Youth Judging Guide. Compiled by the Appaloosa Horse Club. Table of Contents

Transcription

1 Youth Judging Guide Compiled by the Appaloosa Horse Club Table of Contents Introduction 2 Anatomy of a Horse 2 Conformation Analysis 3 Judging Conformation Classes 7 Judging Performance Classes 8 Classes Unique to the Appaloosa 14 Horse Judging Contests 16 Placement Score for Judging a Class 16 Providing Oral Reasons 19 Suggestions for Successful Judging 25 Judging Terminology for Conformation 26 Judging Terminology for Performance Classes 29 Judging Terminology for Equitation Classes 31 Definitions 33

2 INTRODUCTION For the person interested in the equine industry, there s no greater compliment than to be told you re a good judge of quality horses. Whether you re a complete novice or you ve worked with horses for years, the process of learning how to judge a horse is a tough but rewarding experience. Judges must know the criteria used for appraising conformation and performance classes. They must also critically compare horses within a class as well as comparing each to an ideal type or standard. Finally, a judge must be able to logically and coherently defend their class placings orally. Judging horses is truly a skilled art that can only be mastered with practice and patience. Each horse s breed benefits from educating high-quality judges as people are trained to select and breed for the horses that come closest to the breed standard of perfection. It s the goal of this guide to enable horse enthusiasts to analyze horses and learn what qualities make one animal superior to another in a class. ANATOMY OF THE HORSE The first things a potential judge must learn are the names and locations of various parts of the horse. Conformation refers to the physical placement and interrelationship of muscle, bone and other body tissue. Conformation is important because it will affect the horse s ability to perform specific tasks. A clearly marked diagram of the horse s parts is provided. Study the diagram and learn the parts of the horse; this knowledge forms the foundation for all your future judging skills. See the diagram on pages for detailed information. 2

3 CONFORMATION ANALYSIS Learning how to judge conformation involves knowledge of the six major criteria for conformation analysis: Balance, Structure, Muscling, Quality, Type, and Travel. Evaluating these criteria will help you develop an understanding of which horse is of better quality, and determine whether its form will permit it to function for its intended purpose. Balance While this criterion is often the hardest to comprehend or visualize when selecting the ideal horse, it s also perhaps the most important criterion listed. The ideal light horse should be balanced overall and be divisible into three equal portions of mass. To best determine if a horse is balanced, pay special attention to the length of neck, shoulder, topline and back. A horse uses its neck as a lever and as a form of counterbalance. A trim neck is a sign of an athletic horse that can easily flex its neck vertically and laterally, thus allowing it to carry itself in a collected and agile manner. Horses with short, bulky necks lack suppleness and mobility and are therefore undesirable. Neck trimness also determines how the neck ties into the horse s forequarter or shoulder. A good judge should also consider the length and slope of a horse s shoulder. Long, well-sloped shoulders give horses a wider range of movement, a smoother ride and fewer foreleg unsoundnesses because they absorb more shock. A 45-degree angle from the point of the shoulder to the top of the withers is ideal. It takes a keen eye to determine the shoulder s slope based on the scapula s spine and not by lines of muscle. The horse s topline should be one smooth, continuous line. A horse with a short back is desirable. The area located between withers and loin should be short compared to the horse s underline, as shorter backs are capable of greater weight-carrying capacity. As a horse ages, a long back that once looked strong will age and become swayed. 3

4 Structure Unsoundness is a deviation in form or function that interferes with a horse s serviceability, and most commonly occurs in the feet and legs of horses with poor skeletal structure. Correct structure is essential to maintain soundness, and should be determined from all views: front, rear and side. Ideally, a judge should be able to draw a straight line from the shoulder down the front of the knee and cannon bone to the back of the hoof in the front legs. Another straight line should be drawn down the hock and cannon bone to behind the hoof in the rear legs. The legs should appear flat and clean, hard, and free from puffiness. The pasterns should be long, as they help determine gait smoothness, spring and stride length. The slope of the pastern and hoof should be equal. The hooves should be well rounded, tough and proportionate to the horse s size. At the heels, hooves should be deep, wide and open. Figure 1. The Front Legs, Front View Figure 2. The Rear Legs, Rear View 4

5 Muscling The ideal horse is an athlete that s uniformly muscled throughout. A judge must evaluate the horse s muscling based on quantity and quality. Muscle quantity is best judged by assessing the overall volume of muscling. Certain areas of the horse s body should display added muscle volume: the chest or pectoral region, forearm, shoulder, loin, croup, stifle and gaskin. All of these large muscle groups contribute greatly to the horse s ability to perform as an athlete. Muscle quality should be judged by length, thickness and distribution. A judge should look for long, deep-tying, smooth, welldefined muscling. Short, bunchy muscling makes a horse less agile and athletic, and so is undesirable. Judges should evaluate muscling from the front, rear and both sides. In the front, a judge should look for a wide chest with a deep, inverted V in the pectoral region, and noticeably large forearms showing muscle definition and density. When viewing a horse from the rear, a good judge will evaluate the muscling in the stifle and gaskin. A horse s stifle should be as thick, if not thicker, than the width of its hips. The stifle should also be wide, as it provides the power necessary for stopping. The gaskins should be predominantly large and strong with definition, both on the inside and outside of the leg. When viewing a horse from the side, a judge should assess the shoulder muscling and strength over the loin. Shoulder muscling is important for jumping and for forward and lateral movement. Muscling in the loin is important for supporting the rider and for coordination of the hindquarters during movement. Evaluating a horse based on its muscle quality is important, as the horse depends on its muscles for a variety of functions. Because the horse is a performance animal, this criterion must be weighed heavily. Quality While very few quality factors affect the horse s ability to perform or its athletic potential, these factors are very important and are often considered and weighed heavily when determining the placings of two horses of similar quality. 5

6 A horse s quality can be defined as its overall refinement including head, neck, feet, legs, skin, bones and hair. The head must display character and have a short face tapering to a fine muzzle. The throatlatch should be clean and refined. The feet should be of medium size and well rounded. Horses that are dull or coarse in appearance are less desirable, while horses of high quality show presence and eye appeal. Type (Breed and Sex Characteristics) Breed standards and expectations vary, and special consideration should be given when evaluating how well a horse represents the breed with which it s registered. Certain breeds of horses may carry more muscle than others and this should be taken into account when considering the suitability of the horse for its breed purpose. For example, a more heavily muscled Arabian may not be as suitable for a particular purpose such as endurance riding. A horse s type can be evaluated by observing its head and muscling. Stallions and geldings should have larger, broader heads and more extensive body muscling with a degree of masculinity. Mares should have more refined heads with softer, more doll-like eyes and should exhibit an overall degree of femininity. Travel One of the last criteria to evaluate when analyzing a horse s conformation is the way it travels. A judge must look for unsoundness or abnormalities that affect the horse s serviceability. The ideal horse will travel in a straight and fluid path with no interference of limbs or stride. Judges must realize that the degree of action in a horse s stride will vary between breeds. Structural faults commonly influence a horse s travel. Horses that are narrow in front or pigeon-toed often display a paddling-type stride, and horses with a wide base or that toe out will display a winging-type stride. Judging the straightness of a horse s travel is very challenging and any deviations can usually be attributed to structural incorrectness. Blemishes are abnormalities that affect the horse s value but don t affect the horse s ability to perform. Examples of blemishes include rope burns, wire cuts, shoe boils or capped hocks. 6

7 Figure 3. Path of feet as seen from above. JUDGING CONFORMATION CLASSES Events that judges must familiarize themselves with include halter events that deal with conformation and a horse s quality. A general understanding of these types of classes enables a judge to make knowledgeable decisions when selecting the horse that best matches its breed standard. Halter classes are judged based on conformation: a horse s physical appearance resulting from the arrangement of muscles, bone and other body tissues. Halter class standards stress the importance of conformation attributes as they contribute to the athletic performance of the horse. Halter A horse is evaluated by its individual breed s standards, its sex characteristics, balance, structural correctness, refinement and degree of muscling. Horses are typically shown in-hand at both the walk and trot and are evaluated for their way of traveling by tracking to and away from the judge when asked. They re also set up squarely so the judge can view the horse s structure standing still. Transmissible weaknesses count strongly against the horse. Hunter in Hand Hunter in Hand classes judge the conformation of a horse for its suitability as a hunter. Typically the hunter horse is taller and 7

8 leaner, built for cross-country jumping and events such as steeplechase or fox hunting. However, leanness shouldn t be mistaken for malnourishment or thinness. A quality hunter-in-hand horse displays a long, well-sloped shoulder covered with lean, flat and powerful muscles. Shoulder depth should carry through to the heart girth. Hindquarters should be powerful and show long, smooth muscle. The bone should be of high quality, showing substance and strength. Horses are asked to travel at a walk and trot around a triangular pattern of marked cones. Once all entries have worked the triangle, they re asked to back to the lineup for final evaluation and comparison. Horses are scored 60 percent on movement, 30 percent on conformation and 10 percent on temperament. Figure 4. Hunter in Hand pattern JUDGING PERFORMANCE CLASSES Performance classes are evaluated on the ability of a horse and rider to perform in a certain riding discipline, either western or English, and consist of two types: those based on the horse, and those based on the rider. In each class, a judge must note breed differences and select the horse that best represents its breed standards for that class. It s imperative that judges have a broad understanding of the most commonly offered performance classes and their measures of quality. Western Pleasure Horses entered in western pleasure classes are shown at the walk, jog and lope both directions of the ring, and are evaluated on their manners, willingness, functional correctness and quality of move- 8

9 ment. A good pleasure horse s stride is of reasonable length in relation to its conformation. The stride must have balanced, flowing motion while exhibiting correct gaits of the proper cadence. A great deal of consideration should be given to the quality of movement and the consistency of the horse s gaits. Its head and neck should be carried in a relaxed position with poll level or slightly level above the withers, and it should move lightly on the front with the hind end well underneath for greater impulsion. An exceptional western pleasure horse will move on a relatively loose rein and responsively execute any transition or movement when asked. The horse should appear relaxed, be fit and a pleasure to ride. Horses that don t display a four-beat walk, two-beat jog or threebeat lope should be penalized for not performing the required gait. Excessive slowness or loss of forward motion should be noted, and horses faulted for carrying their heads too high or too low. Horses that nose out beyond the vertical or over-flex at the poll when ridden should be penalized. A horse that breaks gait or lopes on the wrong lead should be faulted and marked down in placing. Reining When selecting the winning reining horse, a judge shall be critical of a horse s mannerisms and discipline, pattern accuracy and degree of challenge. At most open and breed shows, judges are asked to use the National Reining Horse Association (NRHA) guidelines for reining classes. Each contestant is required to individually perform a pattern consisting of a series of maneuvers. To rein a horse is not only to guide him, but also to control his every move. The ideal reining horse should respond readily to cues and work the pattern easily, fluently and effortlessly while maintaining a reasonable level of speed. Light bit contact should be maintained at all times. A good reining horse should execute a smooth, sliding stop on its haunches, and take leads smoothly and without hesitation. Rollbacks should be tight, and spins or pivots should be executed with speed on the correct hind leg. A good reining horse will settle easily and remain calm. The best reining horse should be willingly guided or controlled with little or no apparent resistance. Any movement on his own 9

10 must be considered as a lack of control, as are any deviations from the exact pattern. Therefore, faults are marked according to severity of the loss of control. Credit will be given for smoothness, finesse, attitude, quickness, and authority in performing the various maneuvers while using controlled speed. Each individual performance is scored on a basis of 1 to 100, with a 70 denoting an average performance. Points are added or subtracted from each of the maneuvers in the pattern, which are scored in ½ increments from a low of 1 ½ to a high of +1 ½. A zero denotes that the maneuver was correct with no degree of difficulty. Western Riding In western riding, judges evaluate horses for quality of gaits, lead changes at the lope, response to the rider, manners and disposition. The horse should perform with reasonable speed, be sensible and well mannered, free- and easy-moving. Each western riding horse will perform the pattern individually. Credit shall be given for smoothness, even cadence of gaits, and the horse s ability to change leads precisely, easily and simultaneously both hind and front at the center point between markers. The horse should have a relaxed head carriage showing response to the rider s hands, with moderate flexion at the poll. Horses may be ridden with light contact or on reasonably loose rein. The horse should cross the log both at the jog and the lope without breaking gait or radically changing stride. Scoring will be on a basis of 0 to 100, with 70 denoting an average performance. Points will be added or subtracted from the maneuvers in the pattern. Individual maneuvers are scored in ½ increments, from a low of 1 ½ to a high of + 1 ½, with a 0 denoting an average performance. Horses should be penalized with negative scores for failing to make a lead change, blatant disobedience, breaking gait at the lope, hitting the log, or not performing the specified gait where called for in the pattern. A horse will be disqualified if it ventures off course, knocks over a marker, completely misses the log or performs four or more simple lead changes and/or failures to change leads. Hunter Under Saddle Horses entered in hunter under saddle should be asked to walk, 10

11 trot and canter both ways of the ring. Horses may be asked to extend the trot and selected entries may be asked to perform a hand gallop at the judge s discretion. Horses are to back easily and stand quietly. They must be brought to a flat-footed walk before changing gaits. Hunters should be judged on performance, manners, conformation, quality and substance. Hunter under saddle horses should be suitable for their purpose, such as hunting and jumping. Hunters should move in a long, low frame and be able to lengthen their stride and cover ground, as in traversing hunt country following hounds. They should be obedient, alert and responsive to their exhibitors. Judges should emphasize free movement and good manners. Horses that don t display a four-beat walk, two-beat trot or threebeat canter should be penalized for not performing the required gait. Quick, short strides or excessive speed should be penalized. Horses that move in an artificial frame and are over-flexed and behind the bit should also be penalized. Hunters should not carry their heads too high or too low. A horse that breaks gait or canters on the wrong lead should be faulted and marked down in placing. Hunter Hack Selection criteria used to judge the hunter hack class are manners and willingness, way of going, style over fences, even hunting pace and flat work. Upon completion of the jump work, horses being considered for placings must then be shown at a walk, trot and canter both ways of the ring with light contact. Preference is given to horses that jump a fence squarely in the middle of the obstacle. Placing for this class shall be evaluated in the following proportions: 70 percent for individual fence work and 30 percent for work on the flat. Horses are first required to jump two fences. While rules may vary among breed associations or equine organizations, ApHC rules state that the first fence may be 2 feet, 2 feet 3 inches, or 2 feet 6 inches, but in no event more than 3 inches lower than the second fence. The second fence may be 2 feet 3 inches, 2 feet 6 inches or 2 feet 9 inches. Fences may be in a line and the lead change between fences is optional. Faults to be scored accordingly, but not necessarily to cause dis- 11

12 qualification, include being on the wrong diagonal at the trot or canter lead, excessive speed, breaking gait, or the horse carrying its head too high or too low. Faults that result in elimination include obtaining three refusals, bolting on the course, failure to keep on course, or jumping obstacles not included on the course. Horses may be faulted during the rail work portion of the class for the same reasons a hunter would be penalized. Western Horsemanship/English Equitation Horsemanship and equitation classes are judged on the rider s ability to control the horse. Each exhibitor must individually perform a pattern provided by the judge or show management, that asks the rider to demonstrate their skills at all three gaits. The exhibitor will be asked to govern, control and properly exhibit the mount they re riding and are commonly asked to perform a designated pattern. After each exhibitor has been worked individually, the judge may place the class or choose to recall some or all of the exhibitors for rail work. Scoring of these classes should be on a scale of 0 to 20 with ½-point increments acceptable. The overall appearance of the exhibitor and horse should be worth up to 10 points. Appropriate attire is required for each class. Clothing and person should be neat and clean. All exhibitors must wear boots and long-sleeved shirts or jackets. The exhibitor must wear a cowboy hat or English hunt cap as well as an appropriate belt. The exhibitor shall be judged on his or her basic position in the saddle, hand position, leg position and back position. The rider should sit with legs hanging in a straight line from the ear, through the center of the shoulder and hip, touching the back of the heel or through the ankle. This form should be maintained through the pattern and rail work of the class. Pattern performance is worth up to 10 additional points. The exhibitor should perform the work accurately, precisely, smoothly and with reasonable promptness and minimal visible cueing. Failure to perform the prescribed pattern, knocking over or working on the wrong side of the markers should be penalized. Excessive schooling or training or willful abuse by the exhibitor are cause for disqualification. A score of 16 to 20 represents a generally good to excellent pattern with a maximum of one minor fault. 12

13 Showmanship Showmanship classes are based on the exhibitors abilities to show their horses to the best of their advantage as they perform a set pattern and series of maneuvers prescribed by the judge with precision and accuracy while exhibiting confidence, poise and balance. The handler is judged on his or her ability to present the horse. It is merely a prop used to show the handler s ability. The showmanship class is not a halter class and should not be judged as such. The ideal pattern for this class is one where the exhibitor is completely tuned in to their horse and provides such subtle clues that they wouldn t be visible to the untrained eye. The exhibitor must be clean and dressed in a professional manner while exhibiting a clean and physically fit horse. The exhibitor must walk, trot, stop and back the horse as directed by the judge and as dictated in the pattern. All turns must be to the right with the exhibitor walking to the right around the horse. The exhibitor must lead from the lefthand side of the horse. Exhibitors should be judged on their methods of presentation. The showman must always have an unobstructed view of the judge. If the judge is standing at the rear quarters of the horse, the showman must be on the same side of the horse as the judge. If the judge is standing at the forequarters of the horse, the showman should be on the opposite side of the horse as the judge. Exhibitors that fail to lead the horse properly, kick or manually place the legs of the horse into position should be faulted for their actions. Overshowing through unnecessary actions is not necessary and should be considered as a fault. 13

14 CLASSES UNIQUE TO THE APPALOOSA The Appaloosa breed approves several classes not offered by any other breed. The breed is known for its unique color and coat patterns and treasured for its versatility and adaptability. Its demeanor makes it perfect for all types of exhibitors, from youth to the professional showman. It is a breed capable of being shown in halter only to be used later that same day in a speed event and then again in a pleasure class. Understanding the special classes only offered by the Appaloosa breed provides one with a greater appreciation for their uniqueness. Most Colorful at Halter This halter class is open to all ages and all sexes of Appaloosa horses. The class is run in a format similar to all other halter classes and entries shall be judged individually standing and also at a walk and trot on the line. Horses are judged 60 percent on color and 40 percent on conformation, action, substance, quality and manners. To be eligible for this class, Appaloosas must display the necessary characteristics needed for regular ApHC registration. Heritage The heritage class was created in an effort to honor the Appaloosa s rich heritage. The horse and rider are attired in authentic garments and trappings in keeping with periods from the Appaloosa s history. The class is worked on the rail at a walk and trot in both directions of the ring. The judges then go through the lineup scoring each costume s authenticity and suitability. The markings and colorful qualities of the horse and the overall picture and presentation are to be considered. Rope Race The rope race is similar to musical chairs. Small, four-foot ropes are loosely tied to a wire extending across the arena, with one rope less than the number of competitors. At the starter s signal, the riders race to take hold of a rope with one hand. The rider without a rope is eliminated and another rope is taken off the line. This is continued until only one rider is left holding the last rope. 14

15 Horse-Against-Horse Games Classes The Nez Perce stake race and Camas Prairie stump race are unique to the Appaloosa breed because they are games classes run horse-against-horse. The horse against horse events are not offered in any other breed association. In the Nez Perce stake race, two sets of six poles are set a measured distance apart from each other on opposite ends of the arena. At the same time, both riders ride down the right side of their row of poles, and on reaching the last pole, begin winding back through. On returning to the first pole, they wind back through in the opposite direction, and then head back toward the finish line on the left side of the poles. The winner of each heat advances to the next heat and knocking down a pole disqualifies an entry in that heat. In the Camas Prairie stump race, two sets of three barrels are set up in a triangular fashion on opposite ends of the arena. Both riders start on the same line, face to face. Both entries start at the same time and head for the barrel to their right, circle it, and head to the barrel left of the starting line, then race to the far barrel in the center, circle it, and head back to the finish. The winner of each heat advances to the next heat and knocking over a barrel disqualifies an entry in that heat. 15

16 HORSE JUDGING CONTESTS When an individual is devoted to learning to judge horses, they must be willing to compete in horse judging contests to challenge their knowledge and skill. Horse judging contests allow potential judges the opportunity to compare their placings against those of professionals and to develop a better eye for a quality horse. In the competitive horse judging environment, emphasis is placed on learning to place and orally defend those placings. This process teaches students to be objective, honest and fair in their approach to evaluating the class. Judges are scored on their ability to correctly place the class on a scale of up to 50 points. Judges are also scored on their ability to give an excellent set of reasons on a scale of 50 points maximum. Together, the score on the combined exams is no greater than 100 points. PLACEMENT SCORE FOR JUDGING A CLASS Judging normally consists of evaluating and placing a class of four participants. Judging contestants are scored based on their abilities to place a particular class as compared to how the contest officials placed the class. The closer the contestant s opinion is to matching that of the officials, the higher the score the contestant will receive. A score of 50 is awarded when the contestant s placings perfectly match those of the officials. The placement score is determined for each judging contestant based on point deductions from the perfect 50 score. Point deductions are made based on the margin of difference between the official s class placing and the judging contestant s. The official judge will establish a number or value for that margin of difference, this value being called a cut. A cut is assigned by the official judge for each pair in a class placing. The three pairs in a class are the top pair (1st place 2nd place), the middle pair (2nd place 3rd place), and the bottom pair (3rd place 4th place). A small cut indicates that the animals in the pair being compared are very close in quality while a large cut indicates that more obvious differences exist. Cuts can range from one to seven points and the sum of all three cuts may not exceed 15 points. (See Table 1 for the description of cuts as defined by the National Collegiate Horse Judging Coaches Association.) 16

17 Cut Description of Cuts Table 1. Description of Cuts 1 Horses are extremely similar; no obvious reason why one should be placed over the other; or, both horses have numerous faults and none supersedes the others; placing is strictly a matter of personal preference; placing varies among official judges. 2 Horses are very close, but one horse has one or two qualitative or quantitative advantages; the majority of official judges would not switch the pair, but half of the contestants could logically switch the pair. 3 Horses are of unequal quality, but there is a logical placing in favor of one horse; either one horse has several faults or several advantages; all official judges would agree on the placing; no more than one third of contestants would be expected to switch the pair. 4 Horses are not of similar quality; one horse has several decided advantages based on many points; all experts would quickly see the placing; no guesswork or personal preference required to make placing; no more than 10% of contestants would be expected to switch the pair. 5 Large number of extreme differences between the horses; placing is obvious to everyone on first, quick observation; careful study not required for the placing; pair consists of an inferior horse vs. a consistent winner; only very inexperienced, uninformed contestants would switch the pair. 6 Horse not even comparable; differences reflective of a champion quality horse or performance vs. a horse or performance that is not of show quality. 7 Largest cut; differences reflective of a world-class halter horse vs. an extremely poor quality or lame horse; or a world-class performance vs. a disqualified performance. 17

18 To calculate scores for placings, six comparisons between animals or performances must be made. They are: 1 st place vs. 2 nd place, 1 st place vs. 3 rd place, 1 st place vs. 4 th place, 2 nd place vs. 3 rd place, 2 nd place vs. 4 th place, and 3 rd place vs. 4 th place. If the contestant s placings are the same as the official s, there will be no point deductions as there are no comparisons to be used. If the comparisons vary between contestant and official judge, a deduction is made. To determine the total point deduction, a contestant must use the comparisons above to determine the total sum of up to 3 cuts of varying value. Please refer to the following examples: Example #1: Official Placing: Official Cuts: Judging Contestant s Placing: Comparisons Contestant Point Deduction Step 1: 1 st Place vs. 2 nd Place 1 over 2-2 Step 2: 1 st Place vs. 3 rd Place 1 over 3 0 Step 3: 1 st Place vs. 4 th Place 1 over 4 0 Step 4: 2 nd Place vs. 3 rd Place 2 over 3 0 Step 5: 2 nd Place vs. 4 th Place 2 over 4 0 Step 6: 3 rd Place vs. 4 th Place 3 over 4-2 Total: -4 Example #2: Official Placing: Official Cuts: Judging Contestant s Placing: Score: 50 4 = 46 Comparisons Contestant Point Deduction Step 1: 1 st Place vs. 2 nd Place 4 over 3 0 Step 2: 1 st Place vs. 3 rd Place 4 over 2 (5+2) -7 Step 3: 1 st Place vs. 4 th Place 4 over 1-5 Step 4: 2 nd Place vs. 3 rd Place 3 over 2 (2+5+2) -9 Step 5: 2 nd Place vs. 4 th Place 3 over 1 (2+5) -7 Step 6: 3 rd Place vs. 4 th Place 2 over 1 0 Total: -28 Score: = 22 The official individual and team scores should be available to each contestant at the end of the judging contest. It s important for the contestant to review the scores so that he or she can address their areas of weaknesses and improve upon them. 18

19 PROVIDING ORAL REASONS The process of providing oral reasons helps students learn how to think, to organize their thoughts and speak about those thoughts in a professional environment. Defending their class placing can be one of the most challenging, yet rewarding, experiences for a judge. It enables a judge to make keen observations and encourages them to clearly and confidently express their thoughts. Giving oral reasons helps individuals to judge in a more orderly fashion. It encourages the judge to think in comparative terms and analyze a horse point by point. Judging contestants are required to provide their oral reasons for how they placed a class several hours after the class finished. The success of the judging contestant depends on their ability to take good notes during the judging portion of the class. These notes will later serve as a preparation aid for the oral reasons presentation. Note-taking shouldn t interfere with the constructive observation and judging of a class. Notes shouldn t be written until completion of the class or upon completion of individual rider/horse performances, at which time thorough comparisons among class entries should be made. Once all notes have been written, they should be organized so pairs of horses are compared. This will help when the judging contestant must defend their placings of one horse over another. A contestant will be scored on a scale of 0 to 50 for the reasons they provide. A score of 40 to 50 represents a presentation that follows a good organizational scheme, commands evidence of class procedures and judging criteria, understands terminology and has great presentation skills that exude confidence and knowledge of the class(es) evaluated. The official judge will evaluate the contestant in the following areas: organization, relevancy, appropriate terminology and presentation. Organization Reasons should be organized and delivered in a clear, logical sequence. The basic approach to comparing the horses in a class is to provide an opening statement delivering the placing of the class, comparisons of the horses in three pairs, concluding with a closing statement. When discussing the placings of the class, the top pair of horses should be compared first, followed by the middle pair 19

20 and lastly the bottom pair. Within each pair, the judging contestant should focus on why one horse placed over another. and explain in a comparative format rather than a descriptive format. Relevancy When providing oral reasons, the judging contestant should make comparisons of the pairs of horses based on significant points and actual differences. Reasons that focus on the important reasons for why a class was placed as it was, and not on minor details, will receive a higher score. If reasons sound canned or methodical and aren t consistent with the true differences in the class of horses, the judge will reduce the score of the set of reasons dramatically. Appropriate Terminology In comparing horses placed in a class, the explanations should be comparative rather than descriptive. Using comparative terminology helps the judging contestant to visualize the class and keep main points in mind. Correct use of equine vocabulary should also be used throughout the oral presentation and relies on a strong knowledge base of the equine industry from the contestant. Terminology should be correct and acceptable by industry standards. Terms used should be accurate and concise. Presentation Oral reasons should be presented in a poised, professional and convincing manner. The correct use of English is a must, and pronunciation and enunciation of words and syllables is required. Reasons are limited to approximately two minutes so contestants must make a good initial impression and be concise and convincing. Professional dress and behavior is expected of a judging contestant and will be evaluated when a score is assigned to the contestant for their performance. Contestants should stand 6 to 10 feet away from the official judge and stand with weight balanced evenly on both legs in a comfortable manner. A high score on presenting oral reasons represents an individual who could visually organize the differences between horses in a class and professionally present their reasons in a confident and comfortable manner. (See tables 2 and 3 for examples of quality oral reasons for a halter and a western pleasure class.) 20

21 Aged Appaloosa Mares Table 2. Oral Reason Example 1 Beginning with the individual who dominated the class in terms of muscling, balance and femininity, I place this class of aged Appaloosa mares In my top pair, I placed 3, the chestnut with the snowflake blanket, over 2, as she did spread the greatest abundance of muscling over her largest frame. She was the widest from stifle to stifle, exhibited the greatest circumference of the gaskin, and the largest muscled forearm. Moreover, she displayed the broadest rib with the greatest depth of chest and had the best overall balanced muscling. However, I do conclude that 2, the leopard, did present a greater-sloped croup. Moving to my middle duo, I did place 2 over 1, as 2 followed 3 more closely in terms of overall dimension of muscle. She showed more bulge and flare throughout the hindquarters, stifle and gaskin and did exhibit a longer, more sloping croup. Additionally, she presented a more correctly angulated shoulder and pasterns, thus displaying a greater reach in stride. She presented a shorter back and tapering underline, although I grant that 1 did exhibit more chiseled, refined, feminine features about the head and a cleaner throatlatch. Concluding with my bottom pair, I did place 1, the black with white hip blanket, over 4, the solid chestnut, as 1 was a more symmetrical individual. Further, 1 was more structurally correct, showing a straighter column of bone, being less splay-footed, and having a more correct slope to her pasterns. I admit that 4 had a cleaner throatlatch and leaner neck, which would not allow her as much flexion at the poll. I must fault 4 and leave her the bottom of the class today as she was the least muscled individual in the class with the least feminine head and she did stand sickle hocked when viewed from the side. It is for these reasons that I place this class of aged Appaloosa mares, Thank you. 21

22 Forehead Face Bridge of Nose Nostril Muzzle Upper Lip Lower Lip Under Lip Throat Latch Point of Shoulder Chest Arm Elbow Poll Crest Withers Neck Shoulder Heart-girth Forearm Und Knee Hoof 22

23 Back Point of Hip Loin Rump or Croup Buttock h s Topline Barrel Thigh Flank Stifle Underline Gaskin Hock Cannon Fetlock Joint Fetlock Pastern Coronet 23 b&w pages.indd 23 3/6/12 9:28:57 AM

24 Western Pleasure Table 3. Oral Reason Example 2 Placing at the top of the class the individual who was the most collected in frame and displayed the most cooperative and willing attitude; I place this class of Western Pleasure In my initial pair, I did place 3, the roan Appaloosa, over 4, the sorrel with the white blanket, as 3 was the most efficient in both movement and transitions. He did reach out further from the shoulder, while simultaneously showing the most engagement of the hindquarters, thus, giving him the smoothest, most rhythmic stride. Additionally, he did present the most horizontal line from his poll through his withers to his croup, coupled with the most vertical break at the poll. Furthermore, he was the quickest to make both his upward and downward transitions, going both ways on the rail. Although I must admit, 4 did back more willingly and in a straighter fashion. Moving to my middle pair, I did place 4 over 1, the leopard, as 4 did exhibit a truer 2-beat jog, and a more cadenced and collected lope. Additionally, he was more responsive to the cues of the rider, as evidenced by his smoother and quicker gait transitions, and more willing attitude during backing. Likewise, he did work on a more desirable length of rein, while looking straighter through a bridle as he traveled down the rail. However, I do concede that 1 did maintain a more natural headset throughout the class. In my concluding pair, I did place 1 over 2, the sorrel with 3 white socks, as 2 did exhibit more energy and purpose of stride. 1 was brighter and more alert, and worked at more desirable speeds. He did present a smoother, more ground-covering walk, and was truer in his diagonals at the jog. Additionally, he reached his hocks further underneath himself at the lope, and maintained a flatter and more correct topline. While I would agree that 2 was quieter at the bit, I had to fault 2 and place him at the bottom of the class for showing an absence of impulsion from the hindquarters at the lope, and thereby four-beating. Moreover, 2 had a tendency to over-flex at the poll and carry his head below the horizontal plane through his topline. It is for these reasons that I place this class of Western Pleasure Thank you. 24

25 SUGGESTIONS FOR SUCCESSFUL JUDGING There are never any truly correct answers in horse judging. The activity of horse judging is purely a subjective process but as an individual becomes more familiar with each breed s standard and class requirements, a qualified judge will be able to separate differences and place a class according to the horse s conformation or skill level. During this learning process, there are several suggestions to keep in mind along the way. It s imperative that judges stay current with judging standards. These standards can change very quickly so it s important that you attend seminars, clinics and judges schools as needed and obtain as many rulebooks and judging guides as possible. When viewing classes, a judge should position him or herself so that they re evaluating the exhibitors from the same viewpoint (angle and distance). This technique will increase your objectiveness of comparison. When judging halter classes, your most objective judging can be done from approximately 20 to 30 feet from the horses. On rail classes, many judges position themselves along the far rail to find an effective place for judging. When judging patterns, position yourself in an area that gives you the best view of the entire performance. Learn, through a great deal of practice, to take little notes and quickly assess the entries performances. Keep your full, undivided attention on the class in the arena so that you can recall events and positive attributes. It takes a great deal of time and knowledge to become an equine judge. It s no small feat and requires constant education and training along with practice. 25

26 JUDGING TERMINOLOGY FOR CONFORMATION Ideal General Terms: More balanced More symmetrical More stylish More refined More femininity More masculinity Larger framed More skeletal dimension Larger, stouter made More structural correctness More athletic Higher quality More highly conditioned Shows better breed character Most eye appealing Head Features: Cleaner head More refinement Shows more breed character Sharper, chiseled features about the head More refinement More chiseled features More intelligent, kinder eyes Tapers to a finer muzzle More desirable head set Shorter/neater ear Faults General Terms: Poorly balanced Lacks symmetry More coarse Rough Rangy Lacks type Stocky Shallow bodied Lacks femininity Lacks masculinity Lacks quality Light muscled Poorly conditioned Displays little breed character Least eye appealing Head Features: Coarse-headed Plain-headed Narrow head Long head Lacks femininity/masculinity Heavy, coarse ears Dull, pig eyes Roman nosed Parrot/Monkey mouthed Longer/coarser ear Neck: Neck: Cleaner through the throatlatch Neck too long/short More desirable neck set Neck too thick/thin Longer, leaner neck Ewe-necked Longer from the poll to the wither Neck set too low on the shoulder Neck ties in higher to the Thick throatlatch shoulder Cresty necked Higher neck set on the shoulder Too thick at the base of the neck More graceful arching neck 26

27 Ideal Shoulder and Chest: More sloping shoulder Deeper chest Broader chest More muscled V Shows more width of chest More definition of muscling More heavily muscled shoulder/ chest Leg and Forearm: More powerful forearm Smoother muscled arm and forearm Heavier muscled leg and forearm Longer forearm Ribs, Barrel, Heart Girth: More sprung ribs Deeper heart girth Longer from point of wither to the elbow More arch of rib Faults Shoulder and Chest: Short shoulder Steep sloping shoulder Lightly muscled shoulder Lacking in depth of chest Narrow chest No V muscling in the chest Too wide in the chest Leg and Forearm: Weak arm Shallow forearm Light muscled forearm Shallow leg and arm Ribs, Barrel, Heart Girth: Shallow in the heart girth Shallow ribbed Lacks depth of barrel Straight sided (slab sided) Topline, Underline and Mid- Section: More level topline Shorter topline in relation to longer underline Smoother underline More prominent withers Shorter coupled Strong backed Longer croup Stronger topline Higher tail set Deeper flanked More level croup Fuller in the loin Topline, Underline and Mid- Section: Weak topline Sway backed Long coupled Wasp-waisted Mutton withers Weak loin Short croup Low tail set Pot-bellied Uneven topline Lacks prominence of withers Higher at the withers than croup Weak through the back 27

28 JUDGING TERMINOLOGY FOR CONFORMATION Ideal Rear Quarters: Wider through the stifle Heavier muscled thigh Smoother muscled quarter and gaskin More expressly muscled gaskin, tifle, and thigh More powerful gaskins Stronger, more athletic and powerful hindquarters Faults Rear Quarters: Apple-rumped Goose-rumped Light muscled Not tied in Rough over the hip Lacks width through the stifle Weak in the gaskins Rafter hipped Feet and Legs: Stands squarer on all four legs Straighter legs Wider in the front Stood wider in the back Higher quality of bone Stands more squarely on the hoof High density of bone Larger knee Cleaner joints More correct set to the hocks More well-defined tendons More sloping pasterns Tougher hoofs Stronger/longer pasterns More flat kneed Feet and Legs: Camped under Camped out Calf-kneed Cow-hocked Bowed tendon Over at the knee Weak/short pasterns Knock-kneed Stands too close in front/back Straight hocked Poor quality of bone Bone/bog spavin Ringbone Bench kneed Contracted heels Action: Moves freer and easier Moves with a longer stride Tracks straighter and truer Has a more collected stride Action: Restricted movement Paddles in front/back Travels wide in front/back Short, choppy strides 28

29 General Appearance: More attentive/alert More consistent/steady More relaxed More agile/athletic More supple and willing More responsive More collection More supple JUDGING TERMINOLOGY FOR PERFORMANCE CLASSES Ideal Faults General Appearance: Unattentive Lacks consistency Unresponsive High-strung Anticipates in advance Unwilling Lacks discipline Lacks finish or polish Reining: More controlled speed Settled more readily Ran a more precise pattern Faster and flatter in the spin More correct in maintaining hind pivot Backed more readily Circles were more equally round Lead changes were more correct Easily guided Action: More balanced way of going Covers more ground at the trot Freer way of going at the Slow easy jog Goes more collectedly at the More cadenced trot or extended trot Is more stylish More coordinated/agile mover More relaxed at the Has a truer stride at the Is more supple at the More engaged hindquarters Reining: Too fast/too slow speed Unnerved and hyper Missed the fine points of the pattern Hopping on the front end for the spin Performed irregular circles Shows no flexion at the poll Unwillingness to stop Lopes out of rollbacks on the wrong lead Failure to perform flying lead change Action: Choppy strided Lacks smoothness of stride Crossfires at the lope/canter Lacks collection Lacks balance Too slow/fast at the Lacks impulsion from the hindquarters Lacks consistency at the Laboring motion Four beats at the lope Reluctance to perform Behind the vertical 29

30 JUDGING TERMINOLOGY FOR PERFORMANCE CLASSES Ideal Faults Aids and Responses: More rapid transitions Smoother transitions More fluid upward/downward transitions Smoother backing up More correct reversals Stands quieter in lineup Less resistance to the bit Requires less rein pressure More desirable headset Smoother lead changes More prompt in transitions Straighter back Moves without undue constraint Stands quieter in the lineup More correct/balanced stop Backs more readily Aids and Responses: Too slow of transitions Lacked responsiveness Showed resistance to aids Bobbing of the head Displayed nervousness, swished tail Anticipates commands Too loose/tight of reins In front of/behind the bit Incorrect lead Rough transitions Breaking of any gait Crooked back Bouncy, heavy stop Pins ears to spurring Mouthy with the bit in resistance Refuses to back up Head and Neck: More desirable head carriage More stylish head and correct head carriage More flexion at the poll More collected Head and Neck: High/too low carriage of the head Neck ties in too high at the shoulder Lacks flexion at the poll Lacks collection of movement Lacks masculinity and femininity Jumping: More evenly paced Approached fences in stride Cantered straighter to the center of each fence Tucked knees in tighter and more evenly Jumped more centered between standards Covered the coarse with longer, more sweeping strides Was scopier over fences Jumped with more symmetry Incurred fewer faults, knockdowns for refusals More effective in folding its hocks Jumping: Too fast on course Unevenly paced throughout course Refused obstacles Wasn t very square in jump departure Lacked scope over fences Failed to tuck forelegs or hocks when jumping Lacked forward motion Showed little interest in approaching fences Added unnecessary strides Failed to jump down the center of obstacles 30

31 JUDGING TERMINOLOGY FOR EQUITATION CLASSES Ideal Faults General Appearance: General Appearance: More consistent Rough performance Smoother performance More obvious cues Horse and rider more coordinated Horse and rider not in rhythm More alert/attentive Inattentive, sluggish, dull horse More responsive Shows resistance and resists aids Calmer/relaxed/willing horse Unruly, nervous, stiff horse More correct performance Lacks steady performance Better adherence to pattern Lack of adherence to pattern Less noticeable cues Inconsistent performance Rider s Seat: Deeper seat More balanced More correct More relaxed Tighter seat Rider s Hands: Quieter hands More correct position Lighter/more supple Rider s Upper Body: Straighter back More vertical line from shoulder to hip More relaxed Shoulders more square Correct arm position Rider s Lower Body: More leg contact More knee contact More correct leg position Heels further down Toe pointed forward and straighter Rider s Seat: Loose in the saddle Unbalanced Less correct More rigid, stiff back Tense, bouncing seat Rider s Hands: Rougher, more jerky hands Improper hand position Heavier hands lacking suppleness Rider s Upper Body: Slouching shoulders Too stiff and rigid Rounded shoulders Breaking the vertical line from shoulder to hip Rider s Lower Body: Less leg contact Less knee contact Less correct leg position Heels further up Toes pointed outward 31