2023 Judging Practice #1

PROPER ENGAGEMENT:  “Ideally, they should have a balanced, sweeping motion that requires no more or less than light contact by their riders.”  The connection from the horse’s hindquarters through the back and neck to the bit and the rider's hand with light contact is "engagement".  Engagement gives the horse's forward notion a sense of energy. It is the appropriate amount of energy generated by the hip, stifle, and hock. This causes the hind legs to be working under the horse's body with moderate power, not strung out or trailing. How deeply the horse reaches underneath itself with the hind legs (amount of engagement) depends on its conformation, training, confidence, and relaxation.

PRESENCE: "Ultimately, they are very eye appealing and give the impression of being a pleasure to ride."  Presence is the manner in which a horse carries itself or its bearing. It is, in a word, “style.”

BALANCE: “They should be balanced in all aspects: conformation, gait, and disposition.”  Balance is the overall poise of the horse. Every dimension of the western pleasure horse should be in a state of equilibrium. In other words, opposing forces that comprise each aspect of the ideal western pleasure horse meet "somewhere in the middle."

GOOD ATTITUDE AND MANNERS: "Maximum credit should be given to the responsive, confident, willingly guided horse..."  The excellent western pleasure horse must appear to enjoy his tasks and respond to the rider readily.

NATURAL, FREE, AND EASY MOTION: "The good western pleasure horses have a comfortable, free flowing stride of reasonable length in keeping with their conformation. They should cover a reasonable amount of ground with little effort."  The western pleasure horse's origin stems from the old west. The cowboy needed a comfortable horse that could take him considerable distance. In order to do so, the excellent western pleasure horse needs this type of motion.

NATURAL HEAD CARRIAGE: "The head and neck serve as a balance arm and are carried in a relaxed, natural position appropriate for each individual's own conformation."  Without the head being carried in a natural position the horse will have to find other means to compensate for not being able to balance his frame. This generally results in a compromise in his motion, attitude, and/or presence.

CONDITION: "These horses are athletes that go softly and give the appearance of being fit and capable of their tasks."  Condition is exuded by muscle tone, depth of muscle, clean fine bone, balance front to rear, good carriage, and a dignified presence.

EXCELLENT PERFORMANCE: “…that performs all the required gaits correctly with strength and finesse.”  Not only must the excellent performers be correct, but they must accomplish their tasks with a degree of difficulty by doing their tasks well. This requires strength (substance) and finesse (quality).  The excellent performer has the strength to work with delicacy and refinement in their execution for as long as it takes to conduct the class. 

USEF has a Western Equipment Manual on line. This is a helpful resource for identifying the legality of a bit. DO double check the rule book though, in case the manual has not been updated to reflect the most current rules. Remember: AR144 rules govern equipment, not the Western (WS) rule chapter. https://www.usef.org/forms‐pubs/pEljSmr3BAU/western‐equipment‐booklet

REMEMBER .... Judging is not absolute. It requires observation and evaluation. In other words, it is exactly what it says it is: A Matter of Judgment.  It is based on certain criteria (class specifications) and rules; in judging the western pleasure horse everything is relative.  All faults should be considered according to their severity and the depth of the competition. Each fault is a void in one or more of the class specifications. However, a minor fault may not be elimination and it may not even allow a superior individual to lose a class amongst a weak field of competitors.  The best horses in a particular western pleasure class on a particular day should always win, even if those horses fall far short of being excellent individuals.  Good judging depends upon correct observance of the fine points and the selection of the best western pleasure horses in that class.

1 Note Taking and Preparation for Oral Reasons Equine Science Spring 2010 Created by: Bryan Egan and Stacie Domer Penn State, 2006

2 Oral Reasons Overview Integral Part of a horse judging contest Offer contestant the opportunity to defend their placing Must be concise, accurate, and under two minutes Contestants should work from a mental image of the horses from the class. Notes are just helpers Inorder to be successful, contestant must be organized! Organization begins with good notetaking

3 Note Taking Learn to use short hand for notes Each individual’s short hand is likely to be different and this is OK Use same organizational scheme for notes and reasons Be careful not to miss something while taking notes. Especially in performance!!

4 Note Taking Stenographers notebook works well for notes Notes Taking –Write down identifiers for each horse –Begin by taking notes on class Good and bad qualities of each horse –Convert to reason’s notes once class is placed Comparative notes within each pair

5 Set up Notebook Notes on Class

6 Set up Notebook Reasons Notes Write down placing Divide page into 9 boxes Include ID points Organize notes Include: –Connectors –Transitions

7 Starting Out on Reasons Accuracy is first and foremost Must be grammatically correct Try to avoid memorizing words instead think about class It is OK to start young people off writing their reasons out but they should relatively quickly work from just notes

8 Starting Out on Reasons Perhaps start out giving just a pair –Work hard on presentation, style, and organization Then move to giving two pair –Begin breaking down terms, transitions, etc. Then give complete sets –Once here, your on your way

9 Starting Out on Reasons Don’t forget to be positive, giving reasons is hard Try to make it as fun as is possible Don’t try to fix everything all at once Always find the good things about the pair, pairs, or set –Being too critical will discourage youth

10 Organization Develop a system that is easy to remember and easy to listen to –Talk around the horse in halter –Talk around the pattern in pattern classes –Talk the first direction and then the second in rail classes

11 Organization Opening Statement: simple or complex –Sir, I placed the Quarter Horse Mares 123 and 4. –Maam, Using quality, balance, and structural correctness as my determining factors, my preferred alignment of the Quarter Horse Mares is 123 and 4. –Sir, seeing the class to contain an easy top, easy bottom and relatively tight middle pair, my preferred alignment of the Aged Mares is 123 and 4.

12 Organization Top Pair –In my top pair, I placed 1 over 2 because she was the…… –In my initial pair, 1 easily rose to the top due to her superior combination of quality, balance, and structural correctness. She was…… Grant –I grant that 2 was heavier muscled. –I realize and fully appreciate the fact that 2 was heavier muscled. Criticism –However, she lacked the quality and balanced appearance of 1 to place higher today.

13 Organization Top/Middle Pair transition –Moving to my middle pair –Moving to my more difficult intermediate decision –In spite of this she maintains a distinct advantage over 3 in my middle pair Middle Pair –2 was more feminine about her head, thinner in her throat and had a longer leaner neck which tied higher into a more ideally laid back shoulder….

14 Organization Continue through set using same organizational scheme for middle and bottom pair. Closing Statement: –Could simply just be “Thank You” when done –Could re-place the class: For these reasons, I placed the Aged Mares 123 and 4. Thank You. Using the nine box setup and this layout for every set of reasons helps people get unstuck when they forget what they want to say.

15 Terminology Must be comparative –Neck isn’t long it is longer, not heavy muscled but heavier muscled, not he was cadenced at the jog but he was more consistently cadenced at the jog, etc, etc Keep things simple at first –If you can’t pronounce it don’t use it –If you don’t know what the term means don’t use it.

16 Terminology Start off very simple –Just discuss the major judging criteria for the class –Fill in details as experience and confidence grows Once familiar with terminology, encourage judgers to experiment with terms they like. Add individuality to their reasons.

17 Connective Terms Aid in making reasons flow from one idea to another. Can increase score. Additionally However Furthermore Moreover And Nevertheless In addition Also

18 Grants Grants are used to tell something good about the horse placed below another. –Rarely is one horse more ideal in all areas, so grants are almost always used Correct grants can be extremely important to scoring well on a set of reasons Don’t make something up just to have a grant.

19 Grant Statements Really only need four grant statements in your arsenal. One for each pair and no obvious. I realize I Grant Yes, it is true I realize and Fully appreciate I concede I appreciate I readily admit It is obvious Seeing no obvious grants

20 Streamline Reasons Reasons become wordy –Maybe even go over 2 minutes Remember reasons listener has to listen to many sets on the same class Only discuss the RELEVANT facts used to place each pair. Don’t talk to hear yourself talk

21 Practicing Reasons Practice Out Loud Give reasons to many different people Practice from beginning to end each time Always give your reasons as if you are giving them to someone in a contest. Remember Perfect Practice Makes Perfect

22 Presentation and Stance Stance –Body position –Distance Eye Contact Presentation –Volume –Inflection –Enunciation

23 Reasons Scoring 0 = Student doesn’t show up 1-25 = Shows up but doesn’t put forth effort 26-30 = Beginning to show effort but doesn’t care 31-35 = Starting to sound like a set of reasons 36-40 = Complete set with grants and some presentation style 41-45 = The good set; complete set, good presentation, accurate description of class 46-50 = The great set; transitions, creativity, accuracy, great presentation and delivery

SUITABILITY - They have the spirit of a show horse and give the appearance they enjoy their job which makes them attractive and pleasing to the eye. Their natural conformation allows them to carry the head and neck in an upright position and serve as a balance arm.  The English pleasure horse must be an upright horse with a naturally high set neck and head carriage, breaking over easily at the poll allowing for the head to be carried easily in position.  This horse must move with power and strength emanating from the hindquarters, naturally lifting its shoulders, arching its neck and stepping well underneath itself reaching for ground with powerful strides, elevating and bending at the knees and hocks.  This horse must use its shoulders freely, lifting its front legs and snapping them up while reaching forward. This horse must be bright and alert.

MOVEMENT - Good English Pleasure horses have a brisk animated stride.  All gaits must be performed with English Pleasure effective 12/1/22 6 willingness and obvious ease, cadence, balance and smoothness.  Unlike the Country English Pleasure, these horses’ motion exhibits “high action”.  High action is defined as an intensified and ambitious manner of moving forward with collection in an upright frame with balance created by a round, supple back with substantial engagement of the hind limbs. There is a raising of the front end of the horse's torso as a result of the hind limb thrust which propels the horse upward and forward energetically with determination and deliberate power.  Although an elevated knee should always result from the power and drive of this engagement of the hind limbs; it is not exclusive to "high action". High action is the result of frame (conformation and extent of collection), degree of impulsion (energy) and a zealous spirit (attitude).  At the trot, high action is expressed in the front limb motion in two basic styles depending on the individual's conformation, training, breeding and/or attitude. Some fold their front limbs tightly by flexing their elbow, knee, fetlock and coffin joints acutely resulting with their front legs rising and falling in a "marching" type movement.  Others seem to roll from the shoulder more causing a somewhat open leg to reach more with full extension occurring just prior to the foot's contact with the ground resulting in a "floating" type motion.  Either style is acceptable as long as the horse is performing the trot correctly with balance and cadence.

WILLINGNESS AND OBVIOUS EASE - These individuals are athletes with the physical talent to do their tasks with strength and finesse, the good temperament to do them willingly and the inherent ambition to do them well.  Willingness and obvious ease means the horse is naturally and athletically capable of doing the requirements of the class easily. The horse should not need to be urged and prodded continually to go forward, nor should the rider continually need to restrain the horse with a right hold or a constant bumping on the bridle.  The horse should have the strength and balance necessary to propel itself forward with strong, reaching, ground‐covering strides. Bending the hocks, lifting and reaching well up underneath its belly, using its back and hindquarters for impulsion.  The horse’s shoulders should be elevated, steps free‐moving with reach, elevation and bend at the knees. The overall expression of the horse should be pleasing.

CADENCE: Their gaits result from a balanced, cadenced motion.  Cadence expresses the quality of locomotion in which the steps follow in a uniform sequence, rhythm and measure.  Cadence is the sequence of well‐ regulated steps. The steps are resolute, lively, even and progressive in purpose.  When strides are cadenced, they are pronounced, clear, decisive and elastic. They are even and regular.

BALANCE: They should be balanced in all aspects:conformation, gaits and disposition. Balance is the horse’s bodily poise, the state of equilibrium or equal relationship front to rear. The equality of movement between the front end and rear end is of great importance.  The English pleasure horse must never give the impression of traveling downhill or on the forehand. The rear legs must never trail behind. The shoulders should be light and free with easy motion and lift. There should be proper engagement and impulsion from the hindquarters to carry the horse. English Pleasure effective 12/1/22 7  Balance and cadence are sacrificed and gaits become impure and inconsistent when the horse is pushed too fast or forced to collect or elevate beyond its own natural capabilities.

SMOOTHNESS: Having a stride that allows them to comfortably move forward with authority grace and elegance. Smoothness comes from a relaxed, supple back and the horse’s own easy way of going.  A supple back allows the horse to propel itself upward and forward from the hindquarters without resistance in the back and neck.  Resistance results in a stiff horse. If the horse’s back is stiff, the neck and mouth will become rigid, resulting in tension between the horse and rider; uneven, stiff and choppy gaits.  Relaxation, ease of movement and suppleness in the back and neck allow smoothness in the gaits and transitions.

ENGAGEMENT: Engagement is the connection from the horse’s hindquarters through the back and neck to the bit and rider’s hand, with light contact on the bit.  Engagement gives the horse’s forward movement a sense of energy. The hindquarters should be nicely engaged with the hind legs working well under the horse’s body with considerable power, not strung out behind or trailing behind.  This engagement is the energy created by the hip, stifle and hock. How deeply the horse reaches its hind legs under the body depends on its conformation, training, confidence and relaxation in the back. Lack of engagement results in short, uneven steps, rear legs following rather than stepping under and pushing.

MODERATE COLLECTION: Impulsion created by the hindquarters generates the energy for the strong, elastic movement in their shoulders and front legs to implement the range of motion that takes place. When properly collected the horse’s back is supple and rounded allowing both hind legs to step further under the horse’s center of gravity. The hindquarters are then able to carry more weight and propel the body powerfully upward and forward.  Because the center of gravity is shifted back the haunches or hindquarters carry more weight. This shift of weight allows the horse’s hind legs to step under and push the horse’s forehand upward, lightening, and freeing the shoulders.  The forehand is lightened enabling the horse to elevate with its neck arched and the head carried elegantly.  With the hindquarters carrying the weight, the forehand is lifted and the knee elevation increases with the degree of collection and the horse’s own natural talent and strength.

GREAT PRESENCE: Ultimately, these horses have a great deal of power and charisma, giving the impression of being exciting and a real pleasure to ride.  Presence is the manner in which a horse carries itself or its bearing. It is in a word, “style”. The outstanding individuals make their own “space”, even in a crowded arena.

FAULTS OF THE ENGLISH PLEASURE HORSE

BAD MANNERS:  Bad manners include wringing tail, pinned ears, rigid, open, bad or gaping mouth, cutting to the center of arena, balking, bolting, rearing, kicking, bucking, not responding to the rider.  Bad manners must be severely penalized as they are a risk to the rider and others in the arena; remember judges are required to excuse unruly horses from the ring.  English Pleasure effective 12/1/22 8

BAD PERFORMANCE:  Bad performance includes wrong leads, break of gait, resistance, rough or abrupt transitions, heavy on the rider’s hands, and lack of response to the rider’s aids.

BAD ATTITUDE: Bad attitude includes sour ears, swishing tail, avoiding contact with the bit, fussy mouth, rigid mouth, not performing with ease, smoothness and confidence, stress, agitation or showing resistance.

UNTRUE GAITS:  Untrue gaits include uneven gaits, skipping, pacing, racking, loss of cadence,and moving too fast to maintain balance and cadence.

POOR MOVEMENT:  Poor movement includes out of balance front to rear, falling out of form, forced, labored or artificial looking, choppy or rough.

HORSE NOT SUITABLE TO RIDER:  A horse not suitable to rider is too much for the rider to control or handle comfortably, a horse not willingly guided or controlled, a horse that spooks or bolts, rears or bucks, and a horse which jeopardizes the rider’s safety or the safety of others in the arena.

CAUSES FOR ELIMINATION
1. Showing (horse) aggression or discontent toward rider or any other person in the arena.
2. Whip marks. Note: Judges must excuse from the ring, not just eliminate from consideration.
3. Clear evidence of fresh blood in the mouth, nose, chin, shoulder, barrel, flank, or hip areas.
4. Illegal Equipment/Appointments.
5. Unnatural Tail Carriage. It is the directive of the EEC that horses with unnatural tail carriage be placed either last on the card or eliminated from judging consideration and not placed in the class.
6. The use of glitter on or in the mane, tail, hair or hooves.
7. Violations of shoeing regulations.
8. Any horse leaving the ring without the exhibitor’s volition is deprived of an award in that class.
9. Failure to be serviceability sound and in good condition (horse).
10. Horses shown with artificial appliances.
11. Abuse.

CONCLUSION: Judging is not an absolute. It is a matter of observation and evaluation. Judging is based on certain established criteria and rules. However, in judging performance everything is relative.  Each horse must be judged against the performance of the others in the class.  Other criteria, such as manners, attitude and quality, must also be considered.  All of the faults should be considered according to their severity and the depth of competition.  Good judging depends upon correct observation of the finer points and the selection of the best horses for the purpose of the class. The best horse, performing the most correctly as established by the class criteria and specifications, should be the winner