Tag Archives: dressage tests

Clinic Reports, Training Tips and Techniques

Creating a Musical Freestyle that WORKS: Tips from the Top

July 26, 2015 christinakeim Leave a comment

This past May, I had the opportunity to attend a two day musical freestyle symposium at The Equestrian Center at Pineland Farms in New Gloucester, ME. Day one focused primarily on the judge’s perspective (see my previous blog on this subject), while day two allowed participants to dissect the ingredients of a freestyle which will guarantee to impress the judges. The weekend was facilitated by FEI judge Lois Yukins and Klassic Kur founder Terry Ciotti Gallo, who has designed for some of the best riders and horses in the world.

“Riding a freestyle is not just for the judge’s entertainment,” says Yukins. “It is for you—the rider—and the audience.” Putting together a freestyle requires a great deal of time, creativity and patience, and it is important to enjoy the process as much as the performance.

Choosing Your Music

Perhaps the single most important aspect of making a freestyle that works is to choose the perfect music. According to Gallo, the right music will match the footfalls of the trot and canter, is suitable for the horse and appeals to the taste of the rider. It is equally important that the selections for each gait are cohesive in genre, theme or instrumentation. Once the perfect music is chosen, it will further enhance the quality of the freestyle by using seamless editing (either done professionally or on a home computer) so that the entire program sounds like it all goes together.

Gallo explained that in order to choose the correct music, it is important to know what the average tempo is for the horse for each gait, expressed as beats per minute (bpm). This can be done by having someone take video of the horse performing the required movements at the level for later review or it can be done in live time. Count the number of steps taken in sixty seconds; for the trot and walk, count the steps of each front leg, but for the canter, count only the leading leg of each stride. Using a metronome can be a huge help, as the listener can set its pulse to the beat of the movement. Many smart phones have free or inexpensive metronomes to download. It is then easy to play the metronome set to the horse’s beats per minute against a prospective musical selection to determine its appropriateness. In this way, the rider can easily test many more samples of music at once than by playing them with the live horse riding around the arena.

Doris Carlson worked with her Third Level mare on ascertaining tempo and creating choreography.

The basic gaits of most horses fall within a similar range.

Gait	Range (in BPM)	Average BPM
Trot	132-168	145
Walk	98-112	106
Canter	92-105	96
Passage	105-116	110

The horse’s tempo in each gait will change as they progress through their training, and may even vary through those movements which are still harder for the horse to execute correctly. Therefore, Gallo recommends that riders set their horse’s tempo only when the horse is going the way they will in the competition arena. If the horse seems to be between two tempos, use the lateral movements to help figure out which tempo is more appropriate.

Sometimes, the music’s tempo can act as a training tool, encouraging riders to ride their horses more steadily all the time. As the horse gets stronger and the moment of suspension becomes more enhanced, the horse’s tempo will slow down, and music may need to be modified. This is one of several reasons why the right music for a horse’s First Level freestyle may not be the right music for them at the FEI levels.

Notice also that there is some overlap in the average beats per minute for the walk, canter and even passage. This means that it may be possible to use the same piece of music for both the walk and the canter, but something in the musical phrasing must express a change of gait.

Michelle Hirshberg worked with her Lusitano stallion on creating a consistent tempo which matched the music. Gallo discussed how the type of music used could help to create greater consistency and more jump in the canter, elevating its quality.

How do I find this “perfect music”?

For someone who truly enjoys music, mulling through various selections could provide hours upon hours of entertainment. But it can be hard to know where to start, as the number of options seems limitless, and the best music might truly come from any genre.

Gallo says that it is important to keep an open mind—the best music for the horse might be a surprise. Your own personal music library is of course a great place to start, but don’t forget to ask friends for some of their favorites as well. Gallo recommends checking the selections at college and public libraries, online stores such as iTunes or Amazon and also radio stations, especially those like satellite, Pandora, etc. As you listen to a selection, try to feel the beat, or keep a metronome handy. iTunes can be useful to pull up nearly every available version of a song, which can make it easier to find arrangements of favorite tunes recorded in a certain instrumentation or without words. Pandora’s grouping feature will make it easy to search all of the music which sounds like a particular artist.

Music that is within ten beats of the horse’s usual beats per minute may be usable with the help of a good sound artist. As you listen to selections, set up a catalogue to organize them by their beats per minute. Notebooks, recipe cards or computer databases all work well for this.

Gallo mentioned that some music is recorded using a “click track”, which is a metronome that plays when musicians are recording. These songs tend to have a consistent beat; music recorded without a click track can have a range in the beats per minute that makes it harder to follow.

Gallo helped Cyndy West and her Lippizan mare create Intermediare choreography which would suit previously edited music from a lower level freestyle.

Lower level horses generally are better suited to lighter music; many dance styles work well. It requires the big and powerful movement of an upper level horse to carry off stronger musical selections or music played by a full orchestra. Gallo mentioned that it is totally acceptable for younger riders to choose more modern musical selections.

Lyrics (words, voice) are permitted, but it is conventional wisdom that they are to be avoided when possible as they can distract from the performance. Some music features vocals that sound more like instruments (ooh’s and aah’s), which may actually enhance the performance and should not be considered to be in the same category as full lyrics. Gallo has chosen to carefully use vocals in select freestyles, but says it is like “sprinkling your latte with caramel as opposed to creating a crème brulee.” Songs which heavily feature vocals may have versions available that are wholly or significantly instrumented, which might work better for freestyle design.

Gallo further cautions that heavily syncopated music is not always good, as it can be hard for riders to follow the beat. “When the beat is very clean, it is an aid to the rider,” says Gallo.

Suitability and Cohesiveness

Just because a piece of music matches your horse’s tempo doesn’t make it the right or best choice to use in your freestyle. Riders must consider suitability and cohesiveness as well.

Suitability means that the music enhances the horse’s way of going, and makes their movements appear to be light and effortless. Big, powerful horses performing upper level movements can carry big, powerful music; lower level horses which lack some of that suspension and power will be better with lighter music that makes their movement appear to be lofty. To check whether a piece of music is suitable, play it while you ride, and either video it or ask a friend to tell you how your horse looks. Does the horse seem to be light or heavy? Are their movements sluggish or frantic, or do they seem to be relaxed? Does the horse seem happy, or burdened? Each piece should suggest the gait that it is used for.

Paula Pierce's elegant and powerful Intermediate horse was able to carry off nearly any musical genre. — Paula Pierce’s elegant and powerful Intermediate horse was able to carry off nearly any musical genre.

Cohesiveness means that the music is all from the same genre—the selections have an obvious theme. The instrumentation might match, or the sound between the pieces is similar. Sometimes a single instrument is highlighted in each selection. While you would never design a freestyle to one complete piece of music, you want your edited music to sound as if it could come from one piece. The music used in a freestyle should overall be pleasing to the ear.

Of the three gaits, the walk is the most relaxed, and it is not critical that the beat of the music matches the footfalls—unless your horse has an 8 or 9 walk, in which case you should try to match them after all! The walk is a section of the freestyle in which the rider can catch up to their music if needed. While the music choice may be more relaxed, it should still have energy.

Riders can choose to have entry music or not. The freestyle judging doesn’t officially begin until the first halt and salute, which must be performed somewhere on center line. If the rider chooses to have entry music, it should come from within the program, be a fanfare related to the program or introduce the theme of the program. Entry music must start within 45 seconds of the bell being rung, and the rider must enter the arena within 20 seconds of it starting to play.

Exit music is not allowed in competition freestyles. The music must cease with the final salute.

Planning your Choreography

Choosing the right music is just one part of creating a winning freestyle. Riders must also design a pattern for the ride which highlights the horse’s best qualities and showcases each of the required movements. The results of this planning are scored by the judge under the artistic impression scores for choreography (for USDF tests, a coefficient of 4) and degree of difficulty (for USDF tests, a coefficient of 2, but x4 for FEI levels). Gallo recommends designing the choreography first, in most cases, and then editing the music to suit the choreography.

Before the rider can begin to plan the choreography, they must know which movements are required for the level. Note also those movements which must be performed on both reins. Omitting a movement is just giving away a score. Included on the lower left corner of each test sheet is a list of those movements which are considered “above the level”, which are not allowed. While some riders might think that showing their horse’s talent for half pass in a Second Level freestyle would be an opportunity to increase the degree of difficulty, it is in fact a significant point penalty because the movement is above the level. Riders must also consider that certain movements could be hard to interpret, depending on their placement; for example, shoulder in is virtually invisible to the judge at “C” when ridden on the short side of the arena.

Dinah Rojek listens intently to Gallo, who worked on helping her really feel the beat of various musical selections.

Degree of difficulty is certainly a consideration when planning the choreography for a freestyle, but both Gallo and Yukins cautioned that riders must only do what they know they can really execute well—or else both the artistic and technical scores will suffer. “Simple and correct always beats complicated and messy,” says Yukins. “Don’t compromise the basics of the horse to add difficulty.”

Gallo says that the overall degree of difficulty is one of the first things she considers when designing choreography for a client; this mostly applies to the configuration of movements at the trot and canter, unless walk is being included in a transition. With only a coefficient of 2 at the USDF levels, degree of difficulty is not as critical a factor as it is at the FEI levels. Another important factor is the horse’s experience at the level. The design and difficulty should not exceed what the horse can manage at that stage of their training.

Degree of difficulty is shown by doing things like performing a movement at a steeper angle than is required at a standard test of the same level, placing movements off the rail or on center line, doing demanding transitions (such as a canter lengthening to walk on the same line), challenging combinations of movements, reins in one hand, or tempi changes on a broken or curved line.

Another decision which must be made related to choreography is what order the gaits should be featured in. The choice made here will ultimately affect the amount of editing required for the music.

Riders must consider the point of view when placing their movements in the competition arena. Here is the chance to really highlight something your horse does well—a pirouette right on center line, close to the judge, for example. The rider can also de-emphasize movements or transitions which are harder for the horse. In most cases, movements can be completed moving towards or away from the judge; always consider, though, what the view looks like from “C”. Half pass is usually most elegant when seen from the front. Design cohesiveness is important; the judge should never be left wondering what a particular movement was meant to be.

Gallo helped Bryn Wash experiment with different musical selections for her Third Level mare, as well as tinker with some choreography ideas.

Well-designed choreography uses the entire arena well; movements are spread out within the ring, and there is a sense of balance in terms of both time spent on each rein and where movements are placed. One way to check this is to physically draw the movements out on paper; if the lines look all clumped together, then they will also appear that way in the ring. These drawings can also be a helpful tool to ensure that all compulsory elements are included and that no “above level” movements are present.

Good choreography is creative and shows design cohesiveness. Many riders get caught up in the idea that movements should not be “too test like”. At the lower levels, however, it is challenging to come up with wholly new or unique ways of combining movements together. Choreography should not closely replicate anything contained within a current USEF test, but it is acceptable to use combinations of movements that may have been included in previous editions of tests at that level.

Gallo suggests using direct and indirect combinations of movements to increase the creativity in the choreography. A direct combination is when the pattern goes straight from one movement to the next, for example, from a lengthening to a 10 meter circle. An indirect combination is when the choreography accommodates a few steps of rebalancing, straightening or regrouping to prepare for the next movement, such as when riding a lengthening to straightening to a shoulder in.

Try to shake off “riding a test rigor” and explore less common lines, such as riding from the rail to the center line, shorter diagonals and using the quarter line. Asymmetry in freestyle design is acceptable; you don’t have to do exactly the movements on each rein, so long as you are keeping the patterns logical and clear.

Reading the regular tests from First Level through Grand Prix can help to familiarize with existing common patterns. It can also help to watch other freestyles at shows or on video to get ideas. Being “creative” doesn’t mean that you are the first person to ever think of the combination or pattern of movements; it means that you are putting the movements together in a unique way that highlights your own mount.

The only way to know if an idea on paper will work for your horse is to get into the ring and experiment with it. Olympian Michael Poulin, who demonstrated a Grand Prix freestyle on day one of the symposium, commented that it is critical to take your time and not over do the horse during the creation of the choreography. “Do part of your regular training, then play with a part of the choreography,” says Poulin. “Do this a few times. Don’t try to do it all in one day.”

Abby Hardy rode the impressive Geoffrey through intermediare movements to modern dance/pop music.

Considering Musical Interpretation

The concept of “interpretation” as it relates to freestyles is that the choreography expresses the phrasing and dynamics (loudness vs softness) of the music. When the rider is able to coordinate transitions and movements with these musical elements, the performance becomes more like a dance performance, as the movements “go” with the music.

In the early stages of learning to design and ride freestyles, it can be an additional challenge to consider interpretation in the performance. However, working towards improvement in this area is a sure way to improve the overall artistic score, and it is a “must have” when riders enter the upper levels.

Judges are trained to reward riders who are able to coordinate the following moments specifically with their music:

Initial halt/salute
First change of phrase
Trot lengthening/mediums/extensions (depending on level)
Canter lengthening/mediums/extensions (depending on level)
Gait transitions
Final halt/salute

Part of scoring well in the area of interpretation (which is worth a coefficient of 3 at the national levels) comes from having chosen appropriate music which suggests the horse’s gaits. When the music plays, the beat should suggest the energy of a walk, trot or canter. The next step is learning to ride with those beats. During the practical portion of the clinic, when Gallo and Yukins worked directly with horses and riders, a common theme was how strongly the tempo of the music playing would influence the rider. Riders can unwittingly speed up or slow down their horse’s tempo to match the music.

Gallo provides her own "musical interpretation". — Gallo provides her own “musical interpretation”.

Know Your Rules—the official and the unwritten

It is easy to review the rules and general guidelines for the musical freestyle available through the USEF or USDF website. Failure to adhere to the rules when planning the freestyle at the outset can create more work or lower scores in the long run. Here is a short list of official rules that competitors should be mindful of:

The minimum and maximum time allowed (FEI: 4:30 minimum, 5:00 Maximum (except for Grand Prix and para); USDF: no minimum but 5:00 maximum)
The halt/salute can be performed anywhere on center line, but must be done facing judge at “C”
It is required that the rider demonstrates straight strides into and out of the pirouettes
Movements that are at or below the level are allowed
Movements “above the level” are forbidden

In addition to the stated rules above, there are some “unwritten rules” which will help to improve the quality of the freestyle.

Extended trot must be performed on a straight line. It will be considered a medium trot if performed on a curve or circle. Medium trot may be performed on a straight or curved line.
Transitions do not have to be at letters (best if they are with musical phrases)
Lateral movements must cover twelve meters minimum (but eighteen meters is better)
Show a minimum of twenty continuous meters of walk
Avoid “embellished” entrances
Don’t include long lines of trot or canter with no purpose
Asymmetry is acceptable

Final Thoughts

Musical freestyles are amongst the most popular rides at a show, and inspire riders and non-riders alike. They provide the ideal means to highlight the artistry that goes into the performance and execution of dressage. But like any artistic endeavor, having a strong understanding of the technical aspects of the craft will enhance the quality of the final product, and can result in a freestyle that appears harmonious and effortless.

Clinic Reports

Gary Rockwell and Stephen Clarke: The FEI 5* Judges’ Symposium

December 27, 2014 christinakeim Leave a comment

Gary Rockwell and Stephen Clarke: The FEI 5* Judges’ Symposium

At The Equestrian Center at Pineland Farms, New Gloucester, ME

12/10/14

The state of Maine may not be thought of as an epicenter of dressage, but the staff at the Equestrian Center at Pineland Farms are working to change that. With all-star trainers like Olympian Michael Poulin and former Young Rider champion Gwyneth McPherson heading the coaching team, and assistant trainer/organizer Jennifer Dillon pulling together equestrian A-list clinics, this facility is sure to make a positive influence on the education of dressage enthusiasts from across the northeast.

An early season Nor’easter didn’t keep attendees away from what was billed as the Five Star Symposium on Dec 9-10, 2014. FEI 5* judges Gary Rockwell of the US and Stephen Clarke of the UK were invited to Pineland to help educate participants’ eyes towards the quality of performance. Several talented riders, including Poulin and McPherson but also Jutta Lee, David Collins, Laura Noyes and Heather Blitz, demonstrated movements and performed complete tests ranging from Training level to Grand Prix, while Rockwell and Clarke provided scores and commentary. This format meant that auditors could gain perspective as riders, trainers and judges, depending on their area of personal focus. In addition, several USEF rated judges sat ring side and offered further comment/question to round out the experience. As a representative of the University of New Hampshire (UNH) Equine Program, I was able to attend on day two, bringing along fourteen of our program’s students. We are most grateful to the Equestrian Center at Pineland Farm for this amazing opportunity.

Students from the University of New Hampshire (UNH) Equine Program thoroughly enjoyed their visit to The Equestrian Center at Pineland Farms.

Rockwell and Clarke banter like old friends do and were remarkably “in sync” with their judging and remarks, rarely deviating more than one point from one another. Throughout the day, their feedback combined training tips with judging perspective, as well as insight into the theory behind why correct riding is the best kind of riding.

Transitions, Tension and Test Riding

As the day began, auditors were treated to the performances of a pair of talented four year olds, ridden by Collins and Lee. One horse demonstrated the 2015 Training Level Test 3, while the other rode the FEI Four Year Old test. The USEF tests are scored in a traditional manner, with a comment/score given for each movement, while the FEI Young Horse tests are scored with overall marks given for each of the gaits, submissiveness and overall impression.

Let me start by commenting that any one of us would likely have traded the outfit we were wearing that day and offered to sit in our undies on the bleachers in exchange for a ride on either of these lovely youngsters. The tests that they performed were scored in the 70’s and low 80’s by Rockwell and Clarke, giving those present an excellent picture of what a high standard of performance and correct training looks like.

At these introductory levels, much emphasis is placed on the correctness of the basic paces. No matter how good a mover the horse is, Clarke and Rockwell emphasized that in order to show a horse’s paces to their best advantage, riders must perfect the transitions. The quality of the transition will determine how well and how clearly the horse begins the next gait. Even horses with “average” gaits can improve in quality with correct transitions.

On a related note, tension (mental or physical) will block a horse’s throughness and ultimately impede the quality of their gaits. The judges remarked that tension in the canter is especially common in developing horses, and it is important that horses come into the gait with suppleness and swing.

One of the most challenging movements in the lower level tests is the infamous “stretchy circle”. Judges are usually quite critical of the performance of this movement, with common mistakes including loss of rhythm/regularity, loss of balance, and failure to reach through the topline and down to the bit. Clarke and Rockwell emphasized that it is important for riders to remember that the stretchy circle is not meant to be just a test movement; it is a test of the horse’s balance and throughness and must be incorporated into the regular work.

David Collins riding Bojing (unattributed but taken from his website, www.centerlinestables.org). — David Collins riding Bojing (unattributed but taken from his website, http://www.centerlinestables.org).

An interesting point came up as Clarke and Rockwell discussed the performance of Collins’ mount, Bojing. This talented youngster already moves with the confidence and poise of an experienced campaigner, but occasionally showed his youth in certain moments of the test, particularly in terms of showcasing his full power. Clarke and Rockwell remarked that in training a horse from day to day, riders can get in the habit of doing things the same way they always have. However, the result of good training should be a horse that changes and develops, and it is important for riders to remember that with this growth may come a need to moderate an aid—perhaps to change how it is given, or the intensity of it.

We would be treated to several additional examples of this axiom as the day progressed.

Although the demonstration horses performed fairly good halts during their test rides, Clarke and Rockwell remarked that at the lower levels, the squareness of the halt is less critical than the overall obedience, submission, steadiness and straightness as seen from “C”. Once these qualities are maintained, it will become easier for the rider to ride the horse from back to front to achieve a square halt.

One additional discussion which emerged after watching the first few horses perform was related to the choice of bit for individual horses. Clarke and Rockwell emphasized that horses who demonstrate “mouth” issues are usually also holding internal tension; this cause must be sought and addressed before the mouth issues will resolve. According to the judges, riders who constantly change bits to look for a solution to mouth issues are sometimes overlooking the most common one—the rider themselves. Asymmetry, weakness, lack of balance and lack of coordination in the rider can all manifest as mouth issues in the horse. Therefore, if the horse has an issue in the mouth—look to the rider first.

Gait Distinctions, Soft Rein Backs and Head Tilts

2015 Third Level Test 3, 2015 Fourth Level Test 3 (and boy, is that test ramped up!) and the FEI Prix St. Georges tests were demonstrated by Poulin on a client’s horse, Blitz on the young stallion Ripline and McPherson on an older campaigner, Flair. Again, all three horses demonstrated quality tests and allowed auditors a clear picture of what is expected at the given level. Clarke and Rockwell began asking riders to stay a moment longer in the ring with these older horses, in order to repeat certain movements or to demonstrate particular points. What became clear through the feedback provided by the judges is that, for these medium level horses, continued attention to the finer points allows for an increase in the quality of performance.

Rein back is a movement that appears in tests starting at the Second Level. Horses should halt quietly, and then step backwards without visibly losing balance, dropping or raising the poll, or stepping sideways. It is actually quite an unnatural movement for the horse and requires a great deal of submission. Clarke and Rockwell said that if there is restriction in the reins during the rein back, the horse will brace against this and drag their feet. Instead, the rider must learn to execute the rein back with a soft hand.

Turn on the haunches and walk pirouettes also appear at these levels, which led to a bit of friendly US-UK terminology debate. Clarke explained that the term “turn on the haunches” is an old military movement that has nothing to do with maintaining the rhythm or regularity of the gait, two qualities which are “must have’s” when performing this movement in the modern arena. Therefore, Clarke insists that a more correct description for a “turn on the haunches” is really “large walk pirouette”, which is actually a classical dressage movement. Rockwell simply shrugged his shoulders and sipped his coffee at this. No matter what you call them, the horse must maintain a clear four beat rhythm and the rider must be especially careful to not allow the horse to “stick” behind.

The three talented horses which demonstrated the middle level tests were also able to present auditors with three different levels of proficiency with the medium and extended gaits. Often, riders “push” for so much in their medium gaits that there is not a clear difference between it and the extended gait. However, Clarke and Rockwell admitted that judges must also partially take the blame for this, because they sometimes too harshly score a “normal” medium trot. So of course, this led to a discussion of what exactly is being expected in each of these paces.

Clarke and Rockwell explained that in the medium gaits, there is a soft, quiet opening of the steps with no loss of roundness or throughness. Extended gaits, by contrast, are the “utmost”, and need to be more than the medium. For those of us who ride horses with limited natural gaits, it is best to really go for it in the medium gaits, and to accept the comment of “not much difference” in the extended movements.

Blitz and Ripline had to execute a challenging movement in the new USEF Fourth Level Test 3—the shoulder in on the center line. From “C”, the judge commented that the horse was not correctly bent and the movement was not clear. From where we sat on the side, the movement had seemed okay. This was a great example of how a judge can only assess what they can actually see (review the “Judge’s Notebook” section below). Rockwell had Blitz repeat the movement, this time being certain to keep Ripline’s hind legs on the center line, with the forehand only to the side of the line. Once the letter “A” could clearly be seen between the horse’s hind legs, the angle and bend of the movement became more correct and the score was adjusted accordingly.

Occasionally during their tests, each of these horses had demonstrated a slight head tilt which negatively impacted the score for that movement. This led to an interesting discussion of where in the horse’s body submission to the bend begins. In a horse that is accepting the aids correctly, the ribcage gives to the rider’s inside leg and the horse steps to the connection of the outside rein, allowing the rider to then be “free and easy” with the inside rein. When the horse doesn’t move off the leg appropriately (and therefore lacks true submission to the bend), the rider will use the inside rein more than they ought to, which begins the head tilt.

The Elite Levels: “It’s from another planet”

Auditors were in for a real treat after the lunch break, when Lee returned with Glorious Feeling to demonstrate Intermediate A, and Laura Noyes rode her own Galveston in the Intermediate B. However, the finale was not to be missed, and 2012 London Olympics alternate team members Blitz and her own Paragon elicited multiple “10’s” from the judges and the now infamous comment, “It’s from another planet” (in reference to Paragon’s extended trot). I must admit that my note-taking fell off the page a bit during these last few rides as I was so mesmerized by the horses’ performances.

Clarke and Rockwell discussed the meaning of a horse “being on the outside rein” as the effect of how much control and influence a rider has with the outside rein, versus the amount of weight the rider feels in the outside rein. This sense of connection to the outside rein is a must have requirement in order to execute the rapid changes of bend, balance and pace required in these elite level tests.

Jutta Lee and Glorious Feeling listen to the comments from Rockwell and Clarke.

Less experienced riders tend to focus on the head and neck of the horse, and as riders gain experience, they learn to look through the whole body to see the lift through the topline and engagement of the supporting muscles, which then allows the poll to come to be the highest point with the nose just in front of vertical. These confirmed FEI horses demonstrated this correct balance clearly and showed how this much power can still be soft.

Earlier, Clarke and Rockwell had emphasized the importance of constantly checking in with how the rider is using her aids as the horse grows and develops. With Galveston, Noyes delivered an accurate and fluid test that had many good (“8”) and very good (“9”) movements. However, the judges felt that the horse still had more to offer and that Noyes was not quite asking enough. By changing the balance between her forward leg aid and restraining seat and rein aids, as well as modifying the timing of the two, Galveston began to produce an extended trot which elicited a collective gasp from the audience. Surely Noyes knew this trot was in there, but now she has new tools to play with in order to develop it further.

In these tests, Clarke and Rockwell discussed the critical importance of preparation for movements and the use of transitions and corners to aid in building up the required power and correct balance. For example, in the sequence changes (the four, three, two and one tempi’s), the rider must come onto the diagonal and create an uphill balance in the horse and then release into the first change, as opposed to trying to push into them. The medium and extended trots are also a release of stored energy that has been built up in advance; if the rider has failed to build the energy, she cannot magically create the power required for these paces at the letter itself.

Blitz and Paragon were truly inspirational to watch. At 18 hands, the chestnut gelding would command attention no matter what, but the incredible sitting in his piaffe/passage, the ease of his tempi changes and of course the unbelievable power and control demonstrated in his extended trot were simply magical. I think everyone there knew we were watching a special partnership.

Clarke and Rockwell of course have seen (and judged) this team before, and both remarked on the tremendous growth in the horse’s confidence. “Whatever you are doing in your training program—keep doing it,” commented Clarke. The judges said that for so many horses, no matter what, the muscular growth acquired through consistent training will help them develop the confidence to do the movements. For a Grand Prix horse, learning the movements themselves is only a beginning. Clarke and Rockwell said that if you are lucky, it takes five years to develop a horse to Grand Prix, and then another two years to put it all together in the arena. So much of this development comes down to the strength of the horse in being able to correctly do the movements.

Judge’s Notebook

As a (2007) graduate of the United States Dressage Federation’s “L” judge’s training program, I can assure you that the view from C is one that comes only after years of dedication, effort and growth in terms of developing one’s eye, skill, vocabulary and clarity. While I am lucky to be invited to judge at local schooling horse trials and dressage shows, I am not sure that I will ever feel fully qualified or up to the commitment of pursuing the dressage judge’s license. Completing the “L” program has helped me to interpret judge’s comments on my own tests with better clarity and also to know that most judges truly want to help the competitors to be better. I have an immense amount of respect for the challenge that judges face in their role.

Clarke and Rockwell represent the pinnacle of judging, and I was completely impressed with how they came within one point of each other on nearly every movement, with similar comments. As adhering to the training pyramid will lead to a horse with correct basics, these gentlemen show that the progress judges make through their own training helps to refine the eye and to create cohesion and consistency in a subjective discipline.

Throughout the day, Clarke and Rockwell offered insight into the role and mind of a judge, both by actually scoring/commenting on the tests being performed and also through their discussion of each performance. In addition, they fielded questions from the audience.

Here are a few of the “judging notes” I picked up throughout the day.

Judges must actually use the entire scale to reflect what they are really seeing. During the course of the day’s rides, we heard Clarke and Rockwell say everything from 3 to 10. I must admit, I find it hard to get out of “six-ville” when judging, so it was exciting to see the quality of performance which elicits higher marks, as well as the fact that these elite judges will forgive minor mistakes (like a small stumble).
One of the main purposes of the Young Horse classes is to educate the public; this is especially true in Europe, where such classes will draw a large crowd. In the YH tests, judges want to see a relaxed, confident horse which is being shown in a natural balance. Horses may have three super gaits naturally but the training must still be correct, and the young horse must not move artificially. The Four Year Old test is roughly equivalent to the USEF Training/First Level; the Five Year Old test is roughly equivalent to the USEF Second/Third Level and the 6 Year Old test is roughly equivalent to USEF Third/Fourth Level.
When a horse is actively teeth grinding or tail swishing during their work, it is important to look at the overall picture and to not immediately interpret this as a symptom of resistance; judges should not automatically deduct points. Frequently if there is tension in the horse there will be additional cues. Not every horse that grinds their teeth or swings their tail is being resistant.
The collective marks are meant to be a summary of the overall test. Therefore, a test whose movements are full of 5’s and 6’s should not have collective marks that are 7’s and 8’s. Errors in the test should not affect the rider scores in the collective marks.
You can only judge what you can really see, not what you think or assume is happening. This was especially clear when the judge at “C” and the judge at the side had different marks or conflicting comments.
To arrive at a score, the judge must consider all of the qualities that they like (positive) versus those things that were negative. The judge must ask, “where is your eye drawn to?” and start there. Beware the generic comment (“needs more impulsion”). If it needs to be said, try to be specific (“needs more impulsion at ‘K’”).
The rider is responsible for the submission score and the overall performance of the horse that day; therefore, a rider may receive a different mark for “rider” from the same judge on the same day for different performances or different horses.
If someone comes into the ring, takes a risk and pulls it off (for example, they really went for a big medium trot), give them the points. Otherwise, why would riders ever bother to take risks, and the result is boring dressage.
A dressage judge’s job is never easy….