Introduction

1. Introduction • The ability to correctly evaluate a horse’s conformation and performance is an essential part of any equine program. • The correct evaluation of a class depends on the judge’s ability to properly assess and weigh all information and make sound decisions based on specific standards of excellence set forth by the different breed associations. • This information will give horsemen a better understanding of what the judge is looking for in the show ring, which could aid in the selection and training of horses.

2. ORAL REASONS • An oral set of reasons allows a student to defend their placing of the class within a 2-minute time limit. • This process will teach students how to think analytically, process information and then organize their thoughts into a logical order that can be presented orally in a refereed environment. • The criteria for preparing oral reasons include: • Organization • Content Accuracy • Content Relevancy • Terminology • Presentation

3. 1) Organization • Logical order that is easy to follow. • Important points first. • Clear opening statements. Introduction – Big Opening Statement • Class placing • Class name • Class description – How it was partitioned. • Designed to fit each particular class.

4. Body • Top, Middle and Bottom pair. • Miniature Opening Statement – Begin each pair with a brief sentence that describes, in general, the placing of the pair. • Grant – Comparable advantage of lower place horse. • Criticism – Specific description (Not Comparative) of individual. Conclusion • Criticism of last placed horse. • Comparable disadvantages relative to other three horses.

5. 2) Content Accuracy • TELL THE TRUTH. • Inaccurate statements are the major fault in reasons. • Complete content with appropriate faults and grants. • 1 pt deduction for leaving important point out. • 2 pt deduction for lying. 3) Content Relevancy • Reasons should contain only pertinent information. • Specific points of comparison that were significant in placing the pair. • Do not talk a “canned” set that does not fit the class.

6. 4) Terminology • Proper grammar. • Comparative in pairs and grants. • Descriptive in criticisms. • Horsemanlike – Related to horse industry. • Clearly enunciated. • Correctly pronounced. 5) Presentation ( 2 minutes) • Professional appearance Proper volume • Poised Conversational • Relaxed Smooth • Eye contact Pleasant • Confident Proper speed • Facial expression Proper inflection

7. Reasons Format Opening Statement: • “Starting with the most complete in 1 and ending with the least feminine, lightest made in 4, I placed the class of yearling fillies 1-2-3-4. Positive criticism of top place horse: • “Although the buckskin could be/have _____________, I nonetheless placed 1 over 2 in the top pair.

8. Top Pair: - Miniature opening statement: • A general reason why 1 placed over 2. “Number 1 is not only higher quality but also nicer balanced ”. (Use only major criteria). - Qualify your opening statement: • Use specific, comparative terminology (“-er” words) to substantiate higher quality then nicer balanced. - Grant 2 over 1: • “I will admit that the two socked sorrel was higher volumed”. - Criticism of 2: • A specific description (not comparative) of the individual “However as 2 is thick necked and short hipped I placed her second”. - Transition into middle pair: • “Even so” or “Still yet” in my middle pair, I placed 2 over 3 as 2 …

9. Scoring Reasons • Scores range from 0-50. Score Quality of Work Grade 45-50 Good to Excellent A 40-44 Above average to good B 35-39 Average C 30-34 Below average D <30 Poor F

10. Name of Class Good Qualities Bad Qualities 1. 2. 3. 4.

11. Opening Statement = Name of class, placing, description of class {Miniature opening statement} 3/2 2/3 Grant • Qualify opening statement • Comparable Advantages 2 Criticism 2/1 1/2 1 1/4 4/1 4

12. Yearling fillies, 3-2-1-4, highest quality, nicest balanced (3); least feminine, lightest made (4) Quality & Balance 3/2 2/3 Straighter in toes from front Deeper hearted • Shorter backed, longer hipped • More proportional • Shorter head, cleaner neck 2 Short hipped, thick necked 2/1 1/2 1 1/4 4/1 4

13. CONFORMATION • The evaluation of a horse’s conformation is extremely important because form is related to function. • The criteria for evaluating conformation include: • Balance • Structure • Muscle • Quality • Breed and Sex Character • Travel

14. Conformation • The relative weight placed on each category will partially depend on the magnitude of the differences between horses. • However, balance is considered the single most important selection criteria. • The ideal horse is one that best combines all of these qualities to the highest degree.

15. Parts of the Horse

16. Figure 1 1) Balance • Balance is the relative proportion of body parts. A horse that is well balanced looks as though all the parts blend together correctly (Figure 1).

17. Proportionality (Figure 1) • A well balanced horse should divide equally into thirds: • The 1st third (line 1) is measured from the point of the shoulder to the heartgirth. • The 2nd third (line 2) from the withers to the flank. • The 3rd third (line 3) is from the flank to the point of the buttocks. • Furthermore, the length from the top of the withers to the sternum (line 6) should be approximately equal to the length from the sternum to the ground (line 7).

18. Example of Ideal Proportionality Mare

19. Angle of Shoulder and Hip (Figure 1) • A well balanced horse should have a long, sloping shoulder and hip which are relatively level. • The angle and length of shoulder is measured from the top of the withers to the point of the shoulder (Line 4). • The length and slope of hip is measured from the point of the hip to the point of the buttocks (Line 5). • If the imaginary vertical line coming straight down from the withers (Line 6) is well behind the horses front leg, then the horse probably has a good angle to the shoulder.

20. Example of Good Balance Yearling Filly

21. Example of Good Balance 5 4 2 1 3 6 7 Yearling Filly

22. 2) Structure Front legs (Figures 2 & 3) • From the side, you should be able to draw a straight line from the top of the forearm through the knee and cannon and down to the ankle. The pastern should be relatively long and sloping. • From the front, you should be able to draw a straight line from the top of the forearm down through the knee and cannon bone and straight through the pastern and toe (Figure ???).

23. Front-Leg Conformation (Figure 2) • Correct • Pastern too straight • Too much angle (coon-footed) d. Behind at knee (calf-kneed) e. Over at knee (buck-kneed) f. Fine boned

24. Front-Leg Conformation (Figure 3) • Correct • Toes-out (Splay-footed) • Toes-in (Pigeon-toed) • d. In at knees (Knock-kneed) • e. Base narrow • Bow-kneed

25. 2) Structure Hind legs (Figures 4 & 5) • From the side and rear, you should be able to draw a straight line from the point of the buttock down the back of the hock and cannon to the ground. • Correct structure of the pastern, cannon and toe is the same as that described for the front leg.

26. Hind-Leg Conformation (Figure 4) • Correct • Slightly in at hocks • In at hocks, out at toes (Cow-hocked) d. Bow-legged, Pigeon-toed e. Stands close (Base-narrow) f. Stands wide (Base-wide)

27. Hind-Leg Conformation (Figure 5) • Correct • Correct • Too much angle (Sickle-hocked) d. Too straight (Post-legged) e. Stands under (Camped-under)

28. 3) Muscle Chest – The chest muscles or pectorals should be large and bulging. This muscle should carry well down the inside of the leg forming a definitive up-side-down “V” shape. The chest should be wide when measured from shoulder to shoulder. Shoulder & Forearm – The shoulder muscle should be large and bulging. This muscle should be wide when measured horizontally from the point of the shoulder to the heartgirth. The forearm should have a large circumference and attach low towards the knee.

29. 3) Muscle Hip & Stifle – The hip should be long when measured from the point of the hip to the upper buttocks. The stifle should also be long when measured from the flank to the lower buttocks. From the rear, the stifle should be wider across the center than the width between the points of the hip. Gaskin – The gaskin should be large, round and bulging with adequate length by tying in low near the front of the hock. This muscle should appear this way both inside and outside the leg.

30. Example of Heavy Muscled Shoulder, Forearm, Hip and Stifle

31. Example of Heavy Muscled Chest (pectoral) Stifle & Gaskin

32. 4) Quality – Refers to the overall refinement of the head and neck. Head – The head should be well chiseled with a triangular shape. The eyes should be set wide apart while appearing bold and bright. The head should be short and flat down the bridge of the nose with a small, refined muzzle and a round jaw. Neck – The throatlatch should be clean and thin. The neck should be long and clean while tying in high at the shoulder.

33. Examples of Excellent Quality Mare Stallion

34. 5) Breed and Sex Character – Horses should exhibit the characteristics of their breed and the qualities of their sex. Sex – Males, especially stallions, should exhibit masculinity by having larger heads and more bulging jaws than mares. Females should exhibit femininity by being more refined about the head and neck. Breed – Horses should meet the standards set forth by their respective breed associations that separate the breed from others. Some directly relate to judging criteria while others refer to genetic differences in coat or skin color (e.g. Color Breed Associations).

35. Related to Structure • Straight Alignment: • Straight path • Toes-in: Wings out • Toes-out: Wings in • Base-narrow: Winds 6) Travel

36. Example of Excellent Conformation Mare

37. Aged Geldings 1 2 3 4

38. 1 2 3 4

39. 1 2 3 4

40. Aged Geldings –Sample Set Initiating with a pair that were simply more complete, I placed this class of aged geldings 1-2-3-4. I realize that 1 could be somewhat more refined in his head, still I preferred his size and muscle over the quality of 2 in my top pair. The black was deeper hearted and wider through the floor of the chest, thus making him higher volumed. Furthermore, 1 was longer and more nearly level over his croup while having more length and depth of hip. I will admit that 2 was more refined in his muzzle while being shorter down his face, however as the sorrel was somewhat steep crouped and short hipped, I left him second. Still yet, it was 2’s obvious advantage in balance, muscle and quality that easily places him over 3 in the middle pair. Two was longer and more nearly level in his shoulder thus allowing for a shorter, stronger top in relation to a longer underline. Furthermore, the taller standing sorrel was more powerfully constructed, standing on more substance of muscle in his shoulder and forearm while being wider through the center of his stifle. Two also was more refined in his head and cleaner and higher tying in his neck. Finding no appreciable grant for 3 over 2 and as the brown was coarse headed, light muscled and short statured I placed him third. However, it was 3’s slight advantage in profile that situates him over 4 in the bottom pair. Three was longer, cleaner and higher tying in his neck, stronger behind his withers and more nearly level in his shoulder and top-line thus making him nicer profiling. I do grant that 4 was deeper hearted and somewhat longer hipped, however I criticize the bay and leave him bottom as he was thick necked, straight shouldered and weak topped thus making him the lowest quality, poorest balanced horse in the class.

41. WESTERN PLEASURE 1) Attitude • Horses should be well broke and shown on a reasonably loose rein, but with light contact and control. • Horses should be willing and responsive, smooth in transitions and give the appearance of being comfortable in his performance and a pleasure to ride. • Horses should exhibit a pleasant attitude while appearing relaxed and consistent throughout the class.

42. 2) Functional Correctness • Horses are required to perform the prescribed gaits and correct leads both directions of the arena . Walk = 4-beat gait Jog = 2-beat diagonal gait Lope = 3-beat gait Ex. Left Lead • Foot-fall pattern = Right hind, left hind & right front simultaneously, then left front.

43. 3) Quality of Movement Definition of Terms Used to Describe Movement Square – Equal length of stride with diagonal pairs of legs. Balanced – Ability of horse to keep itself properly positioned while in motion. Carrying an equal amount of weight on both front and rear. Symmetric – Equal length of stride with lateral pairs of legs. Cadenced – The distinct foot-fall patterns of the gaits. 4-beat walk, 2-beat jog and 3-beat lope.

44. Collected – Front end elevated while moving with drive and impulsion from the hindquarters. Hind legs should reach well under the horse while maintaining a distinctly cadenced gait. Rhythm – Stride frequency or rate at which the horses moves it’s legs. Lift – Period of suspension or elevated carriage. Flow – Move smoothly or easily while being fluid. Self-Carriage – A horse moving with a balanced, flowing motion of proper cadence with lift in his gaits while maintaining a level top-line.

45. 3) Quality of Movement • Horses should move with drive and impulsion from the hindquarters allowing for a slow,distinct cadence that is collected and balanced. • Horses should have a free-flowing stride of reasonable length while maintaining forward momentum. • A balanced, flowing motion, a level topline and proper cadence and lift in its gaits makes it easy for the horse to maintain self-carriage.

46. 3) Quality of Movement • Balance and flow cannot be achieved without forward motion and the proper cadence. • The balanced, flowing horse with a comfortable rhythm and good self-carriage should be rewarded for the degree of difficulty in its performance.

47. 3) Quality of Movement • Balance and flow should always be rewarded over pace and positioning. • A slow horse on the rail does not get rewarded over a more balanced, flowing and comfortable horse that is off the rail.

48. 3) Quality of Movement • The lack of forward motion affects the balance of a horse’s movement and interferes with his flow and cadence in his gaits. • When balance and flow are interfered with, the horse may: 1) start to bob his head, 2) hesitate in his motion, 3) turn sideways, 4) put his head too low on the forehand or 5) appear over bridled behind vertical.

50. 4) Head & Neck Carriage • Horses should carry their head and neck in a relaxed, natural position while maintaining a steady top-line. • The poll should be level with or slightly above the level of the withers with the nose carried slightly in front of the vertical. Level topline = Ear is level with the withers at the lowest point or eye is level with the withers at the highest point.