You ought to verb - Hazu in Japanese Grammar

Japanese Plug and Play Ghetto Grammar JPPGG©#103
Verb in Plain Form (P.F.) + HAZU DESU - You ought to . . .
How to say you ought to (_some verb_), in Japanese.
Ought to – HAZU

In Japanese, to say that something is expected to happen, or that something ought to happen, use the following grammar constructions:

Verb in Plain Form (P.F) + HAZU DESU
Verb (P.F.) + HAZU GA ARU
Verb in (P.F.) GA NAI

Both past and present tense cases are present. So all you have to do is plug in some Japanese verb that sounds appropriate and listen to what kind of reactions words get with the native Japanese. You see, you have to test a lot of words out to see if some of the ones you have been learning are even still in use. For as such may occasion be that the word has changed in its colloquial setting or you may find that you don’t yet have a firm and complete understanding of some words. Use this grammar principle next time you want to test out new ways of saying things. Listen to how your words are responded to and with what kinds of words.

Verb(Base TA) + HAZU GA ARU

Examples:

1. IKU HAZU GA NAI DESU *– (He) ought to have left (went) There is no reason for him to go.

2. AYAMARU HAZU GA NAI DESU* – He shouldn’t have to apologize

3. TANOSHIKU NARU HAZU DA – It ought to start getting fun, it ought to be fun. It ought to get better from here on out.

4. ARU JA NAI? Don’t you have one?

5. ARU HAZU YO! – I should have one, or, “It ought to be there”

5a. A little KAIWA to learn by –

Tanakasan (to Miurasan):
“DENSHI DENKI ARU?” –
{Do you have a flashlight?}

Miurasan:”DOKKA MITA YO!
DOKKA NI ARU HAZU DESU.”
{I saw them somewhere!)
(It’s here somewhere for sure}

Other possible inflections of translation for
DOKKA MITA YO!
DOKKA NI ARU HAZU DESU might be -

(“I saw them sitting somewhere) or
(They are here somewhere.)
(They've got to be here. They ought to be here)

Lets end last with a good solid definition of HAZU – Not to be confused with the goby fish or haze because those are some fine tasting fish quite delicious when dipped from tempura batter and fried like shrimp dipped in batter ~ barioishii!

* About nai desu vs. arimasen -

Which of the two phrases nai desu or arimasen is a more polite way of saying that there isn’t such a thing or that none exists? Both are used quite interchangeably but arguably, arimasen is the better choice. Avoiding the plain form of verbs and cheating its elegance of verb formation as in the MASEN of ARU in base II versus a fake and cheap desu ending, although it is a polite form of the verb -to be- makes it a worse choice between the two. Nai is still plain form and aru has been verbalized and conjugates out into arimasen,

* About Osaka Ben or the Dialect of Osaka –

Sometimes you may hear words that instead of masen will say mahen. This is purposefully done to any polite and is Osaka ben. Many people use Osaka ben. It is one of the largest cities in the world. Going 60 km., it would still take you over three hours to get to the heart of the city or downtown to the outskirts. Osaka has a central alley that young people and many interesting things are going on in downtown Osaka. Has a rich reggae fan population as well as surfers in Osaka.

Why Practice and How to do it if you figure that out

I put this here because there are a few points that I could derive on how to practice that is pertinent to the practice of any subject. Although I am a Music Education major some of these concepts can be used when studying Japanese, go ahead you find a few.

Why practice? To get better, of course!
It's never too late to take a good look at your practice routine and habits to see how you can improve in these areas.
Find a comfortable, well-lit, quiet place to practice. No TV!,
Use a mirror to visually check your technique.
Use a tape recorder to aurally check your playing.
"Chunking" Find a compact, coherent musical idea - say, four measures long. Play it until you know it thoroughly. Try it without the music, then with it again. Once you've played it without the music and know it sounds right, add the next musical idea. Repeat the strategy and string them together as you go. While you're "chunking", it may be helpful to make use of the "three-times" rule. If you can play a segment from memory three times in a row with no mistakes, you know you're ready to move on to the next one.
If you come across a run that never sounds right, look it over as a unit as well as note by note. Is it major, minor, diminished (half-step/whole-step or whole-step/half-step), chromatic, or almost chromatic? Once you figure out what the run is made up of, it will be easier for you to apply the technique you already know to it and conquer it. If a run has a lot of leaps between notes, look for a pattern. Are there chromatic notes or accidentals throwing you off?
Hopefully you have access to a metronome - use it!
When trying a new technique or correcting an incorrect technique, try practicing in the dark or with your eyes closed, and concentrate on how your muscles feel when doing the technique properly.
Remember to keep muscles relaxed and loose. Relaxation and breathing exercises prior to the start of a practice session can be especially helpful.
Don't make the mistake of repeating passages over and over, continuing to make the same mistakes. You're only furthering the problem by practicing the mistake!
· Slow it down ...
· Think about it ...
· Analyze why it's difficult for you ...
· Figure out what you need to do differently to solve the problem.
· Then, practice the solution! Learn to quit when your mind and your muscles become tired. You want to sound better. So, above all, remember to listen. And make your judgements and adjustments based on what you hear.