Feast, the Season, the Calendar month and general musical considerations as well as the availability of the Choir. 

It is a good idea to refer to what was done in previous years both for A) the solar calendar date, and B) the particular Sunday.

Where there is no clear rationale, we may choose something just because we like it. We might also repeat the same hymn several times to help people learn it.

Grace Notes: Why we sing what we sing.

Why did we sing THAT today?

That is a good question! Sometimes, the answer is obvious, and sometimes, not so much. It’s a question we hope to answer each week before it gets asked.

Much of what we sing is determined by the liturgy. On the other hand, much of what we sing is discretionary. Today, there are two interesting things about the music, both of which are discretionary, and both owing to the fact that it is the First Sunday of Advent.

First, there is an optional bit of chant that is sung prior to the Introit. It is not part of the liturgy, per se, and so you won’t find it in your missals. It is used to introduce today’s Introit, and, in effect, to introduce the entire liturgical year of Gregorian Chant. Here is a translation of the words:

When the most holy Gregory poured out prayers to the Lord that He might surrender to him from above a musical gift in song, then the Holy Spirit descended upon him in the form of a dove and enlightened his heart to such a degree that at last he began to sing saying thus: Ad te levavi… (continue with the Introit).

The other interesting thing we will sing today is the Dies Irae. This great poem is normally associated with the Requiem Mass. So why sing it today? Because originally, it was the Sequence for the First Sunday of Advent. Once upon a time, many Masses had Sequences. These days, only five Masses do: Easter, Pentecost, Corpus Christi, Our Lady of Sorrows, and the Requiem.

The theme of the Dies Irae is Judgement Day and the Second Coming of Our Lord. Recall that Advent is not only about preparing for the First Coming of Christ, but it is also (as is evident from the Gospels throughout Advent) about preparing for the Second Coming.

Although the Dies Irae is no longer sung as a Sequence on this day, we will sing it as a hymn, at Communion.

What we must choose

For each Sunday, we must choose:

• The Propers
• The Ordinary
• The Credo
• Hymns
  • The Processional
  • The Offertory hymn
  • The Communion hymn(s)
  • The Recessional

In many instances, there is no decision to be made. It is simply a matter of determining what is prescribed. Otherwise, consideration must be given to many other factors.

The Propers

The Schola sings all of the full Gregorian propers as contained in (the 1962 edition of) the Liber Usualis. These propers consist of (according to the season):

• Introit
• Gradual (or Tract or first Alleluia)
• Alleluia (or second Alleluia)
• Sequence (rarely)
• Offertory antiphon
• Communion antiphon

The Ordinary and Credo

Traditionally, the Ordinary and Credo are sung at St. Anthony’s ad alternatim, alternating between the Cantors alone, and the Cantors, the Schola, and the Congregation, all together. 

St. Anthony’s has a fairly rich repertoire in singing the Ordinary, singing the following capably:

• Asperges (or Vidi Aquam)
• Mass I
• Mass IV
• Mass VIII
• Mass IX
• Mass XI
• Mass XVII (both Kyrie A and B)
• Mass XVIII
• Credo I
• Credo III
• Credo IV

Hymns

Customarily, at St. Anthony’s, the congregation sings the Processional and Recessional. Normally, they do not sing the Offertory and the Communion. [My preference is that only the schola or choir sing during the Mass, and so I avoid hymns the congregation would likely sing. Note that this is just a personal preference.]

Typically, the Processional and Recessional are sung in English, although this is by no means required. On the other hand, for a sung Mass, necessarily, the Offertory and Communion are sung in Latin.

The Choir, consisting of male and female voices, sings polyphonic works, typically, on the first and third Sundays of each month. This varies from time to time according to the availability of the members of the Choir and according to the Liturgical feast. In general, the Choir will be expected to sing on all great feasts, regardless of the Sunday during the month on which they occur.

At times, the Offertory and Communion are Gregorian melodies, sung by the Schola. At other times, the Offertory and Communion are sung in several parts by the Choir.

Choosing which hymns will be sung is complicated by the fact that there are a lot of considerations. 

Choosing which hymns will be sung for the Processional and Recessional is simplified by the fact that we are fairly constrained by the small number of possibilities offered in our hymnal.

As to the Offertory and Communion, though the number of hymns in the hymnal is small, there are other possibilities for sheet music. In any event, the repertoires of both the Schola and the Choir continue to grow and offer greater possibilities.

Considerations in choosing the music

A number of factors influence the choice of music for a given Sunday. These factors include:

• The liturgical feast
• The readings and propers of the day
• The liturgical season
• The calendar month
• Musicality
• Timing

The Liturgical Feast

The propers are sung as prescribed by the Mass of the day. Beyond that, at St. Anthony’s, we typically sing the following Masses on the Sunday following the feast, in lieu of the prescribed Sunday Mass:

• The Sacred Heart
• Corpus Christi
• Pope St. Pius the X 
• St. Anthony
• Holy days of obligation that fall during the week

Though we have not yet done so, it is permitted to solemnize the Feast of Sts. Peter and Paul on the Sunday following the feast.

The particular Liturgical feast should certainly also influence the selection of the Ordinary. So, for example, if a Marian feast (such as the Assumption) should fall on a Sunday during the time after Pentecost, it would make sense to sing Mass IX.

The Liturgical feast of the day should also influence the selection of hymns. Which hymns, and how many, are determined as much by what is available in the hymnal, or what is in the respective repertoires of the Schola and Choir, as by the importance of the feast.

If a hymn is to be chosen to honor a feast that occurs during the week, it is preferable to honor the feast on the Sunday following the feast rather than the Sunday before.

The Liturgical Season

The Liturgical Season plays a prominent role in the selection of the Ordinary. In some instances, the choice is suggested by the Church. In other cases, we have made selections from various alternatives proposed by the Church.

• Advent Mass XVII (customarily, at St. Anthony’s, Kyrie A)
• Christmastide Mass II
• Epiphany Mass VIII
• Septuagesima Mass XI
• Lent Mass XVII (customarily, at St. Anthony’s, Kyrie B)
• Eastertide Mass I
• Time after Pentecost Mass XI (Mass IV for feasts)

The use of either the Asperges or the Vidi Aquam is prescribed, according to the Liturgical season. In any case, they are used only on Sunday. Neither is used if a liturgical event (e.g., a procession) precedes Mass directly.

The Liturgical Season influences the selection of hymns, as well. The Season should be acknowledged in either the processional or recessional, and possibly both. And clearly, where possible, the Season should also influence the selection of the Offertory and Communion.

The Readings and Propers

On major feasts, or during the various liturgical seasons, the scriptures reflect the corresponding feast, and so choosing hymns based on the feast essentially also reflects what is in the readings and propers for the day. On the other hand, particularly during the long period after Pentecost, there is no specific theme for the feast to use as the basis for choosing hymns. It’s useful, in that case, to refer directly to the readings and propers, to choose hymns that correspond to the theme or themes of the readings. It’s especially useful to look at the themes of the Offertory and Communion antiphons when choosing the hymns for those parts of the Mass.

The Calendar Month

The calendar month can also influence the selection of hymns. The following is a list of customary dedications for each of the months of the year.

• January The Holy Name of Jesus
• February The Holy Family
• March St. Joseph
• April The Blessed Sacrament
• May The Blessed Virgin
• June The Sacred Heart
• July The Precious Blood
• August The Immaculate Heart
• September Our Lady of Sorrows and the Holy Cross
• October The Holy Rosary
• November The Poor Souls
• December The Immaculate Conception

Musicality

Because the Mass is a whole, it’s desirable to consider the musical aspects of the various pieces so as to create a certain “musical wholeness”. This primarily influences the selection of the Credo and the Hymns. The following table shows the common pairings we use at St. Anthony’s for the Ordinary and the Credo.

• Mass I Credo I
• Mass IV Credo IV
• Mass VIII Credo III
• Mass IX Credo III
• Mass XI Credo I
• Mass XVII Credo I 

Apart from the liturgical season, the Ordinary (and thus the Credo) are also influenced by the desire for variety, particularly during the long period after Pentecost.

The musical character of a particular hymn must suit its use. Each must have a sound that is fitting, given its purpose, be it Processional, Offertory, Communion or Recessional.

The key signature of the various pieces can also be a deciding factor in choosing hymns. 

Timing

The duration of the Gregorian Offertory antiphon can leave insufficient time for a long hymn, and in some cases, not leave enough time for any hymn at all. This is not usually a problem at the Communion.

In choosing hymns, consideration must be given as to whether or not the Choir will be singing that day.

How it works

The first thing to decide upon is the propers. Usually, this is predetermined, except as noted, above.

The Ordinary is then chosen, with the primary consideration being the liturgical season, then, where possible, the desire for variety is taken into account.

Then, the hymns are chosen, according to the Feast, the Season, the Calendar month and general musical considerations as well as the availability of the Choir. 

It is a good idea to refer to what was done in previous years both for A) the solar calendar date, and B) the particular Sunday.

Where there is no clear rationale, we may choose something just because we like it. We might also repeat the same hymn several times to help people learn it.