How to Write Māori Music Lyrics

You want to write Māori lyrics that land like a punch and feel like home. You want words that sing naturally in te reo Māori, that respect whakapapa and tikanga, and that make people nod their heads not just because the beat hits but because the language breathes truth. This guide is for artists who want to create Māori music lyrics with respect, heat, and a little outlaw charm. No cultural shortcutting. No lazy Google translate. Real craft, practical tools, and real life scenarios you can actually use.

This article covers tikanga and permission, pronunciation and macrons, grammar and prosody, rhyme and wordplay, melodic mapping, code switching between English and te reo, collaboration workflows, publishing and rights, and exercises to write better Māori lyrics today. I will also explain every term and acronym so you never feel out of the convo. You will finish with templates and a repeatable process you can steal for every song.

Why this matters

Māori language is alive and powerful. When you write in te reo Māori, you are not just picking words that sound cool. You are entering a living cultural practice with history, obligation, and responsibility. A badly done line can feel like a cheap tattoo. A well done line can lift a community and carry stories. We will keep it practical and honest with real examples and scenarios you might encounter on a late night writing session or a booked studio day.

Core principles before you write

• Respect comes first. Learn who to ask when you use iwi specific terms and stories.
• Get language help. Work with fluent speakers and kaumātua which means elders who hold knowledge.
• Honor context. Some words, karakia which are prayers, and whakapapa which is genealogy, are tapu which means sacred and not for casual use.
• Put melody second to meaning at first. Lock the message before fitting it into a beat.
• Be specific. Use place names, time crumbs, everyday objects and personal detail.

Key terms and acronyms explained

• Te reo Māori means the Māori language.
• Māori refers to the indigenous people of Aotearoa which is the Māori name for New Zealand.
• Whakapapa means genealogy or lineage. It is a web that connects people to land and ancestors.
• Kaumātua are elders who carry cultural knowledge and authority.
• Karakia means prayer or incantation. It can be spiritual and is often context specific.
• Iwi means tribe. Hapū means subtribe.
• APRA AMCOS is the Australasian Performing Right Association and Australasian Mechanical Copyright Owners Society. They handle music licensing and royalties. If you want to collect performance and publishing income, you will register with APRA AMCOS in Aotearoa.

Start with tikanga and permission

This part is not optional. Tikanga means cultural protocol and correct practice. If your lyrics reference specific iwi stories, wahi tapu which means sacred places, or tūpuna which are ancestors, you must check with the appropriate people. A common real life scenario is this. You write a raw, emotional chorus about standing on your marae which is the meeting ground. You post it and an elder from that iwi says the words you used are for ceremony and cannot be used in a pop hook. That is avoidable with a two hour check in before release.

Practical steps

1. Identify whether the material is general or iwi specific.
2. If it is iwi specific, contact the appropriate marae, kaumātua, or cultural advisor and ask permission. This is consultation not an ask for permission after the fact.
3. If the material is general, still have a fluent speaker read your lyrics for correctness and nuance.
4. Offer manaaki which means reciprocity. That could be credit, a koha which is a gift, or a share of royalties depending on agreements.

Learn the pronunciation and macrons

Te reo Māori uses long and short vowel sounds. Macron marks show long vowels. Long vowels change meaning. Example: mana means prestige or authority. māna with a long a can mean something different. A songwriter who misplaces a macron can accidentally change the meaning of a lyric and the vibe of a song. Here is a quick cheat sheet.

Vowel sounds

• a as in ah
• e as in eh
• i as in ee
• o as in oh
• u as in oo

Pronunciation tip: vowels are pure. No diphthongs like in some English words. Hold long vowels for longer in melody. That is how the language breathes musically.

Where macrons matter

Macrons are punctuation that show a long vowel. Use them in printed lyrics and metadata. Streaming platforms rely on metadata so if you get the macron wrong your song might show the wrong word in lyric services. If you are unsure, use a fluent speaker or te reo resources to check.

Grammar and prosody in te reo Māori

Prosody means how the rhythm of speech maps to musical rhythm. Te reo Māori is syllable timed. That means each syllable gets relatively equal time. English is stress timed. When you shoehorn English stress patterns onto te reo it sounds awkward. Example scenario. You try to cram a long English style line into a waiata chorus. The words fight the beat and the line becomes a tongue twister.

Tips for prosody

• Count syllables not stresses when you build lines.
• Keep words on simple note values. Short syllables sit best on eighth notes or triplets. Long vowel syllables are great on sustained notes.
• Avoid stuffing clusters of consonants into one bar. The language prefers open syllables often ending with vowels.
• Speak the line at conversation speed and clap the rhythm. Align musical strong beats with natural phrase breaks not with forced emphatic words.

Melody mapping for Māori lyrics

You can write melody in te reo like any language. The key is to let the language sit in the line and not fight the melody. Start by making a vowel pass. Sing on vowels until the line flows. Hold long vowels on longer notes. Put the title word on a singable vowel.

Practical melody exercises

1. Vowel pass. Play two chords. Sing only on ah eh ee oh oo. Record two minutes. Mark melodic gestures that feel natural to repeat.
2. Syllable fit. Say the line and mark each syllable with a clap. Fit notes under claps. Adjust to keep one note per syllable for clarity.
3. Long vowel lift. Where the lyric has a macron, plan a sustained note or gentle melisma to honor the long vowel.

Rhyme, internal rhyme, and assonance

Rhyme works differently in te reo Māori because many words end in vowels. You can use end rhyme, internal rhyme, and assonance which is repetition of vowel sounds to create hooks. Family rhyme which means similar vowel sounds can be powerful. Avoid forcing English rhyme schemes onto te reo lines. Let the rhythm and vowel repetition create the earworm.

Example

Weak English forced rhyme: I love you more than the sea, I will be with you indefinitely.

Te reo flavored rhyme: He aroha tāku ki te moana, ka rere taku wairua ki ngā tona. In this made up line the repeated open vowels and cadence create flow rather than an English AB rhyme scheme.

Code switching between English and te reo

Code switching means moving between languages. It can be a powerful songwriting device if used thoughtfully. Real life example. You write a verse in English and a chorus in te reo. That chorus becomes the anthem. If you use English to explain and te reo to declare, the contrast is magnetic.

Rules of thumb

• Keep each language within complete lines or bars to avoid mid word switches that break flow.
• Use English as scaffolding not as a substitute for meaning in te reo lines.
• Let the chorus be a te reo statement when possible. It gives the song a clear identity.

Imagery and specificity for Māori lyrics

Use place names, wai which means water, maunga which means mountain, and waka which means canoe. But do not use iwi specific names without consultation. Real life scenario. You write a line about your tūpuna and name the ancestral waka. Later you discover that waka names are protected in that context and the community expected a specific protocol. Avoid that trap by using general images or by asking permission.

Good specific lines

• He pō huka on the harbour. The frost of morning on the water. Use sensory images tied to place.
• My tūpuna's jacket hangs on the back of the chair. A small domestic detail that carries weight.
• I leave my keys by the karakia cloth. A line that implies ritual without invoking restricted language.

Writing different Māori music forms

Māori music is multi dimensional. From mōteatea which are traditional lament songs, to waiata ā-rorohiko which are electronic Māori songs, to haka which are ritualized posture chants, each form has purpose. If you want to write a mōteatea style piece, study the cadence and consult kaumātua. If you want to write a Māori hip hop track, learn how to deliver te reo with rhythmic clarity and meet local hip hop communities.

Mōteatea and karakia

Mōteatea are formal and can be sung without instruments. Many are tapu and linked to whakapapa. Do not repurpose mōteatea text without permission. If your song references an ancestor lament, get guidance.

Waiata and popular forms

Waiata are songs and can be contemporary. You can write pop, R and B, soul and rap in te reo. The same craft rules apply. Keep clarity, fit syllables, and respect the cultural context of certain phrases.

Haka and action songs

Haka are ceremonially heavy and are not casual props. If your project includes a haka style chant, work with kapa haka groups and kaumātua. The posture the words demand is as important as the words themselves.

Collaborating with Māori speakers and cultural advisors

Collaboration is non negotiable for most authentic projects. Real life scenario. You book a feature from a Māori vocalist who rewrites your chorus into te reo and then spends a day in calls briefing kaumātua to check the lyrics. They ask for co writing credit and a token of thanks. That is fair. Bring people into the creative process early and pay them for time and knowledge.

How to structure collaboration

1. Draft a concept and a lyric skeleton in English or rough te reo.
2. Bring in a fluent speaker to translate ideas, not just words. Translation needs cultural context.
3. Ask for a review from kaumātua when the lyrics reference whakapapa or iwi specific stories.
4. Create a written agreement about credits, royalties, and koha. If the contribution is creative, offer co writing credit which affects publishing splits through APRA AMCOS.

Publishing, credits, and royalties

When a collaborator helps with language or cultural knowledge and also contributes to melody or wording, they are usually entitled to songwriting credit. Register your splits with APRA AMCOS in Aotearoa so all contributors receive performance royalties. If you pay a cultural advisor for a consultation that does not change words or melody, that is usually a producer or consultant fee not a songwriting split. Be transparent. Contracts protect relationships.

Copyright, sampling, and using traditional phrases

Traditional knowledge can sit outside western copyright systems but still be culturally guarded. Respect requests to not publish certain words or motifs. Never sample a recording of a karakia or haka without permission. If you sample a historic recording, check with archives, iwi, and copyright holders. Think beyond legality to ethics. Your reputation matters as much as a legal clearance.

Practical songwriting workflow

Here is a repeatable process you can use in the studio.

1. Define the core idea. Write one sentence in plain language that says the emotional promise of the song. Example: I am returning home to the harbour to start again.
2. Pick the language balance. Decide if chorus will be te reo, English, or bilingual.
3. Draft the chorus in English. Shape the emotional wording so the core promise is clear.
4. Vowel pass. Sing the chorus on vowels over a loop. Find the melody gestures that feel repeatable.
5. Work with a fluent speaker. Translate the chorus idea into te reo with context and nuance. Ask for at least two alternatives if possible.
6. Syllable fit. Count syllables and fit melody. Adjust to keep one note per syllable when clarity matters.
7. Kaumātua review. If the chorus references iwi, ancestors, or sacred practices, ask for a review from kaumātua.
8. Lock verse details. Use specific images and everyday actions in the verses. Keep the chorus declarative.
9. Record a demo. Test on listeners who speak te reo and those who do not. Ask what they remember.
10. Register credits. Agree splits and register with APRA AMCOS before release.

Examples: Before and after lyric edits

Theme: Coming home after a long time away.

Before English chorus: I am coming back and I feel alive.

After Bilingual chorus: Ka hoki au ki te takutai, I come back and I breathe. The te reo line gives a sense of place and the English line gives immediacy.

Theme: Promise to keep a memory safe.

Before English line: I will keep your memory forever.

After Te reo aware line: Ka mau tonu tō ingoa ki roto i aku manawa. This means I will hold your name inside my heart always. It carries poetic weight and fits the vowel driven melody.

Songwriting exercises specific to Māori lyrics

The pepeha pass

Write a short four line pepeha. A pepeha is a way to identify yourself through mountain, river, canoe, and ancestor. If you are not connecting to your own pepeha, create a fictional one that is clearly fictional. Do not borrow a real iwi pepeha without permission.

Object and action drill

Pick one wai which means water object like a pounamu pendant or a kete. Write four lines where that object moves, breathes or watches. Use te reo vocabulary for verbs where possible. Ten minutes.

Syllable map drill

Take a two bar loop. Write a te reo line. Clap each syllable and match one note per clap. Repeat until the line sings without strain.

Common mistakes and quick fixes

• Using Google Translate. Fix by consulting fluent speakers and translators who understand cultural nuance.
• Forcing English rhythm onto te reo. Fix by counting syllables and reworking melody for even syllable timing.
• Arguing over credit late. Fix by deciding splits early and putting agreements in writing.
• Ignoring kaumātua. Fix by asking for guidance early and framing the ask with respect and reciprocity.

Real life scenarios and scripts

Scenario 1: You want to reference an iwi legend

Script to open the conversation: Tēnā koe. I am working on a song that references the story of your iwi about the taniwha of the river. I would like to ask if I can use this story and what protocol you recommend. I am prepared to meet, listen, and offer koha. This is not a quick ask. I want your guidance. Thank you. Then be ready to listen and follow their direction.

Scenario 2: A fluent speaker rewrites your chorus

Real talk: They might ask for co writing credit. The fair response is yes and thank you. Discuss splits and register with APRA AMCOS. Pay their session fee and offer a koha if appropriate. This keeps things honest and professional.

Scenario 3: You want to use a karakia line

Ask kaumātua before using any karakia. Some karakia are private to families or contexts. Expect to be asked not to use them. Honor that. If you want ceremonial language in the song, ask for an appropriate text that can be shared publicly or a blessing to compose new lines with guidance.

Resources and learning tools

• Local kōhanga reo and Māori language classes for immersion in te reo.
• Online dictionaries with macrons like Te Aka Māori Dictionary which is a reliable reference.
• Workshops with kapa haka and Māori music organisations to learn vocal techniques and cultural dimensions.
• APRA AMCOS for publishing and royalties and their resources on credits and splits.

Checklist before you release a Māori language song

1. Do I have a fluent speaker review?
2. Have I checked whether any line references iwi specific stories or places and do I have permission?
3. Are macrons correct in my lyrics and metadata?
4. Are credits and splits agreed and registered with APRA AMCOS?
5. Have I given koha or negotiated compensation for cultural advice?
6. Did kaumātua sign off on sensitive content?

Voice and attitude notes for recording

Māori singing often carries clarity and breath. Lead vocals can be intimate and precise or wide and communal depending on the song. For haka inspired sections, rhythm and posture matter. For waiata pop hooks, keep vowels open and double the chorus for a big finish. Record a spoken take and then a sung take to capture natural prosody first.

Keeping your art honest and alive

Writing Māori lyrics is a gift and a responsibility. If you approach it with curiosity, respect, and a willingness to learn you will make work that matters. Be bold in your expression and humble in your process. That combination is magnetic. People will feel it. Communities will too.

FAQ

Do I have to be Māori to write in te reo Māori?

No. Non Māori artists can write in te reo Māori. Still, you must do the work. That means learning the language, consulting kaumātua for culturally sensitive material, and compensating contributors fairly. Approach with respect and avoid exploiting cultural content.

How can I make my te reo pronunciation sound natural when I sing?

Study vowel sounds and practice with native speakers. Sing slowly and focus on pure vowels. Record spoken versions and match the melody to natural speech rhythm. Work with a vocal coach who understands te reo when possible.

What if I do not know my pepeha or whakapapa?

You can write personal songs using universal images and fictional pepeha clearly marked as fiction. Do not appropriate someone else’s pepeha or whakapapa. If you want to connect to a community, ask and be transparent about your intentions.

How do I register my song and credits in Aotearoa?

Register song splits and writer credits with APRA AMCOS so performance royalties are paid correctly. If you have co writers who are cultural advisors and contributed creatively, register them as writers. If you paid someone only for advice and they did not write text or melody, classify that as a consultation fee and document it.

Can I use ancient waiata text in a pop song?

Maybe. It depends on who owns or guards that waiata. Many traditional texts are tapu. Seek guidance from iwi and kaumātua. Some work will be open for adaptation when permission is given and proper protocols are followed. Always document permission and offer reciprocity.

How do I translate a great English chorus into te reo without losing the hook?

Translation is not word for word. Work with a translator who can capture the emotional intent and craft lines that sing. Keep the core idea and allow the te reo phrasing to find its own melody. Often the result becomes stronger because the phrasing is native to the language.

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