will be several waiata or pao during the course of a speech. Also, a good speaker takes pride in his ability to make apt use of chant quotation. We must hope that this will long be the case, because it is in the preservation of this custom that the greatest hope for the survival of Maori chant lies. If the use of the tauparapara and the waiata should ever lapse on the marae or if action song is allowed to take its place, the Maori people will have lost a vital part of their heritage. Often the tau marae takes the form of a karakia but other recited compositions are also acceptable. Sometimes ngeri are heard and sometimes whakaaraara pa. Usually the tau marae is very short, often a mere fragment of a larger composition and is always recited solo by the speaker. It is only later when he gives his waiata that he is joined by his supporters. Generally the composers of tau marae are not known. The transcribed tauparapara is one of several recorded from Tumua (Sam) Huia of Ngati Te Wehi tribe of Waikato, at Makomako on 3 March 1963. The metre is a basic 2/4 complicated by additional semiquavers. Whakaaraara pa, also known as mataara pa (watch songs or summons to arms) may have originated during the period of inter-tribal conflict long before the coming of Europeans to New Zealand. Archaeological evidence has shown that the fortified village or pa was already part of the New Zealand scene by about 1450 A.D. and by the time Crozet visited New Zealand in 1772, ‘palisaded villages, surrounded by ditches and situated on very high cliffs,’ were thought by him to be the rule. In the areas where most fighting was going on, lookout towers were a part of the defensive system and from time to time during the night, sentries posted upon them would recite watch songs in a loud voice or would beat upon a wooden gong (pahu) or blow a pukaea (war trumpet). Te Rangi Hiroa in The Coming of the Maori (p. 388) says that this was done to show both the enemy and the people within the pa that the watchman was alert, while Elsdon Best in his book The Pa Maori (p. 86) says that a further object was to keep the people in the pa from sleeping too soundly in case there was an attack! These could not have been the only objects, however, because some watchsongs have survived that warn of an enemy's approach or ask an approaching force to what tribe it belongs. Some at least of these songs must therefore have been alarm or challenging songs. As with some other song types there is evidence that mistakes in reciting a watch song were thought to be a bad omen. In the book earlier cited (p. 85) Best quotes a Hauhau watch song that was recited in the Waerenga-a-hika pa during the attack on the place by government troops in 1865. It is said that a watchman was heard to miss some of the words when chanting it, and this omen of ill luck was followed by the fall of the pa. ‘Kia hiwa ra’ is one of the best known of surviving watch songs. The version transcribed in this article was recorded at Painoaiho Pa on 4 June 1958 from Turanga Mauparaoa of Ngati Manawa tribe. Its unusually regular metre should make it easier than most songs to learn.

HE TAUPARAPARA Piki mai kake mai Homai te waiora ki au E tu tehua ana koa Te moe a te kuia nei i te po Na Wairaka i rarua ai E papaki tu ana te tai ki Te Reinga Ka ao, ka ao, ka awatea.

HE WHAKAARAARA PA Kia hiwa ra! Kia hiwa ra! E tenei tuku E tera tuku Kai a-purua koe ki te toto Whakapuru tonu! Whakapuru tonu! Kaore ko au ko au E kimi ana E hahau ana Nga piringa Nga kokonga I nga rae ra piringa Ha koakoa (a) Ka ao, ka ao, Ka awatea. Mervyn McLean has written his last two articles from overseas. He will be returning to New Zealand towards the end of 1967 when it is hoped that his transcriptions will again appear in Te Ao Hou (Ed.).