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2014
JUDGES MANUAL
TRAINING and UPGRADING
PROGRAMME
Dressage
8/1/2014
1
INDEX
Page 1
Introduction
Page 2 -4
Upgrading Procedures
Page 5
Judges Upgrading - Fast Tracking
Page 6 -7
Upgrading to List 5 (J5 Form)
Page 8 - 9
Upgrading to List 4 (J4 Form)
Page 10 -11
Upgrading to List 3 (J3 Form)
Page 12 -14
Upgrading to List 2 (J2 Form)
Page 15 -16
Upgrading to List 2A (J2A Form)
Page 17 - 18
Upgrading to List 1 (J1 Form)
Page 19 - 21
Art 441 - Number, List & Placing of Judges (Updated 1 Aug 2014)
Page 21
Sit -In Assessment Form
Page 22
Guidelines for Sit -In
Page 23
Shadow Judge Assessment Form
Page 24 -26
Guidelines for Shadow Judging
Page 27
List of Official Judges Educators & Mentors (2014)
Page 28
Discrepancy Form
Page 29
Area Judges Officer Job Description
Page 30 - 33
Judges Handbook
Page 34
Points System for Judges
Page 35 - 36
Criteria for Remaining on the Panel
Page 37
Training Scale
Page 38
Explanation of the Marks from 10 to 1
Page 39-42
The Collective Marks by Stephen Clarke
Page 43
Comments on Dressage Sheets
Page 44 - 45
Musical Freestyles (By Jan Bird)
Page 46
Freestyle Judging Sheet
Page 47 - 53
Musical Freestyles (By Katrina Wϋst )
JUDGES – TRAINING and UPGRADING PROGRAMME
Resources:



ESNZ General and Veterinary Regulations and Policies
Dressage New Zealand Rule Book
FEI Dressage Rule Book
Contacts:




NZ Dressage Judges Officer
Dressage NZ Sport Manager
Area Dressage Judges Officer
Dressage NZ Technical Officer
This document is intended as a guide for NZ Dressage Judges or potential judges, it cannot
contain all you need to know, but should help you with where to look for the information that
you need.
Procedure to become an ESNZ Dressage Judge
There are several requirements applicable to all potential List 5 ESNZ Dressage Judges, and
to all subsequent up-grading:






You must be a financial member of ESNZ and own a current Rule Book.
Judges are encouraged to be members of their local Area Dressage Groups if they
have separate membership.
You must have attended at least one official judges clinic and be prepared to attend
triennial clinics relevant to your level.
Applicants must be at least 18 years of age.
Speak to your local Area Judges Officer who will advise you on what it is necessary to
do to make your application to become a judge.
If a potential Judge does not wish to make an application through their own Area,
they may make direct application to the Judges Officer.
1
UPGRADING PROCEDURES
Your Area Judges Officer or the National Judges Officer is available to provide you with further information and explanations as to how to
proceed in accordance with the Schedule below
Requirements to become a Judge/Upgrade through Levels 2014
GENERAL REQUIREMENTS
Minimum age [Unless special conditions apply]
Financial member of ESNZ (preferably of local Group)
Own a current ESNZ/FEI Rule book
Level of Seminar (in year prior to upgrade)
Riding requirement –
To List 5 – brief history of previous riding experience.
To List 3 and 2 to have gained 55% on two occasions
at Level 2, List 2A at Level 3 and List 1 at Level 4
Time between exams
UPGRADING REQUIREMENTS [form completed sent to
Judges Officer]
Sitting-in [Sitting-in Form to be assessed and signed
off by appropriate List Judge] * see minimum number
of horses required in a class.
To
List 5
Upgrade to
List 4
Upgrade to
List 3
Upgrade to
List 2
Upgrade to
List 2A
Upgrade to
List 1
18 yrs
√
√
L1
nil
20 yrs
√
√
L1
nil
25 yrs
√
√
L2
Minimum
Level 2
30+ yrs
√
√ + FEI
FEI Level
Minimum to
Level 2
30+ yrs
√
√ + FEI
FEI Level]
Minimum to
Level 3
30+ yrs
√
√ + FEI
Official FEI
Minimum to
Level 4
-
1 yr
2 yrs
3 yrs
2 yrs
Invitation only
2 years
3 x L1
3 x L2
2 x L3
2 x L4
2 x L3 MFS
2 x L5
2 x L6
2 x L4 /L5
MFS
4 x Level 6/7
2 x L8 /L9
4 x Level 8/9
2 x L8/9 MFS
with FEI 4*
Judge
2 x L8/9
1 x MFS 6/7
1 x MFS 8/9
Writing
5 tests
5 x Upper
Levels
5 x Upper
Levels
5 x FEI Levels
5 x FEI Levels
Shadow-judging [form signed off by approved
Educator – see current List] * see minimum
number of horses required in a class.
3 x L1
3 x L2
3 x L3 tests
3 x L4 tests
3 x L4
3 x L5
1 x L4/L5
MFS
4 x L6/7
4 x L8/9
2 x L6/7
MFS
1 x Int A
1 x Int B w
FEI 4*
2 xGP
2 x L8/9 MFS
with Foreign
FEI Judge
Judged
Overseas
(exchange
programme)
2
2 x L8/9
MFS
Official Judging [printouts to be supplied] – * see
minimum number of horses required in a class.
3 x Intro or
ungraded
tests
5 x L1
5 x L2
4 x L3
4 x L4
4 x L5
2 x L5 MFS
2 x L4 MFS
MENTORING
Minimum of sessions for List 5 and 4 with List 2A
or List 1 Judge
For List 3, 2, 2A and 1 with approved Educator
(see list attached)
Level of horses and movements
Evaluation form completed and signed
UPGRADING EXAMINATIONS
Written Theory Paper – 80%+ pass prior to
Practical exam
Practical Session – judge/shadow whole class
with List 2, 2A or List 1 judge
2 x Kur
with Foreign
FEI Judge
4 x L8
4 x L9
2 x Kurs w
FEI Judge
Level 8/9
Inter GP CDI
3
FEI 4* Judge
Acted as
Head of
Ground Jury
on FEI Test
at Regional
or Island
Champs at
L8/9
2
3
3
1 full day
with FEI
Steward
3
L2
√
L3
√
L4
√
L5/6
√
L7/9
√
L8/9 FEI
FEI Judge
Mentor
√
√
√
L2
L3
L4
Classroom
exam
L5/6
Classroom
exam
L8/9
Classroom
exam
Foreign FEI
Judge
Report
8
Minimum number of horses in class
15
12
8
8
8
FAST TRACKING
For FEI riders – see separate sheet (At discretion of Judges Officer in conjunction with JSC) Special conditions apply
3


If insufficient number of horses in each class as per above, then upgrading to List 5, 4 and 3 the total number of horses at each
level need to be judged to qualify for upgrading. When upgrading to List 2 and above the minimum number of horses in a class
applies.
Candidates have three years within which to complete the upgrading requirements from the date of receipt of their Task Sheets
from download or from the DNZ website or JO. [If downloading the Task Sheets, please advise the Judges Officer of your interest to
upgrade to ensure that you are given every assistance where possible].
4
DRESSAGE JUDGE’S UPGRADING – FAST TRACKING
With a view to encouraging our riders to become dressage judges, it has been decided to
introduce a “fast-tracking” provision for eligible FEI riders to become either a Level 3 or
Level 4 judge without having to undertake the intervening steps in the upgrading criteria.
The “fast-track” programme criteria will be as follows:
Applicants must be:


FEI riders who have obtained 63% on 3 occasions in Official Prix St George or
Intermediate 1 or have obtained 60% on 3 occasions in Official Intermediate II, or
Grand Prix, such performances having been gained in the past 8 years;
FEI riders who have gained selection to represent/or who have in the past
represented New Zealand at the Olympic Games or World Equestrian Games.
The above riders are eligible to fast track to either List 3 or List 4. In addition to become
accredited the riders must:





Be a current member of ESNZ
Attend a seminar at Level 2
Shadow judge one entire Elementary or Medium competition with a minimum of
10 horses and be supervised by a Judge Educator
Pass the Elementary/Medium theory exam
Pass the Elementary/Medium practical exam (actual judging of a competition
class with a minimum of 10 horses).
Expressions of interest from applicants who meet the above criteria should lodge an
application in writing to the Judges Officer, Dressage New Zealand (Sue Hobson,
Pahiatua, RD4).
5
J5
DRESSAGE JUDGE’S UPGRADING FORM to List 5
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email: _____________________
ESNZ Membership No. …………… Date of Birth: ………………………(Minimum age 18 years)
Sitting-In Level 1 and 2 with Official Mentor/Educator (see List) see completed Official
Forms [min 15 horses in class]
Date
Venue
Test No.
No. in class
Signature of Mentor
L1
L1
L1
L2
L2
L2
Total:
Writing (for List 3 Judge or above)
Date
Venue
Test No.
Signature of Judge
Shadow-Judging Levels 1 and 2 with Mentor/Educator (see Completed Official Forms)
[min 15 horses in class]
Date
Venue
Test No
No. in class
Signature of Mentor
L1
L1
L1
L2
L2
L2
6
Official Judging – Introductory or Ungraded Tests printouts of Result Sheets
Attached [min of 15 horses in class]
Date
Venue
Test No
No in class
Signature of Judge
Total
Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions
Date
Venue
Test No
Signature of Mentor
Assessment
L1/2
Satisfactory/
Not yet ready
L1/2
Satisfactory/
Not yet ready
Seminar Level 1
Date
Venue
Signature of Presenter
Level 1
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
……………………………………...
Area:…………………………………………………
……………………………………...
7
J4
JUDGE’S UPGRADING FORM – LIST 5 TO LIST 4
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email: _____________________
ESNZ Membership No. ……………Date of Birth: ……(min 20 yrs)…To List 5: (min 1 year)……
Sitting-In – with Official Mentor/Educator (see completed Official Forms) [min 12 horses in class]
Date
Venue
Test No.
Signature of Mentor
No. in class
L3
L3
L4
L4
L3 MFS
L3 MFS
Total
Writing – Upper Level tests
Date
Venue
Test No.
Signature of Judge
Shadow-Judging – with Official Mentor/Educator (see completed Official forms) [min 12 horses in class]
Date
Venue
Test No
No in class
Signature of Mentor
L3
L3
L3
L4
L4
L4
Total
Official Judging – with Official Mentor/Educator (see attached printed result sheets) [[min 12 horses in
8
class]
Date
Venue
Test No
No in class
Signature of Mentor
L1
L1
L1
L1
L1
L2
L2
L2
L2
L2
Total
Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions
Date
Venue
Test No
Signature of Mentor
Assessment
Level 1/2
Satisfactory
Not yet ready
Level 1/2
Satisfactory
Not yet ready
Level 1/2
Satisfactory
Not yet ready
Seminar Level 1
Date
Venue
Signature of Presenter
Level 1
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
Area:…………………………………………………
……………………………………...
……………………………………...
9
J3
JUDGE’S UPGRADING FORM – LIST 4 TO LIST 3
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email: _____________________
ESNZ Membership No. ……………Date of Birth: ………(min 25 yrs)
To List 4: (min 2 yrs)……
Sitting-In – with Official Mentor/Educator – completed Official Forms attached [min 8 horses in class]
Date
Venue
Test No.
No in class
Signature of Mentor
L5
L5
L6
L6
L4/5 MFS
L4/5 MFS
Total
Writing – Upper level tests
Shadow-Judging – with Official Mentor/Educator – completed Official Forms attached [min 8 horses in
class]
Date
Venue
Test No
No. in class
Signature of Mentor
L4
L4
L4
L5
Level 5
Level 5
L4/5 MFS
Total
10
Official Judging – with Official Mentor/Educator (see attached printed result sheets) [min 8 horses in
class]
Date
Venue
Test No
No in class
Signature of Mentor
L3
L3
L3
L3
L4
L4
L4
L4
L4 MFS
L4 MFS
Total
Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions
Date
Venue
Test No
Signature of Mentor
Assessment
Level 1/2
Satisfactory
Not yet ready
Level 1/2
Satisfactory
Not yet ready
Level 1/2
Satisfactory
Not yet ready
Seminar Level 2
Date
Venue
Signature of Presenter
Level 2
Riding Element: Details of Competition at Level 2 or above on 2 occasions achieving minimum of
55% [attach appropriate result sheets]
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
Area:…………………………………………………
……………………………………...
……………………………………...
11
J2
JUDGE’S UPGRADING FORM – LIST 3 TO LIST 2
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email:_____________________
ESNZ Membership No. …………… Date of Birth: ……(min 30+yrs) To List 3: (min 3 years) …
Sitting-In with Official Mentor/Educator see List attached (see completed Official Forms)
[min 8 horses in class]
Date
Venue
Test No.
No in class
Signature of Mentor
L6/7
L6/7
L6/7
L6/7
L8/9
L8/9
6/7 MFS
8/9 MFS
Total
Writing – FEI tests (for Official Mentor/Educator or FEI Judge)
Shadow Judging - with Educator or FEI judge with min no. of horses (see completed
Official Forms) [min 8 horses in class]
No in class
Signature of Educator/FEI Judge
Date
Venue
Test No.
L6/7
L6/7
L6/7
L6/7
L8/9
L8/9
L8/9
L8/9
12
6/7 MFS
6/7 MFS
8/9 MFS
8/9 MFS
Total
Official Judging [printouts of Result Sheets to be supplied] [min 8 horses in class]
Date
Venue
Test No
No in class
Signature of Judge
Level 5
Level 5
Level 5
Level 5
L5 MFS
L5 MFS
Total
Mentoring Sessions (with approved Educator outdoor practical or DVD sessions)
Date
Venue
Level
Signature of Educator
Assessment
Level 5/6
Satisfactory
Not yet ready
Level 5/6
Satisfactory
Not yet ready
Level 5/6
Satisfactory
Not yet ready
Stewarding: One full day at Regional/National Event with FEI Steward
FEI Steward:
Seminar at FEI Level
Date
Venue
Presenter
Riding Element: Details of Competition at Level 2 or above on 2 occasions achieving minimum of
55% [attach appropriate result sheets]
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
Area:…………………………………………………
……………………………………...
……………………………………...
13
[Completed form above to be accompanied by Current Judging CV in accordance with
guidelines below]
JUDGING CV
The following information is to be used to support your application to upgrade to a List 2.
1. List all Level 4 and above tests judges in the past 2 years – particularly when judging
alongside higher listed judged, and send a copy of class result printout showing your
scores alongside those other judges.
2. List any sitting-in or writing that you have done in addition to that required on your sheet
– especially on higher classes with List 1 or FEI judges (please include signed paper
showing competition, class and judge’s name and signature)
3. List all clinics/seminars/local judges education sessions that you have attended since
become a List 3.
4. List any competing that you have done at Level 5 or above since becoming a List 3
Judge.
5. List any training sessions that you have attended where Level 6 – 9 work has been
trained (and include paper with relevant details and signature).
Please add any other information that demonstrates your continuing dressage education
and supports your suitability to upgrade to List 2.
14
J2A
JUDGE’S UPGRADING FORM – LIST 2 TO LIST 2A
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email: _____________________
ESNZ Membership No. …………… Date of Birth: ……(min 30+ yrs) To List …………………..
(min 2 yrs)
Sitting-In with FEI 4* Judge - (see completed Official Forms) [min 8 horses in class]
Date
Venue
Test No.
No in class
Signature of Judge
L8/9
L8/9
L8/9
L8/9
L8/9 MFS
L8/9 MFS
Writing – FEI tests (for FEI 4*Judge at Level 8/9)
Shadow Judging - with FEI 4* and Overseas judge with min no. of horses (see completed Official
Forms) [min 8 horses in class]
Date
Venue
Test No.
Signature of Judge
Int A
FEI 4*
Int B
FEI 4*
Grand P
O/s FEI
Grand P
O/s FEI
GP MFS
O/s FEI
GP MFS
O/s FEI
Official Judging with FEI 4*Judge [printouts of Result Sheets to be supplied] [min 8 horses in class]
15
Date
Venue
Test No
Signature of Judge
L8
L8
L8
L8
L9
L9
L9
L9
L9 MFS
L9 MFS
Mentoring Sessions (with approved Educator outdoor practical or DVD sessions)
Date
Venue
Level
Signature of Educator
Assessment
Level 8/9
Satisfactory
Not yet ready
Level 8/9
Satisfactory
Not yet ready
Level 8/9
Satisfactory
Not yet ready
Seminar at FEI Level
Date
Venue
Presenter
Riding Element: Details of Competition at Level 3 or above on 2 occasions achieving minimum of
55% [attach appropriate result sheets]
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
Area:…………………………………………………
……………………………………...
……………………………………...
16
J1
JUDGE’S UPGRADING FORM – LIST 2A TO LIST 1
NAME: Mr/Mrs/Miss/Ms ____________________________________
ADDRESS:
Area
____________________________________
____________________________________
Telephone: Home:_____________ Work:______________ Email: _____________________
ESNZ Membership No. …………… Date of Birth: ……(min 30+ yrs) To List 2A………
(2 yrs by invitation)
Sitting-In with FEI 4* Foreign Judge - (see completed Official Forms) [min 8 horses in class]
Date
Venue
Test No.
No in class
Signature of Judge
L8/9
L8/9
L8/9 MFS
L8/9 MFS
Judged Overseas (exchange programme) at FEI Level - result printouts attached
Date
Venue
Test No.
Signature of OC
Official Judging as Head of Ground Jury on FEI Test at Regional or Island Champs
Date
Venue
Test No.
Mentoring Sessions with Foreign FEI Judge – Report attached
Date
Venue
Level
Signature of Educator
Assessment
Level 8/9
Official FEI Seminar with FEI 5* Judge
17
Date
Venue
Presenter
Riding Element: Details of Competition at Level 4 or above on 2 occasions achieving
minimum of 55% [attach appropriate result sheets]
Signed by AJO:…………………………………… Comment:…………………………………….
Date:………………………………………………..
Area:…………………………………………………
……………………………………...
……………………………………...
18
Article 441 - Number, List, & Placing Of Judges
It is recommended that there be a minimum of two judges on all competitions where possible, but one judge is permitted as defined in the table
below.
Level
Training Event Non Graded
Graded Classes at LE
Regional Events (RE) & ICH
NCH & Named Events
Classes at LE
Non
Level 0 & Level Level 0 & Level 1 Not Applicable
Not Applicable
Not Applicable
Judge
1 alone
alone
Retired Any Level alone Any Level alone
Not Applicable
Not Applicable
Not Applicable
Judge
up to & incl
up to & incl level
level previously previously
qualified
qualified
List 5
Levels 1 and 2
Levels 1 and 2
Levels 1 and 2
Levels 1 and 2 accompanied by List 4 Not Applicable
alone
alone
accompanied by List 4 or or above.
above.
May not judge Challenge Qualifiers
List 4
Levels 1, 2 and 3 Levels 1, 2 and 3
Levels 1 and 2 alone.
Levels 1, 2 and 3 accompanied by List Not Applicable
alone
alone
Levels 3 and 4
3 or above.
accompanied
May judge Levels 1, 2 and 3 Challenge
by List 3 or above
Qualifiers
accompanied by List 2 or above.
List 3
All Levels up to All Levels up to
All levels up to and
All levels up to and including Level 4
All levels up to and
Level 5 alone.
Level 5 alone.
including Level 4 alone.
alone.
including Level 4 including
(including
(including Musical Level 5 (including L5
L4 Musical Freestyles
Level 5 accompanied by List 2 or
Musical
Freestyles)
accompanied by List 2 or
Musical Freestyle)
above.
Freestyles)
above.
accompanied by List 3 or May judge Levels 1, 2, 3 and 4
above
Challenge Qualifiers and Musical
Freestyles accompanied by List 2 or
above.
19
It is recommended that there be a minimum of two judges on all competitions where possible, but one judge is permitted as defined in the table
below.
Level
Training Event Non Graded
Graded Classes at LE
Regional Events (RE) & ICH
NCH & Named Events
Classes at LE
List 2
All levels alone
All levels alone
All levels up to and
All levels up to and including Level 5
All levels up to and
(including
(including Musical including Level 5 alone.
alone.
including Level 7 but Levels
Musical
Freestyles)
1, 2 and 3.must be
Levels 6,7, 8 and 9
Levels 6, 7 accompanied by List 2
Freestyles)
accompanied by List 3 or
(including Musical
or above.
above
Freestyles) accompanied
Levels 6/7, Challenge Qualifiers
by judge List 2 or above
accompanied by List 2A or above. All Levels 4, 5, 6 and 7 must be
accompanied by List 2A or
Levels 8 and 9 but must be
above.
accompanied by List 2A
or above.
List 2A
All levels alone.
All levels alone.
All levels up to and
including Level 6/7 alone.
Level 8 and 9
accompanied by List 2 or
above.
List 1
All levels alone.
All levels alone.
All levels alone.
All levels up to and including Level 5
alone.
Levels 6,and 7, accompanied by List 2
or above
Levels 8 and 9 must be accompanied
by List 2 or above.
All levels alone up to and including
Level 5.
Levels 6, 7, 8 and 9 and must be
accompanied by List 2 or above.
All levels but accompanied
by List 2 or above when
judging Levels 5 and 6/7.
(min 3 judges on Levels 6
and 7)
All levels accompanied by
appropriate listed judge
(min 5 judges on Levels 8
and 9)
20
DRESSAGE NEW ZEALAND
ASSESSMENT FORM FOR SIT-IN
Name of Candidate: …………………………………………………………………
Venue:…………………………Dates:………………………Upgrading to: ………...
Test No……………………………………… Number of Competitors:……………..
1.
Appearance, behaviour of candidate
……………………………………………………………………………………………
……………………………………………………………………………………………
2.
Technical knowledge of riding / judging principles
……………………………………………………………………………………………
……………………………………………………………………………………………
3.
Proposal of appropriate marks
………………………………………………………..................................................
……………………………………………………………………………………………
4.
Correct use of technical language
…………………………………………………………………………………..............
…………………………………………………………………………………..............
5.
Further comments
……………………………………………………………………………………………
……………………………………………………………………………………………
ASSESSMENT (please circle one)
Very good
Good
Competent
Not yet competent
Name of Mentor Judge/Judge Educator ……………………………………………………..
Signature
………………………………………………………………….
21
Guidelines for Sit-In
General:
The candidate should sit in with the Mentor Judge throughout the whole class.
Sit-ins and Shadow Judging may be done at the same show but the Shadow Judging must
be done before the Sit-in.
Task of the Candidate:
The candidate should check that an approved Mentor Judge is judging at the event. If this is
the case, the candidate should contact the OC at least 4 weeks before an event and inform
them about the wish to sit-in. If the OC agrees, the candidate will contact the Judges Officer
who will advise the Mentor Judge of the arrangements.
The candidate should contact the OC again shortly before the event and make the
appropriate arrangements concerning the sit-in – (ie: timetable etc.)
Task of the OC
If an OC is willing to allow a candidate to sit-in, they must provide extra seating or ensure the
car being used allows for a person to sit in the back.
Task of the Mentor Judge
1.
The MJ assesses the appearance of the candidate: eg. friendly, open-minded,
well-behaved, appropriately dressed, well on time, well prepared with good
knowledge of the test.
2.
The candidate is to be asked some questions about riding / judging principles in the
break between two horses and during the test whenever possible. Corrections
should be given by the MJ directly if needed.
3.
The candidate has to be given the opportunity to propose marks in the course of the
test and the collective marks whenever there is time. This way the candidate’s
knowledge, decisiveness and the speed in which the candidate is able to give the
requested marks can be tested. Corrections should be given by the MJ directly if
needed.
4.
The correct usage of the technical language will be checked through the
candidate’s remarks.
After the class the MJ should inform the candidate about the outcome of the Sit-in,
emphasise his strong and weak points, and give him further recommendations what issues
need to be worked on.
The completed Assessment Sheet is to be sent to the Judges Officer immediately
after the event.
22
DRESSAGE NEW ZEALAND
ASSESSMENT FORM FOR SHADOW-JUDGING
Name of Candidate: ………………………………………………………………………………..
Venue:…………………………Dates:………………………… Upgrading to: …………………
Test No……………………………………… Number of Competitors:………………………..
1.
Appearance, behaviour of candidate
……………………………………………………………………………………………………..
……………………………………………………………………………………………………..
2.
Organisation of Shadow-Judging, knowledge of test
……………………………………………………………………………………………………..
……………………………………………………………………………………………………..
3.
4.
Ranking
(a)
Placing: ………………………………………………………………………………
(b)
Level of Percentage achieved……………………………………………….
(c)
Spread of final scores ………………………………………………………...
Use of marks
(a)
Correct use of marks according to the riding principles
…………………………………………………………………………………............
…………………………………………………………………………………............
(b)
Spread of single marks…………………………………………………………
(c)
Correlation between marks and remarks
…………………………………………………………………………………............
…………………………………………………………………………………............
23
(d)
Correct use of technical language
…………………………………………………………………………………...........
…………………………………………………………………………………...........
6.
Further comments
……………………………………………………………………………………………………..
……………………………………………………………………………………………………..
………………………………………………………………………………………………………
ASSESSMENT (please circle one)
Very good
Good
Competent
Not yet competent
Name of Mentor Judge/Judge Educator ……………………………………………………..
Signature………………..…………………………………………………………………………………
24
Guidelines for Shadow Judging
General:
The candidate should judge the whole class with the Mentor Judge (MJ).
Sit-ins and Shadow Judging may be done at the same show but the Shadow Judging must be
done before the Sit-in.
Task of the Candidate:
The candidate should check that an approved Mentor Judge is judging at the event. If this is the
case, the candidate should contact the OC at least 4 weeks before an event and inform them
about the wish to shadow-judge. If the OC agrees, the candidate will contact the Judges Officer
who will advise the Mentor Judge of the arrangements.
The candidate should contact the OC again shortly before the event and make the appropriate
arrangements concerning the shadow judge – (ie: timetable, test, etc.)
It is the responsibility of the Candidate to provide the required number of test sheets and a writer
for the test. It is recommended that the completed sheets be added with the final total as a
percentage prior to meeting with the MJ at the conclusion of the class (the Scorer may be
approached to add the sheets, but it they may not have sufficient time during a busy event).
Task of the OC
If an OC is willing to allow a candidate to shadow judge, they must provide extra seating at an
appropriate place or ensure an extra car can be placed ideally adjacent to the MJ.
Task of the Mentor Judge
1.
The MJ assesses the candidate in accordance with the Assessment Sheet including the
appearance of the candidate: eg. friendly, open-minded, well-behaved, appropriately
dressed, well on time, well prepared with good knowledge of the test.
2.
The MJ checks how the candidate has organised his Shadow Judging, eg. contact with OC
beforehand, their instructions to the writer and overall knowledge of the relevant test,
3.
After the class the MJ goes through the results prior to meeting with the candidate,
assessing the results according to the following criteria:
4.
a.
the ranking of the competitors, difference in % between the placed
riders.
b.
the level of percentage compared to the co-judges.
c.
the spread of the final scores.
The MJ looks thoroughly through the marks by comparing the sheets.
a.
the MJ looks at the correct use of the marks comparing them movement
by movement. 1 point difference allowed (the MJ to decide whether up
or down), 2 points difference to be marked in red.
b.
The MJ looks at the spread of the single marks and whether the
candidate has used the whole range of marks.
25
5.
The MJ looks at the remarks.
a.
b.
c.
The correctness of the remarks according to the riding principles
The correlation between marks and remarks.
The correct usage of the technical language.
Important: The candidate should be asked by the MJ before they start judging the class
to give remarks to every mark of 6 and below if possible also to higher marks. That gives
the MJ the opportunity to check as well the candidate’s vocabulary and knowledge of
riding and judging principles. Short final sentences summing up the most important
issues should also be asked for.
6.
After having gone through the sheets the MJ discusses the outcome with the candidate
and any differences that have occurred. The MJ gives the candidate the opportunity to
explain the marks that have been given and thereby check their knowledge on the
principles or riding and judging.
After the class the MJ should inform the candidate about the outcome of the Shadow Judging,
emphasise the strong and weak points, and give further recommendations on what issues need
to be worked on.
The completed Assessment Sheet is to be sent to the Judges Officer immediately after the event
26
LIST OF OFFICIAL EDUCATORS AND MENTORS
1ST August, 2014
EDUCATORS (for North and South Island Official Clinics): Jan Bird, Helen Hughes-Keen, Sue
Hobson and Betty Brown.
MENTORS: These will be able to officiate at local clinics to List 5 and 4 judges within Areas, also
can sign off all shadow judging and mentoring as explained on new schedule under heading
(Approved Educator – see list attached):
Jan Bird
Helen Hughes- Keen
Julie Brougham
Sue Hobson
Mary Craine
Felicity Dobell-Brown
Carol Eivers
Mura Love
Sue Harris
Marcia Bayley
Betty Brown
Judith Cunningham
Carol Going
Myra Friend
Jude Greenslade
Linda Warren-Davey
Lyn Fox
Wellington
Wellington
Central Districts
Southern Hawkes Bay
Southern Hawkes Bay
Northern Hawkes Bay
Northern Hawkes Bay
Gisborne
Gisborne
Waikato
Auckland
Waitemata
Northland
Nelson
Christchurch
Christchurch
Southland
27
DRESSAGE NEW ZEALAND
DISCREPANCY FORM
To be completed by Chief Judge when discrepancy of 8% or more on a class at either Regional or
National level and to be forwarded to the Judges Officer, RD4, Pahiatua.
Name of Event………………………………………………………………………Date:………………………………………..
Head of Ground Jury:…………………………………………………………….Discrepancy of marks……………….%
Name of Judge concerned:……………………………………………………List:……………………………………………
Was the discrepancy discussed with colleagues and/or rider?
Yes/No
What was the main reason for the discrepancy after discussion with all parties?
…………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………
Was a satisfactory result reached on the day?
Yes/No
Was Judge willing to listen and discuss discrepancies?
Yes/No
In your opinion did the Judge show the right attitude for further training?
Yes/No
Was any complaint received directly from the rider?
Yes/No
Overall opinion how discrepancy occurred and does JSC need to take further action (in brief)
…………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………..
………………………………………………………………………………………………………………………………………………..
………………………………………………………………………………………………………………………………………………..
Signed:………………………………………………………………
28
AREA JUDGES OFFICER JOB DESCRIPTION



Recruit and train new judges.
Solve problems between judge trainers/competitors (if possible).
Make sure there is an ongoing training programme working in the Area for all
judges, according to their level.
 Apply through the local Dressage Group for funding from Local Bodies for training
judges and organise clinics annually with an Official Judges Educator.
 See that higher listed judges are assisted to attend clinics at FEI levels when they
are organised nationally. Arrange car pools to make the most of chances to watch
visiting instructors or attending clinics in other Areas.
 Advise neighbouring areas of the dates of any educational seminars you may be
organising.
 Work in conjunction with tournament organisers when placing judges on classes –
make sure all judges get the opportunity to judge several levels. If possible see
that judges are not given too many classes at the same level. Try and mix your
local judges with outside judges when you have more than one on a class.
 If Judges are constantly making mistakes and upsetting competitors, see that
they are given the opportunity to judge with a more senior person who can go
through their papers and help sort out the difficulties. It may be necessary to
have them judge in other Areas or invite higher listed judges into your Area to put
them with.
 Work with the National Judges Officer and Committee to see that Judges are
being given the chance to be upgraded when they have the ability to go higher.
 Keep the National Judges Officer informed of any changes or irregularities in the
List of Officials.
 Some groups of judges have been getting together on a regular basis for
discussion and video evenings. These would be very valuable for solving
problems with the understanding of rules and the fair application of rules in some
cases. It would be valuable if these sessions could include trainers. It is
necessary that the person leading these discussions has a good knowledge of
dressage and knows the rulebook thoroughly. Good idea to use a List 1 Judges
where possible.
Legal system – judges been to be briefed to be made aware that legislation could result
from mishandling protests and problems arising while on a Ground Jury.
29
JUDGES HANDBOOK
Some useful hints
The following suggestions are made to help judges, not only to improve their knowledge
but, equally important, to enable them to express their thoughts clearly and concisely. To
be able to judge a class, technical knowledge alone is not enough, it is also necessary to
instantly put thoughts into words and, at the same time evaluate the movement with a
mark.







Watch horses and riders of all levels while training. Ask permission to watch
riders training sessions with good coaches.
Read books and magazine articles on Dressage Training. Watch videos on
training dressage horses and of competitions.
Learn the value of the scales of marks ie: 4 = insufficient, 6 = satisfactory, etc.
Do not use words that contradict those numbers . If you say a movement is good
the mark is 8, if you give a different mark to your comment you must qualify it with
a “but”.
Learn the test from the Judges point of view, noting particularly the split up of the
movements and whether the transition is in the preceding or following movement.
Remember that if a movement starts at the first letter mentioned it continues to
the first letter of the next movement.
Study the FEI definitions of Paces and Movement as written in the ESNZ Dressage
Rule Book.
Study the “purpose of the test” outlined at the beginning of each level in the book
of Dressage Tests.
JUDGES RESPONSIBILITIES
Before the day – When you receive an invitation to judge, answer it promptly, confirming
the time, place and test. State whether you require a writer. Please do not turn up to
judge with your own writer unless you have advised the OC, as it may mean that
someone has driven a long way only to be disappointed. Please state if you will require a
car to judge from. Please advise the OC if you have any potential conflicts of interest (as
defined in the rule book). Arrangements can easily be made if organisers know in
advance thus avoiding any embarrassment.
On the day - Arrive at least 30 minutes before you are due to start judging. Report to the
Secretary, who should be able to direct you to your arena. Check your arena. You must
not change it once the competition has commenced so make sure it complies with the
requirements laid down in the Dressage Rule Book. Things to look for particularly are the
markers and their positioning, the centre line (if a centre line is marked which is optional,
D,L,X,I,G should not be marked) – the width of the entrance. You cannot do much about
the terrain, but you can remove stones or fill in pot holes.
Make sure you keep to the given times where possible. You should have your thoughts
about how you are going to sum-up in the collective marks in your head by the time the
test finishes so as not to waste time between horses. These comments should be
concise and you can underline the directives that you want to stress.
30
Be sure to brief your writer, as every Judge has a different method. Quietly familiarize
yourself with the test prior to your first horse entering the arena and remember, this
could be your winner.
If you are President of the Ground Jury you must be quick to recognise course errors and
“bell” them, and be sure to know your rules for any infringements that may occur, for
example, correct clothing, gear etc.
When judging, be sure to appreciate the good whilst penalizing the faults. It is the good
horses that deserve the marks, not those who make the least mistakes! Think of the
quality of the pace that the appropriate movement is out of to ascertain your mark.
Try to be as constructive as possible with your comments, and always justify your mark
with a comment when awarding a 6 or less. It is no use just commenting “good” and
giving an 8 – tell them why it was good!
Please don’t try and tell the rider how to ride the horse, we are judging the result of the
riding and training. We can only judge what we can actually see, we can’t guess if the
horse is for example behind the vertical when it is going away from us and we can only
see the tail !!
Make sure when you are giving your collective marks that they equate with the marks
given for the actual movements. These collective marks are a reflection of what
happened, and if the test has all 5’s because the horse was not going freely forward,
then the collective marks MUST reflect this, and be 5 for impulsion. The same for
resistances, the “submission” mark must come down if the horse was resisting
throughout the test.
Make sure your completed test sheet is checked and signed legibly (or else print your
name). Remember to thank your writer and check nothing is left in your/their car!
REMINDER TO GROUND JURY MEMBERS
As required by the ESNZ legal system, members of the ground jury should be available
for a minimum of 30 minutes following the publication of the official announcement of
results of the competition.
SIGNING OFF RESULTS: This is to be carried out by the Chief Judge at all Regional and
National Events BEFORE the final result is posted on the scoreboard. Please check that
scorers are aware of this and that results are not delayed unnecessarily.
DEBRIEFING: Should be carried out if there is more than 8% difference in scores
between judges on any one class. It must be undertaken by the Chief Judge at the most
appropriate time for all concerned and the official Discrepancy Form completed and
forwarded to the Judges Officer who will advise the Judge if any further action is to be
taken. If an individual judge is reported to have been more than 8% out on more than
two occasions they will then be advised that they may not judge again unless it is with a
List 1 judge and their marks prove to be satisfactory. The purpose of this exercise is to
promote discussion between the judge concerned and the List 1 Educator.
SOLICITING FOR JUDGE INVITATIONS: Asking for an Invitation to Judge is not acceptable,
as it may put AJO’s/Convenors in a difficult situation. It is appropriate to go through your
31
own AJO if you would like an invitation. It is acceptable to let an out of your area
AJO/Convenor know you would be in the district and available for a judging assignment,
but not to ask for one directly, and in particular not to specify the level at which you wish
to judge.
DOWNGRADING OF JUDGES - this can only be done by the Judges Committee. Individual
cases will be looked at when, and if, necessary.
Temporary leave of absence from the Judges panel – This may be allowed, again
individual cases will be looked at on merit by the Judges Committee. If circumstances
mean that you cannot keep up your judging requirements due to outside commitments
you may decide to apply for LOA from the panel for a maximum of 2 years. After which
time you will be required to judge with an Educator on your return to make sure you have
kept up with all the rules etc.
Deletion from panel – Any judge who cannot meet criteria set down to remain on the
panel may, at their own request, be taken off the panel. Please advise your Area Judges
Officer if you wish to do this.
Judges who have not maintained the criteria may also be taken off the panel by the
Judges Committee in consultation with the relevant Area Judges Officer.
DRESS CODE
It is extremely important that judges dress according to the grade of competition, ie local
shows can be smart casual, tidy dress – (no jeans). For Regional, National and especially
International events it is recommended that trousers and jacket/blazer, skirt with blouse
and jacket, or dress and jacket be worn. If you are taking the bell it is recommended that
a jacket be worn. It is important to note that jeans are not considered as appropriate for
these higher level competitions.
32
WHAT MAKES A GOOD JUDGE?
As a judge you have to be highly organised, yet flexible. You have to be able to make
decisions quickly, be confident in your knowledge and its source. You must possess
diplomacy, tact and a sense of humour. You have to be able to admit your mistakes and
also be able to diffuse a volatile situation.
You are part of a team and if you are the Chief Judge you have to lead that team. You
must be approachable by riders and coaches. You must also act professionally in
relation to your judging. As a judge you most probably have a greater impact on the sport
than riding coaches!
Demands required of a Dressage Judge
You must maintain absolute objectivity and impartiality, free of arrogance, but be humble
and sympathetic. You need the ability to see, distinguish the good from the bad and
reward with appropriate marks the first to the last horse in a competition in order to give
the correct relationship between them. This requires mental versatility, experience and a
set mental routine in order to give a just and fair judgement.
You require a full knowledge of the theoretical knowledge of the basic training of
dressage. From this you must be able to recognise basic qualities and therefore the
main faults that originate from incorrect training. You should be able to differentiate
between faults cause by momentary unfitness or a careless from those caused by
incorrect training or riding. No longer is a judge required purely to register and count
mistakes like a bookkeeper, but more importantly, whilst still bearing in mind the faults
that have been recognised, it is the quality of good training and the performance of the
horse that should be rewarded with your high marks.
Today, when the duration of competitions are longer and the classes bigger, it is
important that judges be physically fit, alert and able to concentrate for long periods of
time. A judge must be able to follow the tests attentively from the beginning to the end.
Only then can they maintain the correct relationship of marks to movements during the
whole competition.
33
POINTS SYSTEM FOR DRESSAGE NEW ZEALAND JUDGES
The Following points system should assist all our Judges to maintain accreditation over a
three year period.
Allocation of points
Task:
1
2
Points
Judging an official Graded DNZ dressage test or FEI level Horse Trials Test
10
(a)
Judging Non-graded DNZ test
5
(b)
Judging HT/Para/Pony Club/Intro test
5
Attend Official Judge’s Clinic triennially
50
(a)
50
Attend an official National Clinic or Workshop overseas
3
Attend FEI Official Clinic (registered with FEI)
100
4
Judge highest class allowed, additional 5 points per class
5
5
Judge outside own Area (additional 5 points per event (not class))
5
6
Shadow Judge or Sit in at your highest level
5
7
Write or Sit In with International Judge
10
8
Write or Sit In with DNZ Judge Educator
5
9
Compete at Level 5 or above, attaining 60% or more: (5 points per test)
5
10
Sit examination commensurate with List, as per Rider Incentive Scheme
50
As at 1 August 2014
Task 1
Six graded DNZ or FEI Horse Trials Tests required annually regardless of
grade of judge.
Task 2
Required triennially . May be substituted by sufficient points from Task
numbers 3,6,8,9 and 10.
Task 4 & 5
May be substituted by equal points gained through Task numbers 6,7,8,9
and 10.
MINIMUM POINTS PER ANNUM are 60 points from TASK 1
Total points to accumulate over a three year period – minimum of 300 points
For judges wishing to upgrade it is envisaged that more than the minimum requirements
are met each year to maintain a good knowledge of test judging.
34
CRITERIA FOR REMAINING ON THE PANEL AT YOUR CURRENT LISTING
Please remember to maintain at least the minimum requirements to keep up your
accreditation each year.
Maintain your personal judges’ passport and send in to your AJO each year when
requested to do so with an SAE for its return.
Loss of Accreditation: If you do not keep up the specified requirements each year you
may find you will be unaccredited which will mean that you may not judge at any Regional
or National dressage event. You will be considered a “Local” judge until such time as you
have re-accredited.
Any judge who is not maintaining the criteria may also be taken off by their AJO or the
Judges Committee after discussion with the judge concerned.
DRESSAGE JUDGES’ CODE OF CONDUCT – 2014
To be considered in conjunction with ESNZ Dressage Rules:

















Reply promptly to judging invitations.
Ensure that you know the appropriate test and rules.
Dress smartly and in accordance with the status of the event. Do not wear
advertising on clothing ie: jackets, sweatshirts, caps etc.
Arrive at least half an hour before your test commences.
Inspect the arena, checking the going and the positioning of the letters.
Be courteous to your writer. Explain how you will give your marks and comments.
Warn your writer of any tricky parts in the test.
DO NOT look at the scoreboard during the class.
DO NOT allow competitors, or their connections involved in the class, to sit in with
you.
Keep to time.
Ensure that you check and sign-off the final score sheets before they are posted
by the scorers onto the board.
In any dressage test there should not be any close relationship between any judge
and rider or owner of any horse competing.
No judge may officiate at a competition if his/her duties will involve a conflict of
interest.
A judge must declare his/her interest in any person or horse competing that
he/she has trained on more than three occasions/owned/part owned/ or have
other business interest in within two months preceding a Regional event or six
months preceding the Nationals, Island Championships or Horse of the Year.
At local shows no limitations apply on a time period thus giving the OC the
opportunity to allocate that judge to competitions in which this particular
person/horse does not take part.
It is inadvisable to drink alcohol until you have finished judging your classes for
the day.
Do please be guarded in what you say, and to whom you say it, both to your writer
and when going to the scoreboard after the class.
You will be expected to remain on the grounds for at least 30 minutes after the
scores have been posted from your class.
35


Be discreet at all times.
If judging as a member of a panel, be prepared to discuss the judging afterwards
with your fellow judges in private.
 Judges should not solicit organisers for future invitations. If you need assistance
with invitations, please contact your AJO for their assistance.
 Every eventuality cannot be provided for. In any unforeseen circumstances, it is
the duty of the Ground Jury to make a decision in sporting spirit with Fair Play in
mind.
Any serious breaches of this Code of Conduct MAY result in judges being stood down
from the Officials List in consultation with the JSC and the DNZ Board.
DISCIPLINARY CODE
Complaints, to be considered by the Judges Sub Committee need to be forwarded, in
writing, in confidence, to the Judges Officer, together with test sheets, videos etc.
The Judges Sub committee should respond to every written complaint and needs to keep
accurate files on these matters. ALL RECORDS ARE CONFIDENTIAL.
If the Judges Sub Committee considers that the performance of a judge, or the number
or type of complaints against a particular judge warrants further consideration then they
can:a.
Require the judge to provide a response, in writing, to the details of any
complaint.
b.
If necessary, require the judge to attend a meeting with a panel of judge
educators.
c.
Require the judge to attend a further seminar, and/or
d
Require the judge to participate in a mentor programme with an experienced
judge educator.
If warranted, the Judge MAY BE downgraded one level, but only when the Judges Sub
Committee has explored all other avenues. The downgraded Judge may not apply for
upgrading for a period of 12 months after downgrading.
Any serious breaches of the Code of Conduct could result in the judge being taken off the
Officials List at the discretion of the JSC and DNZ Board.
36
THE TRAINING SCALE
37
EXPLANATION OF THE MARKS [Extract FEI Dressage Handbook – February 2007 prior to
the introduction of half marks, but the principles remain the same]
For a 10, excellent – All of the requirements of the training scale are fulfilled to their
utmost. The movements are performed with excellent precision, exactly on the correct
lines from marker to marker.
9, very good – All of the requirements of the training scale are fulfilled. The movements
are performed accurately, following the correct lines.
8, good – All the requirements of the training scale are regarded as good. Movements
are performed accurately, following the correct lines.
7, fairly good – All of the requirements of the training scale are regarded as fairly good.
Movements are performed fairly accurately, following the correct lines.
6, satisfactory – Either the movements are performed fairly accurately, but there are
some clear weaknesses within the training scale, or the movements are lacking accuracy
and precision but still demonstrate good qualities of the training scale.
5, sufficient – Either the movements are performed fairly accurately, but there are some
clear weaknesses within the training scale, or there are some fairly serious mistakes,
movements are inaccurate but still demonstrate satisfactory qualities of the training
scale.
4, insufficient – Either the movements are performed fairly accurately, but there are
some serious weaknesses within the training scale with some obvious errors within the
movement, or movements may be very inaccurate but still demonstrate sufficient
qualities of the training scale.
3, fairly bad – Inaccurately performed movements with serious problems within the
training scale.
2, bad – Inaccurately performed movements with severe problems within the training
scale.
2, very bad – Movements performed are barely recognisable. Showing severe resistance
throughout, ie: rearing, running backwards etc.
0, not performed – Movements not performed. No fragment of the movement is
performed.
38
THE COLLECTIVE MARKS by Stephen Clarke
When judging novice horses the important thing to consider is whether the paces are as
nature intended. Whether the training so far has been established and to a certain
extent enhanced the paces that nature gave to the horse. In order to give high marks for
the paces we would expect to see absolute regularity in all three.
The walk
For a novice the walk must be in clear four beat.
 The medium walk marching well forwards
 The free walk showing exactly the same rhythm with relaxation and more ground
cover than in the medium. We need to be careful with the young horses that show a
huge overtrack, from the point of view of absolute regularity of the four beats and the
future development of collection. The important point is that the horse can show
clear difference without any signs of losing the clarity of the four beat and that he
moves through the whole of the body not just the legs.
The ideal walk of an advanced horse is:
 When the collected is in a true four beat with the horse printing in which means the
hinds step into hoof print of forefeet. I am anxious if the hindfeet step behind the
hoofprints of the forefeet and usually describe this as short rather than collected.
 In extended there should be the same four beat but with a foot of overtrack. The
ability to show this collected and extended walk is rarely seen, but needs to be
rewarded with the highest marks.
The Trot
The trot of the novice horse should be perfectly regular two beat rhythm and a moment of
suspension in between the diagonal pairs. The strides should be free from restriction
and show a natural looseness and elasticity. Elasticity is freedom from stiffness with the
horse springing easily forwards from one diagonal to the other. When considering
“freedom” the novice horse should show an ability to produce some lengthening without
altering the speed of rhythm (tempo).
The Canter
The canter should be true in its three beat rhythm and established enough in the balance
to show free unconstrained strides with a clear moment of suspension and lightness of
footfall to each canter stride. The ability to lengthen these strides and return again to a
balanced working canter without altering the speed of the rhythm of (tempo) is
important.
For a novice with paces described above the mark range is 7 to 10 depending on the
degree of the quality.
To give a poor mark
Unfortunately, even at novice level, incorrect training leads to detrimental results on the
horse’s natural paces. This normally results in stiffness and restriction within the paces.
Sometimes it goes as far as disturbing the true rhythm. Often the walk is the first pace to
suffer from this, losing the clarity of the four beat, even to the point of moving in pure
lateral pairs.
39
The trot often suffers from a lack of correct training by becoming dull and earthbound,
and losing the ability to cover the ground cover in the way nature intended. Often a
horse with that sort of trot when asked to lengthen only runs or hurries forwards rather
than springing off the ground and making bigger strides. If this lack of correct training
continues the result of restriction and lack of suppleness often leads to irregularity.
The result of poor training in the canter often leads to a loss of clear three time beat,
causing the diagonal pair of legs to separate so that horse ends up appearing to move in
an earthbound, laboured canter, showing virtually a four beat rhythm with a very short
moment of suspension.
If any of the three paces show the tendencies described it would be difficult to give
higher than a six. Depending on the severity of the described symptoms the marks could
end up in the insufficient range.
The advanced horse
Through the systematic development of collection the advanced horse will show
enhanced quality to the natural paces. Through the increased engagement of hind legs
and lightness of the shoulders the paces will appear lighter and freer. Through the
development of impulsion they will show more cadence and expression. It is only
through true development of collection that breathtaking extensions can be produced
correctly.
The important thing to consider about an advanced horse’s paces, is not only the
absolute regularity but to have the feeling that the horse is moving in an uphill direction
with light and mobile shoulders.
This is what one is looking for to give 8s 9s and 10s for the Paces mark.
Fairly Good Paces
An advanced horse that achieves a 7 for its paces will be absolutely regular and show
clear differences within the paces but will not have the same lightness and elasticity of
the quality described above.
Satisfactory Paces
6 applies to a horse that is somewhat limited within its correct paces or perhaps has an
extremely good trot and canter but a lack of clarity of the four beat in the walk. Bear in
mind if the loss of regularity is only momentary it could be considered more of a
submission problem.
Poor marks
5s and below apply to horses that through their training demonstrates stiff earthbound
paces that lack freedom and expression. Usually because of those problems the horse
ends up losing the clear four beat walk and three beat canter.
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Impulsion and Submission:
The Link
The impulsion and submission marks are linked unequivocally because the more
impulsion you ask for the more submission is needed.
Impulsion can only be developed “through” a supple and straight horse that is in a true
balance and self carriage. Only then can the energy produced from the hind legs come
through the back of the horse to the elastic and accepting contact with the hand. Then
the half halt can transfer that energy from the hind legs into carrying power. And this is
turn brings the lightness and mobility of the shoulders that allows the horse to move with
true expression.
Impulsion
Impulsion is about a desire to go forward – the energy and carrying power that is
produced from behind that goes to the bridle through a supple and swinging back.
Impulsion allows the horse to move in a powerful and athletic way to show elastic and
expressive movement.
The opposite of elastic steps are stiff staccato steps when the joints of the horse are not
really supple and flexible. Elastic steps can only be seen when joints are flexible and
where the muscles are well developed and supple.
It is interesting to note that there is a difference between true engagement as opposed
to pure forward energy. Some horses go with a huge amount of energy but the hind legs
are pushing rather than carrying themselves forward with the hind legs. The horse is
energetic but is lacking true engagement and carrying ability of the hind legs. You see
this in overproduced young horses. They power along out of balance and at the expense
of engagement and self carriage.
The remarks
Judges have to be careful what they say about impulsion. Every horse could be
described as needing to be more engaged and to have more impulsion, but they must be
careful that they do not encourage the riders to force more energy and engagement into
a horse that is stiff or out of balance. If the riders take us at our word they could make
their situation worse rather than better. That is why it is so important to think carefully
about what we are saying, particularly in the summing up comments.
It is vitally important that the riders and judges recognise the difference between “speed”
and “impulsion”. Creating speed will only cause the horse to go out of balance, become
stiffer and make true impulsion impossible to develop. There is no point in saying to a
rider whose horse is resisting, against the hand, and is tight in the neck and back that it
needs more impulsion, because if the rider tries to development more impulsion it will
only create more resistance.
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The marks
If the horse goes through the test without mistakes and resistance, but gives the
impression of being rather flat and now showing clear differences as set down by the
level of the test, then the impulsion mark is probably only “sufficient” or “satisfactory”.
If we see a horse that is loose, energetic and carried itself in a really good balance,
reacts well to the rider’s aids, shows clearly defined transitions within the paces, gives
the impression of stepping under behind and coming up through the shoulders in all the
movements, then we must think in the high range of marks – 8s 9s and 10s.
Submission
The first thought that comes into my head when thinking about submission is
“willingness”, in that the horse understands what is being asked of it and is confident
enough in the rider to react to the aids without fear or question. Its straightness,
“uphillness” and balance enable the horse to react in front of the rider’s leg and draw
forward into an accepting and self carrying contact with the bit. Basically, the rider is
able to direct the horse through the test with the impression that the horse is in front of
the rider’s aids and accepts to stay in a true balance (not on the forehand) and self
carriage. This is what really produces the rare picture of harmony and lightness.
Two elements are not named in the directives for the submission collective mark, but
have an important influence on it. These are straightness and collection.
Straightness
Straightness is thought about when giving the mark for submission ie: that the hind feet
follow in the tracks of the forefeet on straight and curved lines, and that the horse shows
equal and submissive lateral bend in both directions. Often in more advances tests,
irregularities can be seen in some of the lateral movements, particularly the half passes.
Provided there are no irregularities in other parts of the test, this is deducted in the
submission mark, rather than the one for the paces. This is because that irregularity is a
direct result of lack of submission to the bend and the ability of the horse to remain in a
true balance.
Collection
The degree of collection required in the tests at each level is that which enables the
horse to perform the movements with ease and fluency. Therefore, insufficient collection
results in a loss of submission because the horse is not doing the movement/s with ease
and fluency.
The marks
A horse that you are only able to give the lower marks for submission is the one that is
outright disobedient or uneducated. It does not carry out the wishes of the rider with
confidence and lacks an understanding of the movements require.
The horse that gets the high marks is the one that gives the impression of carrying out
the movements of his own accord.
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COMMENTS ON DRESSAGE SHEETS
Negative
Neutral
On the forehand
Earthbound
Downhill
Unbalanced
Croup high
Crooked
Quarters swinging
Not straight
Tight
Tense
Stiff
Abrupt
Coming a little croup high
Hollow
Above bit
Against the hand
Incorrect bend, wrong flexion
Losing roundness
Behind the vertical
Resistant
Dragging steps in rein back
Positive
[Needs…….
Could show…..
Could/Should be…..]
More Uphill
More balanced
More under
More engaged
Quarters slightly left
More straight
More parallel
Not always loose
Not quite through
More soft
More supple
More elastic
More fluent
More smooth
More round
More over back
More through neck
Develop core of bend
Develop core flexion
Keep poll highest
More harmony
Keep collection
Leaning
No clear difference (trans)
Some tension
Reluctant
Inactive
Appears a little heavy
Rather progressive
Rough transition
Prepare for transition
Lacking impulsion
Needs to be more forward
4 beat canter
Laboured
Flat
Losing the jump
Needing to show lift
Ambling
Not 4 beat
Lengthening barely shown
Tending to be lateral
Could show more
More self carriage
More bold
More brave
More defined transitions
More discrete aids
More harmony
More energy
Keep the swing
More active
More ground gaining
Keep the canter clean
More jump
More suspension
More time in the air
Keep purity of the walk
More push and carry
More freedom in shoulder
More lift
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MUSICAL FREESTYLES
By Jan Bird
The technical marks for freestyles are given in EXACTLY the same manner as in an
ordinary test. We use the same methodology. It is not until we come to the collective
marks that musical freestyles appear to become more complex.
Collective Marks





Rhythm, energy and Elasticity – this marked as you would mark paces, regularity and
impulsion when summing up an ordinary test. It is a technical mark and relates directly
to the marks given for the technical performance.
Harmony between horse and rider – this is again a technical mark and is marked as you
would mark submission and the rider mark. It relates directly to the confidence,
lightness and acceptance of the bridle BUT it also relates directly to whether the horse
FULFILLED the requirements of the test. Did the horse carry out the prescribed
movements with ease? Had the horse’s training been such that it could easily perform
the movements asked for? If not and the horse was struggling to perform the
movements, then this mark comes down.
Choreography – use of the arena – DID IT MESS UP THE SAND? This if the first artistic
mark and is given for inventiveness, logical and symmetrical patterns, balanced
programme – some originality! Did it possess an element of surprise? Were the
movements easily recognisable and placed in the manner that was easy for the judge to
see and mark? This mark is again not really independent from the technical marks. If
the horse is not performing well, the rider cannot show good choreography. The mark
can be maybe point 5 higher than the technical mark if the patterns are exciting and
original, but always keep in mind how well the combination is able to demonstrate the
movements.
Degree of difficulty – again this is a technical mark – it is INEXTRICABLY LINKED to the
technical marks previously given for the test. Were all the movements performed? Were
the movements performed well? Did the risks taken “come off” – did the performance
“maintain the quality of pace”? If the performance was TOO ambitious this can detract
from the marks if the horse was struggling with the movements despite the brave
attempts. For example, if the test contained the minimum requirement of say 5 flying
changes, and the horse performed 5 good flying changes then the mark could be 7 (fairly
good); if he performed 7 good flying changes, then the mark could easily go to 8. If the
performance contained movements beyond the standard tests for the level (but within
the prescribed guidelines for the grade) and these movements were well performed then
the mark for Degree of Difficulty could then be 8 or more. However, remember, you may
still be able to give a 7 if all the movements contained in the test are performed to a high
standard, even if they are only the minimum requirements – particularly in the lower
grade tests where it is hard to demonstrate a degree of difficulty given the restrictions on
the movements you are allow to show.
Music and Interpretation – this is the TRUE artistic mark. This mark is related ONLY to
the choice of the music and its musical interpretation – did the style fit the horse? Did
the rhythms of each pace fit the rhythms of music? Did the changes in rhythm and tempo
of the music coincide with the changes of pace? Was the music in a similar “style” or did
it change genre? Did you get the feeling that the horse was going to the music, NOT the
music following the horse. Were there interpretations of crescendos within the music
picked up by the movement of the horse? Did the performance have a defined
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“entrance” and “finale” – was it a complete “piece of theatre” a “show” – did it tell a
story? If the music fits all three paces (4 if you include Piaffe and Passage), the change
of pace are with the music, and there is a change in style between the paces, AND the
horse is going well enough for the rider to ride to the music, then the appropriate mark
would be a 7 (fairly good). If the music really suits the horse and its paces, allows for
interpretation, tells a story AND the horses is going well enough for the rider to
demonstrate this interpretation, then the mark can be higher - 8 (good) or above.
However, if the music does not fit one or more of the paces, or is just background music,
you can give a lower mark of say 6 or below. But because even the worst music requires
a great deal of time to put together, if the music did not change throughout the test, did
not match any of the rhythms of the pace or tempos of the horse, and was technically of
poor quality, a mark of 5 (sufficient) would be appropriate and below 5 (insufficient)
would only be given if the test and/or the music was a TOTAL DISASTER.
Conclusion: Clearly more than 70% of the total marks for a musical freestyle are
influenced by the technical marks given for the performance. Freestyles statistically gain
higher marks than normal tests as riders can emphasize the highlights of their horse’s
ability. Riders can also have a “second bite of the cherry” if a movement is not
performed correctly. Precision is NOT as important and careful preparation can be
incorporated into the test for difficult movements. However, there should always be a
balance between the two sides of the marking sheet – the technical side and the artistic
side - it is an “unwritten” FEI protocol, that it would be inappropriate for a technically
flawed test to receive an artistic mark of any more than 10% above the technical score.
If the test scored in the early 60%s for technical merit then the total artistic marks should
not be more than 70%. Only the choreography and musical marks are NOT directly
linked to the technical marks. The marks given for the music however, must always be
“in balance” with the technical performance The FEI have now reduced the co-efficient
mark for the music assessment from 6 to 4 in order to provide a more level playing field
for competitors. It has been recognised by the FEI that a musical freestyle most
importantly is DRESSAGE enhanced by music for the enjoyment of the spectators and
that it is not a MUSICAL RECITAL!
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Competitor
Rhythm,
Energy
Elasticity
Harmony
Choreography
Use of Arena
Degree of
Difficulty
Music and interpretation
Trot Walk Canter. Finale
Mark
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Musical Freestyle Notes from Seminar by Katrina Wüst in 2013
Biography of Katrina Wüst
Katrina Wüst has been a dedicated dressage rider throughout her life. She trained many
horses and competed very successfully up to international Grand Prix level, being part of
the official German B-Team from the early 1970s to the middle of the 1980s. She then
quit competing, gave birth to three children and shifted the focus more and more on
judging. Being an FEI judge since 1994 and a 5* judge since 2006, she has judged
many of the important international shows, Championships on all levels, 4 World Cup
Finals included.
Katrina studied German-, English- and American Literature, combined with
Communication Management as well as History of Arts in Perugia, Italy.
She was a member of the Dressage Task Force in 2009-2010 and helped to develop
new ideas to modernise the judging system, such as half marks.
Despite her full schedule Katrina never gave up riding and continues to work her horses
when she is at home. Furthermore, she occasionally writes articles for journals.
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The Artistic Marks in Freestyle Performances
by Katrina Wüst, 2012
RHYTHM, ENERGY, ELASTICITY of PACES
 Combination of the first two collectives
• Consistency of rhythm in all 3 paces
• Freedom and lightness of paces, elasticity of steps / strides
• Impulsion
a) Engagement of hindlegs
b) Supple, swinging back
Emphasis should be more on rhythm than on impulsion
Loss of rhythm in at least one pace as well as a lack of impulsion diminish this mark.
HARMONY between RIDER and HORSE
 Combination of the 3. and 4. collective
• Throughness, confidence, submission + absence of severe mistakes (!!)
• Correct training of the horse in accordance with the training scale
 Suppleness, activity of mouth, contact, acceptance of bit, straightness, collection,
selfcarriage, elevation
• Rider‘s position /seat, correctness of his aids
Emphasis should be more on correct training of the horse / way of going / confidence and
absence of mistakes
Tension and disobedience, mistakes, lack of throughness, but also an aggressive way of riding
reduce this mark.
CHOREOGRAPHY (5 main criteria)
1. Structure:
• Choreography should take examples from the composition of other forms of art (film,
theatre)
• Entering the arena  rousing attention of spectators (and judges)
• Interesting beginning  positive signal
• Middlepart can consist of quieter phrases
• Impressive finish with highlights, not with weaknesses!
2. Originality:
• Not designed like a standard test
• If possible not always trot – walk – canter
• New lines, surprising transitions
• Combinations of movements / transitions
• Not too many „isolated“ movements without connection to other movements
• However: No “circuslike“ sequences
3. Use of Arena:
• Arena should be used as a whole
• There should be a balance between left lead work / right lead work
• Not too many movements shown on standard lines (track, diagonal...)
• Not the same movement shown on the same line several times
• Clearly recognizable lines
• A symmetric freestyle gives the impression of being well structured
4. Balance:
• Balance within paces: no one-sided preference of a "favourite pace"
• Balance within movements: not too much use of "favourite" movements
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• Interaction of collection and extension
• Interaction of straight and curved lines
• Interaction of lateral work and riding straight forward
5. Suitability for the horse:
• Exact analysis of the horse‘s possibilities
• Emphasis on the strengths by placing them effectively
• Emphasis on the strengths by repeating them appropriately
• “Masking” the weaknesses by placing them less clearly recognizable
DEGREE of DIFFICULTY (5 main criteria)
The risk in accordance with the ability of rider and horse is the main criterion for its
assessment !!!
1. Movements:
All movements might be - generally spoken - regarded as a difficulty if they
• exceed the requirements of the respective class
• are in compliance with the FEI rules
• are executed correctly (marks of 7 and better)
There are only three (combined) movements existing that are not part of any standard
test:
- Piaffe pirouette
- Half pass in passage
- Canter pirouette more than 360° (max. double)
2. Transitions:
All transitions can be regarded as difficult if they
• exceed the requirements of the respective class
• are executed correctly
Transitions should be executed with promptness and smoothness to be regarded as a
difficulty
3. Combinations:
Combinations of movements (2, 3, or more movements) can increase the mark
To be regarded as a difficulty, the combinations must follow each other as directly as possible.
(Exception: All combinations with canter pirouettes which have to show some canterstrides
before/after!)
4. Lines / Points that make the execution more / less difficult:
• Easy: All movements on the track; pirouettes on circle line;
half passes less steep than required in the respective standard test
• More difficult: movements on the 2nd track, quarter line, centre line;
changes on curved lines (circle line, serpentine, through 2 corners)
occasionally: movements that lead to the outside (towards spectators, exit ...)
5. Repetitions:
A difficult freestyle exceeds the minimum requirements (see FEI Guidelines for Degree of
Difficulty, 2009) Fundamental movements should be appropriately repeated.
Reins in one hand for a few special movements can increase the mark for harmony and for the
degree of difficulty, but the technical execution must be as correct as if ridden with both hands.
MUSIC (5 main criteria)
1. Well fitting to all Paces and Transitions:
• The music should fit to the mechanics of the horse  a music of its own for each pace is
required
• There should be a differentiation between music for trot or piaffe / passage
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(Canter) music needs “structure“ (a clear beat emphasising the inner front leg)
No background music like in a supermarket
Changing pace / transitions in time with the music, not at prescribed markers
Too many changes within the paces are difficult to realise by the music and often
give the impression of a hectic performance
2. Well fitting to the Movements:
• Movements can be underlined with a significant “theme“
• Regard the “value“ of each movement: half passes rather light-footed, extended trot
dynamic, passage energetic, pirouettes appear to “change” the canter rhythm
• Underlining the piaffe can only be recommended if the horse executes the piaffe
very rhythmically and clearly diagonal
• Movements can be underlined but also “concealed“ by the music
• Movements and music should never contradict themselves
• Entering the arena and the finale should be accentuated by the music. Clear finish to
the test.
If you close your eyes you should be able to imagine, which movement the rider shows this
very moment.
3. Well fitting to the Type of Rider/ Horse:
• A good freestyle music should not contradict the appearance of rider / type of horse.
Example:
• No too melancholic music for a young pony rider
• Very heavy music can slay a lightfooted thoroughbred
• Music can be extraordinary… as long as it fits well
4. Style of the Music:
A good freestyle music is a musical unity
• If possible taken from one genre: Softpop, rock, musical, film soundtracks, classical music ...
• Preferably one type of orchestration
• Short sequences such as jingles, minimum vocals, sounds, etc. can give good
emphasis to particular movements
• Vocals are not forbidden but should not be too dominating
A judge should never ask himself whether HE/SHE likes the music as long as it fits well to
paces, transitions, movements, horse and rider.
5. Evoking positive Emotions
A good freestyle music evokes positive feelings and emotions
• The rider must ”sell“ his freestyle to the audience
• Preferable: A catchy music that stays in the heads
• The rider should not choose neither a boring, nor a too complicated or even “aggressive”
music
•
•
•
•
Practical remarks to the technical movements (do not replace the knowledge of the Freestyle
Directives)
Entrance and Halt:
The rider has the freedom to choose the pace and the place without the mark being
diminished
Technical mistakes that happen before the 1st salute and in the transition have to be
considered
The move off has also to be considered (regarding contact, promptness …)
Walk:
Has to be shown in both tempi min. 20 m on one track = straight or curved line. Not to be
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performed as a lateral movement. The collected walk can be interrupted by a walk pirouette.
Lateral Movements:
Shoulder-in: Should be shown on clearly recognizable lines (min. 12 m)
Half Pass: The steepness is at the discretion of the rider, but should not be
shown below the
requirements of the standard test
Beginning and end of the lateral movements to be clearly defined
A broken change after a canter half pass will reduce the mark for this half pass
Extensions:
Extended trot should be shown on a straight line; on circle line is regarded as medium trot
Transitions must be integrated into the mark for extensions
A broken change influences the mark for the extended canter
Series of changes on a curved line:
- Maintenance of balance, quality, length of canter strides, straightness
Pirouettes:
On both reins from/ to collected, straightened canter
According to the requirements of the class (half, full, max. 2x)
Judged as one movement, no average of two rotations
Combination of pirouette left and right must have 3-4 straight strides in between to be
counted
Piaffe:
-
Minimum 1x 10 steps straight; steps to be counted!!
Passage:
- Minimum 20 m on one track.
Transitions: only to be counted as passage-piaffe-passage transitions (not pi-pa-pi)
- Should be shown at least once on a straight line
- Transitions on a curved line from piaffe-pirouette to passage-half-pass are counted as
transitions
Piaffe Pirouette (judged as piaffe if the rider shows min. 1x piaffe on straight line,
otherwise < 5):
A piaffe pirouette can be shown in many ways: from 90° - 360°, as a fan or back and
forth. More than 360° in one direction should not be allowed. ( Unbalanced
choreography)
Correct execution:
• Clearly diagonal, consistent rhythm throughout, regular
• Consistent collection, balance, lightness of contact
• All legs turn around the inside hind leg, radius as small as possible, not more than
½m
• Maintenance of same level of activity and elasticity of back and steps
• Very slight flexion/ bend to the direction of the movement required
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If possible, a ¼ , ½ etc. piaffe pirouette should be shown to both sides to prove the horse is
well trained
• Before and/or after the piaffe pirouette there should be some steps straight
Mistakes:
• Diagonals visibly breaking up, uneven steps, change of rhythm and tempo
• On forehand, loss of self-carriage/ balance, etc.
• Losing activity, falling into walk, stiffening the back, any form of resistance
• Turning around the middle, escaping quarters, stepping sideways/ backwards/ forward,
too large
• Outside flexion/ no bend at all
•
Half-Pass in Passage (judged as passage if the rider shows min. 20m passage on one track,
otherwise < 5):
A half-pass in passage can be shown as an ordinary half-pass or as a “zig-zag“. It should be
executed at least 5m sideways to make it recognizable. Less crossing of legs/ less steepness of
angle are expected.
Correct execution:
• Consistent regularity and cadence
• Consistent collection, true self-carriage, balance, lightness of contact
• Maintenance of same level of activity and elasticity of back
• Slight but uniform flexion/ bend, slightly crossing legs
• If possible, a half-pass in passage should be shown to both sides
Mistakes:
• Loss of regularity and cadence
• Loss of collection, self-carriage, balance, horse getting above the bit, strong in
hand …
• Lacking energy and engagement behind, getting hollow in the back
• Loss/ change of flexion/ bend, tilted head, quarters leading
• Not crossing at all, not far enough sideways
Reins in one Hand
Showing a horse successfully with the reins in 1 hand is reflected in the marks for harmony (= rider)
and difficulty
• Reins in 1 hand, the other hanging still and relaxed by the rider‘s side
• Rider must not influence the public /his horse with the free hand (otherwise minus 0.5 in
harmony)
• The contact must remain light and steady
• The execution of the movements must be as if ridden with both hands
• Flexed exercises should be executed on both hands
Guidance for Scoring:
Mark for rhythm: Influenced by quality of paces (mainly) and impulsion.
Mark for harmony: Influenced by execution of test incl. technical mistakes and quality of riding.
Often connected with degree of difficulty if difficulties are presented very harmoniously.
Mark for choreography: Influenced by creativity, structure etc.(see above). Often connected with
degree of difficulty if difficulties are well presented on interesting lines or in original combinations
etc.
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Will clearly be diminished (down to 5) in case of showing a Freestyle not in accordance to the
rules.
Mark for degree of difficulty: Influenced by all kinds of difficulties (see above) and their technical
execution(!!).
Will clearly be diminished (down to 5) in case of showing a Freestyle not in accordance to the
rules.
Mark for music: Influenced by the rider’s choice of a well fitting music (see criteria above) but
also by the execution of the movements which must always remain in accordance with the music.
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