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Clinic Reports, Training Tips and Techniques

Notes and Observations: Carl Hester at the NEDA Fall Symposium 2017

January 5, 2018 christinakeim 4 Comments

The northeast dressage community was electrified by the announcement that British dressage superstar Carl Hester would headline the 2017 New England Dressage Association (NEDA) Fall Symposium, held October 14-15, 2017 at the picturesque Equestrian Center at Pineland Farms in New Gloucester, ME.

PinelandKurLeeNewCar 092 — Abby Hardy riding Geoffrey and a previous symposium held at Pineland.

Hester’s influence on the sport of dressage in the UK has been pronounced, and includes leading the team to medals at the World Equestrian Games, Olympics and European Championships. In fact, at the Rio Olympics in 2016, Hester not only rode (Nip/Tuck) but was the trainer of the other three members of the team: Charlotte Dujardin and Valegro (who Hester co-owns), Fiona Bigwood and Atterupgaards Orthilia and Spencer Wilton and Super Nova II.

The recent success of the British team is refreshing, as it comes after years of harsh criticism of previous Dutch and German champions, many of whom were proponents of hyperflexion/rollkur. These horses were criticized for being too tense, incorrect in their movement and otherwise not truly demonstrating the throughness, obedience and correctness necessary at the world class Grand Prix level. By contrast, Hester is a clear proponent of adherence to classical training methods; he has an eye for a horse, frequently selecting his mounts as youngsters and training them through the levels himself. His horses, and their riders, fairly dance through their performances.

Hester spoke to a sold out house; I was only able to attend on day one, but even just spending just one day auditing was enough to grasp clear themes which emerged through demonstrations which began with a four year old and progressed all the way through to Grand Prix.

Here are my top eight take aways from this symposium.

Try to keep horses as naturally as possible.

Hester was originally an event rider, and so maybe this is why he still believes in actually turning horses out. “If you want to keep your horses sound and happy and easy to ride—leave them out,” said Hester. He notes that youngsters which are not turned out enough often end up being overworked because they are so high that it takes a long time to establish the necessary suppleness and relaxation. As horses move up the levels and need more energy for their work, they might need to be kept in more. But even Hester’s most elite horses enjoy time in turnout daily.

To this point, Hester also believes in regular out of the ring hacking for dressage horses, both for mental health and to develop fitness. Young horses may only work for 20-30 minutes per session but should be warmed up by moving around outside of the ring. “Horses must be fit, and if you are just riding them for twenty minutes they will not be fit enough,” said Hester.

img_2122-1 — My own youngster, Izzy, clearly believes in the importance of sleeping and resting. Especially when housekeeping has arrived to clean the paddock.

Temperament, a good walk and a good canter are most important.

“I have been proven wrong many times by a horse with not the best movement but excellent temperament,” said Hester.

It is important for a dressage prospect to have as close to a perfect walk and canter as possible, because these gaits are much harder to improve than the trot. However, a youngster with an unclear walk may simply need more strength. Horses with huge walks and a big overstep can be hard to collect. Riding zigzags up and down hills can help to improve the walk.

Less is more.

“All training goes like this,” said Hester, drawing a line in the air with his finger that resembled a rollercoaster. Sometimes a horse will hit a phase of their training where they get more difficult, and this is not always a sign that the horse is being stubborn. “Give them a break—a few weeks off,” said Hester. “They can be tired or muscle sore.”

Hester repeated this theme in numerous ways during the day. “Your horse isn’t born reading the dictionary—you must teach them the dictionary,” he said in regards to training youngsters.

“If the horse is not on the bit, do not force them,” said Hester. “The horse needs to work out where to put themselves.” He reiterated this in several sessions. “Do NOT be obsessed with the horse being ‘on the bit’,” said Hester. “They will come onto the bit with correct work.”

During the work itself, horses need breaks when they become fatigued; a break can sometimes be as basic as taking a short diagonal while allowing the horse to lower their neck. “The rider must listen and feel for this request from the horse,” said Hester.

Make sure you finish a training session with work the horse finds easy. Put the “meat” of your training towards the beginning or middle of your work.

Hearing Hester’s words came at a perfect time for me, as work and school demands kept me from having as much time available for serious training. Instead, I used the fall to focus on stretching, hacking, cavaletti work and strength building with my top horse, Anna.

Increase demands GRADUALLY

Training must be systematic. Youngsters should start by working on long straight lines and large circles. They need to learn to turn from the outside aids of the rider, and be encouraged to reach through their topline in a long outline. A four-year-old might work just twenty to thirty minutes, four times per week, stretching in the walk, trot and canter, slowly building to the development of the ability to bend and straighten. Once this foundation has been set, as a five-year-old the horse should work on smoother transitions, better balance, and increased lateral suppleness, using leg yield.

It takes time for horses to figure out what you want when you teach them something new. On the first day, introduce the horse to the new skill; on day two review, then give them day three off. On days four and five, repeat the lessons of days one and two. Then go hacking on the weekend.

It. Takes. Time.

TRANSITIONS

Hester is obsessed with transitions. He said he does “lots” of transitions per session—hundreds of them. Big ones. Small ones. Between gaits, within gaits.

The trot to canter transition engages the inside hind, while canter to trot teaches the horse to come more forward into the rider’s hand and use their back more. Canter-walk-canter will work towards getting the horse to truly sit behind and come off of their forehand. “Listen for the sound of the front feet,” said Hester of this transition. “You shouldn’t hear them. These kinds of exercises build the strength to do the next level of collection.”

At the FEI levels, horses must be able to go from the trot or canter directly to the halt. This starts by teaching a young horse to ride cleanly from trot-walk-halt. Gradually, make the duration of the walk smaller until it goes away. “Your piaffe-passage lives in the trot-halt transitions,” said Hester. Hester recommends using a ground person to verify that each hind leg is squarely under the horse. “This is how you ensure that each leg aid is activating the hind leg on that side,” said Hester.

For horses which come behind the leg, Hester recommends bringing them back as soon as they start to go forward, rather than waiting for them to slow down. “You must take the leg off in between asks,” said Hester. “Telling someone to ride forward when they don’t have the balance will not work.”

If you make it to Grand Prix, the transitions are the hardest part, especially from piaffe to passage and back. “Good collection makes good extension,” said Hester. At the lower levels, and for horses without a natural lengthening, asking for bigger strides on the circle can help to improve the gaits.

Jan Ebeling April 2017 038 — Anna is a great example of a horse without much natural lengthening to her stride. I have been trying to add “hundreds” of transitions to her work, ala Hester, to try to develop more reach in her step.

Know your craft. Really, really know it.

Hester emphasized that all riders should understand the fundamentals of biomechanics and conditioning in the horse. Riders should also choose a horse which suits their personality.

Self-carriage in the horse begins with teaching the horse to carry their own head and neck in the free walk on a long rein. The rider should use their arms in a rowing fashion, pushing the neck down and forward. Keeping the reins moving and looking for lightness in the hand is most important.

When tracking right, most horses bring their nose and haunches to the inside. The rider must use more outside (left) rein to help keep the horse’s nose in front of their chest. When the horse tracks left, the rider can ask for more inside flexion to help stretch the chronically shortened right side. “When the nose and hips are to the right, the middle of the horse is out,” said Hester. “You need to bring the middle of the horse in.”

Hester made reference to an often misattributed quote of his student Dujardin, which goes something like “short reins win medals”. “Short reins allow you to ride forward to the hand,” said Hester. “Long reins will cause you to take back. During the warm up, some horses will be very strong in the hand and some very light. Do not mistake lightness for contact.” The use of a driving rein position can be helpful for horses which curl in the neck in response to the rider’s hand.

Hester said that there is no hard and fast rule as to when introduce the double bridle. “If the horse is not sure at first, I might hack out in it,” said Hester. “But if the horse doesn’t go well to the snaffle then they won’t go to the bit in the double. The horse must be in self carriage in the double bridle for it to work.”

Do not rely on your reins to create the shoulder in, rely on your legs.

To ride an accurate half pass, “put your destination in between your horse’s ears.” Keep the rider’s weight on the inside seat bone.

Flying changes should be cued with a squeeze of the rider’s heel, not by drawing the entire leg back, especially on a dull horse.

Leg yield in canter can help to free up the horse within the gait; half pass in canter increases collection. In both movements, the horse’s shoulders should be leading slightly.

The half-halt is a forward aid. “The half halt needs to feel like the horse is happy to go forward, not happy to stop,” said Hester.

Hester does not often use dressage whips. “If you are going to ride with a whip, then the horse should not be best friends with it,” said Hester. “But they also shouldn’t fear it. The use of the whip should create a medium trot step instantly.”

“You ride for thirty to sixty minutes—do it right.”

Be positive.

Training your horse should be like playing a game. Make the work playful. Reward often. “Every time they give the correct reaction, offer a touch on the neck or a small pat with the inside rein,” said Hester.

The rider’s goal should be to put positive tension into their work, and afterwards stretch the horse and take a break. “With the stretch, the horse shows relaxation,” said Hester.

To this end, rising trot can be a valuable tool. “Rising trot is not just for amateurs and young horses,” said Hester. “It can be helpful whenever you are asking the horse for more. It can be used in the half pass, extended trot, etc.”

Always, always remember that horses are authentic. “If the horse is difficult because he is stiff, he doesn’t do it to annoy you,” said Hester. “He does it because he’s stiff, so you need to give him some time and work through it in a systematic way.”

anna-at-verne-2016-106 — Sometimes your horse makes it very clear that they did not appreciate the way in which you asked for the flying change!

Dressage is not just about the movements.

Hester said that his older horses may work as much as two-three hours per day to develop the fitness necessary for elite dressage. “But you are not just schooling the Grand Prix,” said Hester. “You can’t do that. They must get fit through stretching, hacking and loosening.”

The hardest part of dressage, according to Hester, is attending to the care and health of your horse, and keeping them sound. “It’s not what you invest in the horse, it is what you invest in training,” said Hester. “Buy what you can afford; they might be two years old, but you can start here and train them.”

Hester said that it can be hard to stay inspired when working on your own. “Everyone needs to find someone to work with,” said Hester.

anna-at-verne-2016-042 — While I have taken inspiration from many coaches, it is Verne Batchelder’s assistance which has proven to be the most helpful with Anna.

Final Thoughts

The content of this symposium was refreshing in its emphasis on correct, classical training and the emergence of the clear, horse friendly system that has led to Hester’s success. There are no tricks or shortcuts, just a clever adherence to finding the joy in each individual horse, using their strengths to develop their weaknesses. The horses chosen for demonstration were exceptional examples of the quality of work at each level.

This won’t be a popular opinion—but for me, what was NOT refreshing about this symposium was all of the hoopla and rigmarole around it. Ex: Tickets will go on sale at midnight, to NEDA members only. Doors will open at 7:30 AM (symposium does not begin until 9:15). You will get a nametag to affix to your chair, no saving seats. Dressage has a reputation for divas, for excessive wealth, for elitism. This symposium did NOTHING to eliminate that perception; if anything, it enhanced it. I don’t know how much came from Hester himself (for example, it is his request that no photographs are taken, out of respect for the training process and privacy of the riders) and how much came from NEDA. Some of the demo horses came from Florida, Ohio and Maryland, for goodness sake. Of the over one hundred rider applicants, we couldn’t find animals from our membership’s base? Where were the Irish horses, the OTTBs, the “native ponies”? It is great to see these methods work well with the genetically blessed horses which were selected (again, I don’t know if Hester had final say and this was his design). But I would suspect that most of the NEDA membership is not riding horses of this caliber, and it would have been inspirational to see even a modest transformation in a “normal” horse during the course of this symposium. By the end of the day, I had had my fill of the “fussiness” of dressage.

With that being said, I am appreciative of the hard work and organization which went into the planning of this educational event, a process two years in the making. We are lucky to have access to this caliber of education in the northeast and I am grateful for the hours of effort from the volunteers which put this together.

Hester closed day one with the following summary. “Dressage is the art of putting a crooked person on a crooked animal and expecting them to be straight and then move to self-carriage,” said Hester. “Self-carriage is having the horse balanced on all four legs.”

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

Judging Musical Freestyles with Terry Ciotti Gallo and Lois Yukins: Understanding Artistic Impression

June 11, 2015 christinakeim 1 Comment

The musical freestyle is by far the most accessible display of the sport of dressage; even non riders can appreciate the harmony, joy and majesty of the horse and rider partnership when it is set to music. A well-designed freestyle is truly a work of art, melding athletic performance with creativity in ways limited only by the rules of the USEF or FEI.

The Equestrian Center at Pineland Farms (the facility itself is a thing of beauty) in New Gloucester, ME, hosted a continuing education weekend for judges focused on the musical freestyle on May 30-31, 2015. Led by longtime USDF Freestyle Committee member and Klassic Kur founder Terry Ciotti Gallo and supported by USEF “S” judge Lois Yukins, day one of the clinic covered in comprehensive detail a system by which judges can objectively assess the elements on the artistic side of the scoresheet.

This program is just one of several being offered across the country; the goal is to help to create a more consistent standard of evaluation for the freestyle by giving judges an objective method of evaluating a subjective performance. In addition, it is hoped that riders will be inspired to work towards the creation of better, more effective freestyles—or perhaps even to try it out for the first time!

In this blog, I will review the elements of the artistic impression score, as considered by the judge. Information about creating a freestyle, the focus of clinic day two, will be handled separately. There was so much content shared over this weekend that it is simply too much for one article!

Five Categories of Assessment

For the USEF levels, there are five categories of assessment on the artistic impression side of the musical freestyle scoresheet. They are (in order on the scoresheet):

Harmony between horse and rider
Choreography (design cohesiveness, use of arena, balance and creativity)
Degree of Difficulty
Music (suitability, seamlessness, cohesiveness)
Interpretation (music expresses gaits, use of phrasing and dynamics)

For FEI freestyles, each category has a coefficient of 4 (and they combine music and interpretation into one mark, and add a category for rhythm, energy and elasticity), but for the national test levels, the coefficients vary. Understanding that the biggest coefficient score will come from choreography can help riders to prioritize this score over degree of difficulty. While “harmony between horse and rider” might sound like something which should be on the technical side of the scoresheet, it is scored artistically in USEF tests because harmony reflects the “artistry of the rider”.

Understanding the score for “Music”

In presenting the analysis for each category, Gallo chose to begin with music, as this has to do with selection and preparation, factors which are taken care of before the show. This score is the only artistic impression mark which should not be affected by the technical execution of the freestyle, unless a horse is feeling so naughty that they don’t demonstrate their basic gaits. The score for choice of music should not be influenced by the personal likes or dislikes of the judge, but rather by evaluating the suitability, cohesiveness and seamlessness of the music chosen.

Suitability is the most important aspect of the evaluation, and in judging methodology it represents the basic element for the score; the other qualities can modify the score higher or lower. Suitability means that the music enhances the horse’s way of moving, and should fit the character of the horse. Gallo says that a wide range of genres of music can be suitable -dance music, not surprisingly, can work well for many horses- but it must be level appropriate. Lower level horses are going to be overwhelmed by big, powerful music better suited for pirouettes, half pass or tempi changes. Yukins used the analogy of a supermodel that could look good wearing anything, including a burlap sack, but the average woman must more carefully consider cut and fit. Some horses are so expressive, so beautiful, that nearly any music will work. However, for a more average horse or one that is a flatter mover, well-chosen music can elevate the performance. If the musical selection is suitable, the score for the mark should start at a 7.

Cohesiveness is a modifier to the base score for music, and it means that the pieces of music chosen for each gait have a unified feel. This may be due to genre (all one style, like jazz, classical, rock and roll, etc.), theme (an underlying quality or idea, like all Elvis, all children’s music, and so on) or instrumentation (all pieces are played on piano, or with full symphony, etc). Yukins and Gallo both emphasized the importance of not making the theme too hard to understand—judges have too much to analyze during the five minute performance of the freestyle to make more obscure associations. As Gallo put it, when the theme is so obvious that the judge doesn’t have to think about it, the score goes up; she encouraged judges to give the rider the benefit of the doubt if the music seems sort of cohesive but the judge isn’t sure why.

Seamlessness is the final music score modifier, and this has to do with the editing of the music. The music must flow together, with no jarring shifts which disturb the ear. Editing can be done within a song, or between songs, and is needed in order to have appropriate music for each gait. Basic editing can be done with the use of downloadable software or riders can work with professional editors. Abrupt cuts and overly long fades should be avoided, but short fades can be helpful to create smooth transitions between pieces for each gait. Gallo advises against using a fade out on the final center line, preferring instead to end the freestyle with a closing note or chord in the music.

If all three aspects of the music score are done well, the final mark should be above an 8. The mark for music carries a coefficient of 3.

Understanding the score for “Interpretation”

The score for interpretation of the music is largely determined by what happens during the performance itself. Considered in this mark is how well the music expresses the horse’s gaits, as well as if the rider has coordinated movements with the phrasing and dynamics within the music. Getting a good mark for interpretation requires both advance planning and on pointe execution. It also requires the understanding of some basic musical terminology.

The term beat is used to describe the underlying pulse of the music; it is what your foot wants to tap to as you listen, if you are so inclined. In a horse’s gait, the beat is a footfall. Most riders understand that the walk has four beats, the trot two and the canter three (though for freestyle planning it only has one, which I will discuss in my next blog). Rhythm in musical terms is a repeated pattern of sounds, while for the horse rhythm is the timing and sequence of the footfalls. Tempo is the rate or speed of the beat in music or the rate of the repetition of the rhythm for the horse.

In my second blog related to this weekend, I will discuss how knowing the tempo of your horse’s gaits is related to choosing appropriate music.

When you hear each piece of music, its rhythm and tempo should suggest the gait which it is being used for. While neither the FEI nor the USDF require that riders match the beats of the music to their horse’s footfalls, Gallo says that the smart rider will try hard to do so. That being said, it can be hard to stay right with the beat of the music, especially at the lower levels, as the horses here lack the strength to stay off the ground in the new movements introduced at each level (the leg yield at First Level or the shoulder in at Second Level, for examples). Gallo says that music must at least suggest the gait which it is being used for to get a good mark for interpretation.

If the music is well chosen, it will have clear phrasing and dynamics. Phrasing is a musical unit; at the end of a phrase, the music changes in some way. Dynamics relates to the loudness or the softness of the music; Gallo explained that a forte or crescendo of louder music would indicate a bigger movement (like a lengthening or extension) while softer music suggests circles or pirouettes.

To help judges, Gallo presented the minimum requirement of “Six Point Phrasing”. Basically, a rider who demonstrates their initial halt or salute, their first movement change, their trot and canter lengthenings or extensions, their gait changes and their final halt or salute with musical phrase changes should get at least a 7 for interpretation. Judges should try to note each time the rider goes beyond these six basic points and can add to the score accordingly. If the rider executes the six point phrasing and also matches the footfalls to the beat of the music, the score should be at least an 8. If the rider can also take advantage of the dynamics, then the judge should add a few more tenths of a point. The score for interpretation carries a coefficient of 3.

Understanding the score for “Degree of Difficulty”

The degree of difficulty mark is only worth a coefficient of 2 for the USEF tests First-Fourth, and a coefficient of 1 for Training level, for a reason: attempting to add difficulty that results in poor technical execution makes for bad freestyles. Gallo and Yukins both emphasized how important it is to be totally confident that your choreography will work well for your own horse. “Consider carefully,” says Yukins. “Only do what you can do reliably and well.”

Gallo reminded judges that in a freestyle for a specific level, they should expect to see transitions and movements which correlate to the requirements for the highest test of that level; she even suggested reviewing this test before watching the freestyle. It then is easier to evaluate whether the freestyle performance reflected what the judge was expecting to see (“met” expectations for the level) or exceeded them.

One thing which riders need to be aware of is that they cannot use movements “above the level” to increase degree of difficulty. Judges must be mindful of this and deduct 4 points for any above level movements which are intentionally executed. However, there may be movements which are not traditionally included in standard tests that are permissible for that level of freestyle. On the lower left of each scoresheet, there is a list of movements which are allowed for that level; note that some of these lists changed for 2015.

Examples of ways to increase the difficulty include: a movement at a steeper angle than for a standard test at that level; unusual placement of movements (like a shoulder in off the rail or movements on the center line); demanding transitions (like a canter lengthening to the walk on the same line); challenging combinations (such as a leg yield zig zag); reins in one hand; tempis on a broken or curvilinear line; doing greater than the required number of flying changes.

In terms of scoring, a freestyle that matches the basis for the level should receive a 6 for degree of difficulty. If the freestyle matches the highest standard for the level (such as the movements in the highest test), the score should be a 7. The judge can then add to the score for each element which exceeds their expectations.

Remember that the score for degree of difficulty is linked to the quality of the execution. If a rider tries to do something ambitious and does it well, then they will receive both a high technical mark and a high mark for degree of difficulty. Passable execution will result in no deduction but also no credit. However, if the rider tries for something complex and the quality of the performance falls apart, they will receive penalties in several areas.

Borrowed from "The Chronicle of the Horse" Image uncredited. — Borrowed from “The Chronicle of the Horse” Image uncredited.

Understanding the score for “Choreography”

The choreography relates to the “construction of the patterns”, according to Gallo. There are four criteria which fall under this score: design cohesiveness, use of arena, balance and creativity. Of these four, design cohesiveness is the most important and is the basic score.

Design cohesiveness relates to the clarity and logic of the movements used in the freestyle. It does not need to be symmetrical, but the design should never leave the judge wondering, “what was that?”. If there is clarity in design, the score for choreography should start at 7.

Use of the arena is a modifier to the score. The choreography should use the arena in its entirety, distributing movements around the ring. Freestyles which have all the elements at the far end, for example, are not using the arena well.

Balance in this case refers to the relative equality of movements on the left versus right rein.

Creativity is a modifier which many judges and riders think is the main criteria. Creativity is important, and it refers to combining the elements in interesting ways, or using uncommon lines. Creative choreography is imaginative and not test-like. This does not mean, though, that the choreography is brand new/one of a kind/totally unique. “Not test-like” means that the choreography is not like the movement configurations of any tests currently being used at that level. It does NOT mean that a configuration that was part of a test at that level in years past is off the table. Let’s face it—at the lower levels, there are just not that many movements required and there are only so many ways to put them together.

Choreography really is one of the areas in which both judges and riders need to release their usual concerns regarding test riding and learn to think creatively. Transitions should be made with musical phrases, not at letters. The halt and salute can be done anywhere on the center line so long as they are facing the judge at C. Gallo likes doing diagonal lines that end on centerline, which then allow riders to turn in either direction.

Gallo says that the relationship between the execution of the movements and the score for choreography is indirect. Riders must show lateral movements over a minimum of 12 continuous meters (18 is better); trot extensions must be done on a straight line (mediums may be done on a 20 meter circle) and canter pirouettes must have straight strides into and out of the movement. The only time where execution can really detract from choreography is when a horse has a strong reaction and the judge cannot tell what they did. It is also important to make sure than in an attempt to show creativity, a movement does not appear to be ‘above the level’ (haunches in on a diagonal line looks much like half pass, for example).

Understanding the score for “Harmony between Horse and Rider”

Harmony is something which every dressage rider should aspire to, and watching a well-made freestyle in which horse and rider appear to seamlessly dance to the music can give you chills. The score for harmony reflects the trust between the horse and rider, and the horse’s confidence in both the rider and his own ability to execute the demands of the test.

Getting a high mark for harmony requires that the horse stays calm and attentive and that the performance shows ease and fluidity. This is actually another area in which the FEI and USEF differ—the FEI considers harmony to be about the submission to the aids but the USEF considers it an artistic criterion because it goes into the relationship between the horse and rider.

Harmony takes into consideration the challenges of a good freestyle: staying to the beat of the music, aiming for musical interpretation, the extra demands of increased difficulty and the great number of adjustments that riders must make relative to a standard test. To quote Gallo, “judges should truly appreciate and reward a harmonious freestyle”.

Click on the link above for a visual representation of “harmony between horse and rider”.

Tips for Judges

Gallo and Yukins both emphasized that evaluating the artistic impression of a freestyle is not a matter of simply taking a percentage of the technical mark and calling it good. Judges must use the same kind of system by which to fairly evaluate a ride and arrive at consistent scores that they do to judge regular tests. The “L” program teaches learner judges that to arrive at a score, one must use a formula:

Basics + criteria +/- modifiers= score

By using this same methodology, even something seemingly subjective like artistic impression can be evaluated in a more objective manner.

The artistic impression scores are interrelated with each other, but not all of them relate to the technical performance. Harmony and degree of difficulty are directly linked to the quality of the technical execution. Choreography and interpretation of the music are independent of but modified by execution. Only the music score is not affected at all by the execution of the test.

Judges must be mindful of a few critical rules that pertain to freestyles. For Training through Fourth levels, rides have no minimum time but cannot exceed five minutes. Any movements performed after the time ends are not judged, and a one point penalty is taken from the artistic impression score.

Gallo has a few words of advice for judges. First, in regards to “creativity”, it is important to remember that even if a combination of movements has been done before, or is done the same way by a number of riders, it can still receive positive marks for creativity. The idea is to compare each rider’s performance to what is seen in regular tests, not to what is seen in other freestyles. Secondly, Gallo hopes that judges will continue to learn more about using a standardized system to assess the freestyle. She points out that most judges are experts in dressage first, and have had to learn about freestyle after the fact, and so are going to need time to adjust to a new system.

Yukins cautioned that the judge’s comments on artistic impression are really important, as they will help to shape the future of freestyle. She reminded participants that the role of the judge is extremely difficult, as they have so much to consider. “Judges have six minutes to evaluate a product which riders could have been working on for years,” says Yukins.

Gallo suggests that judges practice their freestyle judging skills by utilizing videos on You Tube. Judges should work to develop a note taking system which allows them to keep track of phrasing and other artistic elements without losing track of the technical score. Another technique is to create a personal “cheat sheet” which can help the judge to keep track of the various elements.

Next up: Creating a Musical Freestyle: Tips from the Top

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….

The Academic Equestrian