“Many times people have this image in their minds of what they think they should do, and often it’s very different from what the judges want to see,” says Dave Moore, an ApHC and NRHA judge. “People assume speed is the priority, but that is absolutely not the case. The key term is ‘willfully guided.’ We want the horse to be extremely obedient and pleasing to watch. If you can do everything correctly—the lead changes, the circles, the stops, the turns and the changes of speed—you can go a little faster.”
Reining is scored on each individual maneuver, with individual points and penalties adding up to a final score, with an average of 70. Here Dave takes you through ApHC/NRHA pattern 2, and explains what he’s looking for as a judge.

Pattern 2

Pattern 2 runs fast, which is why it’s a favorite of show managers, Dave explains. But there’s no reason to get in a hurry. His best advice is to take your time and perform each maneuver to the best of your horse’s ability.

This pattern is called a walk-in, which means the horse and rider walk into the pen and start from a halt or a walk. Failing to halt or walk before beginning the pattern will result in a 2-point penalty. “As you enter the pen, take a moment to look around and find the center of the pen,” Dave recommends.
By michelle anderson

Start with three lope circles to the right, beginning with a small slow circle followed by two large and fast circles. “It’s important to begin with a well-placed, appropriately sized small circle,” says Dave. Otherwise, you’ll end up with misplaced large circles that aren’t much bigger than the first. “You’ll end up with the whole pattern out of whack, and it’s almost impossible to start with a positive score.”

After the right lope circles, change to the left lead. “This is a relatively complicated maneuver, because you have to transition to a slower speed while changing leads,” Dave points out. Aim to place the speed transition as close to the lead change as possible. Then complete one small slow circle followed by two large and fast circles.

After completing all three circles, change back to the right lead in the center of the arena and continue half way around the circle to the right before turning right, cutting the arena in half lengthwise. Then begin accelerating into a sliding stop. “The key to a really good stop is to build speed,” Dave says. And again, it’s important to place your turn at the top of the circle, he adds, to avoid misplacing the second half of the pattern.

The second half

From the stop, move into a rollback to the right with no hesitation. Accelerate again, completing a second stop followed by a left-hand rollback with no hesitation. Stops have three components: assuming the position of stop (which must take place after the marker), the actual stop and the rollback. Each portion makes up one-third of the maneuver’s score. “Performing a conservative stop with a precise rollback will mark a better score than a huge stop and poor rollback,” Dave says.

The next step is to run past the center markers and complete a sliding stop. Follow the stop by backing up to the center of the arena, at least 10 feet, as it stipulates in the rulebook. Hesitate. Dave recommends using this moment of hesitation to breathe and gather yourself and your horse. Then complete four spins to the right, hesitating before completing four spins to the left. Hesitate again at the end of the last spin, which signals the judge that you’ve finished the pattern.

“Make sure you stop and signal to the judge before you reach forward and pet your horse or grab the horn,” Dave says. Failing to do so can result in penalties.

716.B. To rein a horse is not only to guide him but also to control his every movement. The best reined horse should be willingly guided or controlled with little or no apparent resistance and dictated to completely. Any movement on his own must be considered a lack of or temporary loss of control and therefore faulted according to severity of deviation. Credit will be given for smoothness, finesse, attitude, quickness and authority in performing the various maneuvers will using controlled speed.

From the rulebook

716.C.1. The scoring will be on the basis of 0 to infinity, with 70 denoting an average performance. The individual maneuvers are scored in 1/2 point increments, from a low of -1 1/2 to
a high of +1 1/2, with a score of 0 denoting a maneuver that is correct with no degree of difficulty. Scores will be announced after each horse works.

By Michelle Anderson

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Your first assignment is to read page 216 of the Handbook. Though only a page, the information is vital to your success in this class. Now continue reading to understand what a judge will expect while you’re in the arena.

A judge’s preparation

Because heritage could be synonymous with history, a judge must also do her homework. “You need to educate yourself by first getting the guide from the ApHC,” says ApHC Judge Arleen Hensley. “You need to study history books from the period, you need to go to museums that specialize in Native Americans. You need to be a student of the class.”

A judge’s homework is significant because it allows for honest assessment of each entry. Without prior knowledge, it’d be difficult to judge an outfit on authenticity; for example, a judge should be familiar with the correct time period trappings for a Native American during the 1840s or a cavalry rider from the early 1900s.

“Whatever period [the exhibitor] is presenting, it should be accurate,” Arleen says. “If it’s an 1860s Native American, everything should be from that period.” In addition to prior knowledge, it’s imperative that a heritage judge allows each exhibitor to explain and present their attire; this is the exhibitor’s opportunity to demonstrate their knowledge of the time period.

The rulebook stipulates that each exhibitor be “limited to no more than 90 seconds” to do so; this allows the judge to understand the individual pieces an exhibitor has accumulated for their costume and evaluate them according to accuracy and authenticity.

Keep in mind that “authentic” doesn’t always mean “old.” If you have a bit made from the same mold used in the 1890s, it’s still authentic. “If a Native American made your dress 15 years ago, it’s still authentic,” Arleen says. Research what’s appropriate for the time period you’ve selected, and use your best judgment in your selections.

About Arleen Hensley

A judge since 1991, Arleen has been involved in the equine industry as a trainer and tack store owner. For her, judging is a way to give back. “I make my living in it,” she says. “It’s only fair to give back.” In addition to her business and judging activities, she and her husband, Doug, raise Pembroke Welsh Corgis.

From the rulebook

Rule 760 in the 2009 Official Handbook of the Appaloosa Horse Club addresses the heritage class.
Rule 760.A.: To be judged on authenticity of trappings and equipment, attire of exhibitor, markings and colorful qualities of horse—the overall picture including the exhibitor’s verbal presentation is to be considered.

Rule 760.C.: Since the Appaloosa is rich in history, this class is designed to vividly portray some of this history. The Heritage class may be ridden as an open class or may be divided in the following two classes: Men’s Heritage class (warriors), or Ladies’ Heritage class. Costumes other than Native American costumes may be used. The costumes may depict the various stages of Appaloosa history such as Chinese emperors, kings, nobles, Spanish conquistadores, fur trappers, buffalo hunters, missionaries, etc.

Rule 760.J.: Paintings and markings of American Indian (Native American) significance shall be permitted on the horse in the Heritage class if the exhibitor so desires.

Article and photos by Tafra Donberger

The points are in the detail when it comes to showmanship at halter. And when the details are complete, it can mean a first place ribbon.

No matter the level you perform at, a judge expects to see you turned out in your very best, from top to toe and muzzle to hock. That means that you should be cleanly attired and your Appaloosa should be spotless—free from dirt and stains, that is.

The 2009 Appaloosa Horse Club Official Handbook goes into detail on apparel. According to judge John Tabb, judges pay quite a bit of attention to appearance, and there’s nothing that distracts more than sloppiness. Be clean, neat and pressed.

Before the class, memorize the pattern. “Know how it flows, and know where you’re going to go,” John advises. Forgetting a maneuver or being in the wrong spot can affect your performance, so learn it well.

In the pattern above, John expects the exhibitor to be waiting at cone A to begin. The exhibitor should then walk in a straight line to cone B. “Know where to stop at B,” John says. “Your horse’s hip should stop at B, walking slightly past it, to make the 270-degree turn.”

It’s extremely important to leave enough room to complete the 270-degree turn without interfering with the cone, and more importantly, to set up for a straight line to the judge. After pivoting, your horse should be in line with the judge. “Trot to the judge in a straight line without weaving and wandering,” John says. “Stop, and don’t set up too close. Allow yourself enough room to do your maneuver and for the judge to inspect.”

Stand your horse squarely (front and hind legs lined up), and make sure you’re in the right place at the right time during inspection. You should never block the judge’s view of the horse, and know the quarters (See “The quarters” sidebar) of the horse.

Next is the back. Stand directly to the side to begin. “There are two ways to do this maneuver,” John explains. “Many exhibitors would back and curve around. The exhibitor who backs, brings the horse to them to turn and continues to back is challenging the pattern… I like to see it tight around C, not 5 feet away from the cone.” When you stick close to the cone, it displays your control of your horse.

In the 360-degree pivot, ensure that your horse keeps his pivot foot planted. A horse whose feet move around while pivoting will earn a deduction in the maneuver score. After pivoting, trot away and stay in a straight line.

The crisper your presentation, the higher your score will be. Don’t sacrifice accuracy for speed. “Do what it takes to get it done,” John says. “If it’s a 360-degree pivot, you don’t want to drag. Be precise and don’t lose the crispness.”

PART FOUR: OPEN AND CLOSE GATE, LEFT-HAND BACK-THROUGH

Imagine that you’re out on the trail with your Appaloosa, and you come upon a gate. Because it wouldn’t be in the middle of nowhere standing alone, there must be fence on either side of it.
Put yourself into that frame of mind when you begin a gate maneuver during trail class. Though what you face in the arena is standing alone, it wouldn’t be under any other circumstance. If you and your horse bump the standard, you’d be backing into barbed wire out on the trail. Guiding the horse through the gate requires the finesse to ensure he doesn’t bump or step on any part of the obstacle.
“I look at how wide an exhibitor has to open the gate to get the horse through,” says ApHC judge Butch Carse. “In reality, you’d be keeping cows in or out. The more you open that gate, the more impractical it becomes.”

This pattern calls for exhibitors to back through the gate, something you’ll see only at horse shows—but it increases the degree of difficulty for the maneuver. Overall, a judge is looking for a tight, controlled maneuver in which the exhibitor maintains contact with one hand on the gate.
Dropping or losing control of the gate can incur penalties, so don’t try to rush. “The gate is practical, and very simple,” Butch says. “When I walk a course, I always go and check the gate out physically.” A small, heavy gate can earn positive maneuver points during your performance. Rope gates are often used in today’s show pens, so prepare yourself for that possibility.

PART FIVE: LOPE ON RIGHT LEAD OVER POLES

“In this pattern, a judge is likely to look for an exhibitor that walks the horse a step or two away from the gate to start loping,” Butch says. “And that’s acceptable.” The exhibitor who takes a step or two away and immediately begins loping—no jogging steps—is what a judge will prefer to see.

A clean departure into a cadenced lope will prepare you for the six lope-overs in this pattern. Though making it through without ticking or bumping one is certainly good, strive to maintain a steady lope with a lead leg that comes down solidly in between the poles.

As with walk- and trot-overs, lope-overs will gain credit with the judge when the horse appears comfortable to ride. Extremes in speed, whether slow or fast, are not as desirable as the consistent lope. This shows the judge that a horse is truly a pleasure to ride on the trail.

PART SIX: CHANGE LEADS AND LOPE OVER POLES

In this pattern, an exhibitor can perform either a simple or flying lead change. “For myself, I give no different credit in quality of maneuver if it’s simple or flying, as both of them can be just as rewarding when done correctly,” Butch explains.

An exhibitor who asks for a change within a stride or two of the designated spot will earn credit with a judge. Keep in mind that location is important, because penalties can occur the farther you go.
For a flying change, a simultaneous switch in front and back legs is credit earning; in a simple change, aim to switch without stopping or trotting more than two strides.

Here, a judge will watch your horse to see how calm he remains. A horse that lopes off in a relaxed manner will be pleasing.

PART SEVEN: CHANGE LEADS AND LOPE TO EXIT

The same guidelines apply for the lead change indicated in part seven. Aim to change right where it’s indicated on the pattern, and judges will take note.

The pattern indicates that an exhibitor is to lope the horse to a finish—a very tricky situation. Do your homework when you walk through the pattern before class and know exactly where the judge will stop judging.

When judges walk the course, they’ll decide where the official “end” spot is, so don’t be afraid to ask questions! If the trail designer isn’t around, ask a ring steward to speak to a judge.

EARNING “PLUS” POINTS

Trail is judged according to a point system, one of many reasons why trail classes are becoming popular with exhibitors—it sets the standard for judges and gives exhibitors a way to see where they need improvement and what they’re doing well.

The starting score for each maneuver is zero. A “plus” maneuver can add 1/2, 1, 1 1/2 or 2 points to the overall score. The 2008 Official Handbook states: “Credit will be given to those horses negotiating the obstacles with style, expression, and some degree of speed, providing carefulness is not sacrificed.”

So be prepared, and keep in mind that breaking down trail patterns into individual pieces increases your understanding of each part. Understand those, and you’re on your way to successful trail runs!

A bit about Butch

Marvin “Butch” Carse has been an ApHC judge for 36 years. He judges numerous regional and na­­­tional shows and has been a part of the Appaloosa industry since 1968. Judging classes that are scored is a particular pleasure for Butch. “I enjoy judging individually performed events,” he says. Butch lives in Davenport, Florida.

Official guidelines

The following is from the Appaloosa Horse Club 2008 Official Handbook. The trail guidelines begin on page 194.

Rule 724.G.4. states: Opening, passing through and closing gate (mandatory at ApHC-sponsored events only). A gate that will not endanger horse or exhibitor must be used. If the gate has a metal, plastic or wooden support bar under the opening, contestants must work the gate moving forward through it.

Rule 724.F.2.c. states: Spacing for lope-overs shall be 6–7 feet (1.83–2.13 meters)
or in increments thereof and may only be elevated to 8 inches (20.32 centimeters).

By Tafra Donberger