Watching competitive dressage at the highest level it’s easy to think that dressage is only for very big moving, talented warm blood horses, but dressage is simply schooling a horse. All horses do some training at some time and whilst dressage may not be their specialty, all can benefit from a basic level of schooling and training to reduce injury and create a responsive, more comfortable horse to ride. It’s easy to dismiss a horse’s ability because he’s a 10 yo who has only hacked out, or has less than ideal conformation, or exhibits behavioural issues, but with a considered training programme issues like this can be overcome. The experience of working with many horses has shown me that with correct training horses can often achieve more than we think. (Have a look at the case studies to see more) By working towards building suppleness and strength through correct development of lateral exercises, all horses can attain the basic lateral movements; shoulder-in, travers, half pass and renvers, in walk and trot. Training must consider the horse’s conformation, along with the work they have previously done, their temperament and natural movement. When the horse is ready, introduce the exercises that build up to more advanced movements, starting with very simplified versions and developing the exercise as far as the horse allows. By identifying the qualities required in a movement, it becomes easier to see that each horse gives a movement its own expression. For example, some horses have a steeper angle in lateral movements because they are naturally more supple than others. By looking to see that the horse has a consistent bend through their body, they do not lean to their shoulders and maintain an even rhythm, every horse can produce a good lateral movement, from a Shire X to a Lusitano to a 23 year old cob. And all the others!
Diane Followell - Training Riders, Transforming Horses Following on from circles and the serpentine exercises, another useful movement is to ride shallow loops. These are performed down the long side of school and can vary in depth from 2 metres to 10 metres. These are used to supple and strengthen your horse and great attention needs to be taken on the quality of the changes of bend. A basic shallow loop
Variations.
2. Increase the depth of the loop so your horse has to turn more through the loop. 3. Introduce some lateral steps to the work. Begin by riding off the track with a well-balanced inside bend. Keeping the same bend, move down the inner track, parallel to the wall in a slight shoulder fore position. At the end either go straight towards the short side or move back to the track with an inside bend, taking care to ensure that your horse does not drop to their outside shoulder.
4. This can then be developed further to a few steps if shoulder-in. I find that this exercise works well with horses who tend to try to run through their riders’ aids when shoulder-in is asked on the long side. Following on from my previous blog on circles, this time we are focusing on riding a serpentine. A Serpentine is a very useful exercise for all horses regardless of their level of training. In young horses, a well ridden serpentine creates suppleness and responsiveness to the rider’s aids. By developing the positive reaction to the rider’s inside leg aid horses learn to release their ribs rather then brace them against the rider’s leg. For more advanced horses a serpentine can be used to set up lateral movements and a few lateral steps can be inserted into the serpentine itself, developing more suppleness and engagement in your horse. The simplest serpentine is a 3 looped serpentine. The key points to consider when riding serpentine:
There are several variations of serpentine that you can use. They all start at either A or C, in the middle of the short side of the school, and finish at the other end of the school, in the middle of that short side. 1. A 4 looped serpentine increases the difficulty as the loops are smaller and can be ridden when your horse is moving easily round a 3 looped serpentine. 2. Riding a serpentine with 3 squared loops in walk increases the difficulty and helps to improve the engagement of the haunches. You can then start to add a few steps of shoulder fore as you ride along the track. 3. A serpentine that loops back on itself, rather than going straight across the school, can be very useful as they give you more time to create a well-balanced circle at the top of each loop. To ride this shape, begin as for a normal serpentine, and continue the curve of the loop for a few steps more so that you come straight to change the bend heading back down the school. Each loop becomes a ¾ circle shape. 4. For more advanced horses you can ride a 3 looped serpentine in shoulder-in. Either doing a few steps of shoulder-in through the top part of the loop or maintaining shoulder -in throughout the whole serpentine. Well ridden this will improve your horse’s engagement and suppleness. Diane Followell - Training Riders, Transforming Horses To round off 2018, I held an evening get together for my clients as an opportunity to meet each other and talk about horses in the warm instead of the cold outside! As part of the evening, I gave 3 short talks on different aspects of dressage training and touched on the idea of having realistic goals for our training going into the new year.
Whether you are a resolution maker or not, in January our thoughts tend to turn towards the things we would like to do in the coming months, so this month’s blog is about setting goals. Goals give us a direction for training, especially if we are working a lot on our own, but often it is our expectations that can be the limiting factor, either by expecting too much or too little. I don’t want to limit your ambitions, but expecting your 5-year-old to be doing piaffe in a year is probably overly ambitious, as is thinking that your 12-year-old hunter can come into the school and piaffe in a month. A long-term goal gives you a direction to develop the qualities your horse needs to be able to reach that level, and often - even if you don’t achieve your original goal - correctly working your horse through the development exercises can produce something different that is equally good. Understanding the qualities that you need to develop for your horse allows you to have a plan that can be broken down into manageable steps, so that you have short term stages that will build to the larger goal e.g. shoulder-in will be difficult until your horse has good balance on a circle. So, if your goal is to ride shoulder-in, the work must go into preparing it through correct circles. Remember that training is never a straight line; as you advance your training your horse will ask questions of you, and the good news is that if you have done the ground work correctly you will find the answer in an exercise you have already done. A few points to keep in mind:
Diane Followell - Training Riders, Transforming Horses In my blogs earlier this year, I covered how to start working your horse in-hand and how to do circles in-hand. When the circles are balanced and easy, you can begin to ask your horse for some side steps. These side steps teach your horse to move their inside legs across the outside legs as a preparation exercise for lateral movements. Come to the middle of the school and halt with your horse’s fore legs level. If they are not level, walk on and halt again. Then ask for a very small inside bend with the lunge line. Use the whip to gently tap your horse’s inside hind leg until he moves it. You will need to balance him with the lunge line to prevent him from stepping forwards. At this stage it doesn’t matter how much he moves; some horses will lift a small amount, others will pick the leg up higher. Reward him when he moves the leg. If he becomes anxious, go back to some circles and try again another day. Once your horse is lifting his hind leg up immediately when you touch it, you can ask him to step across by continuing to tap his leg once he has lifted it. When he steps it across the other hind leg, immediately stop tapping, halt (whip on the quarters) and reward him. As always, some horses find this easy, others take more time to understand. If your horse is finding it easy, don’t be tempted to ask for too much too quickly. Take time to build his strength and suppleness. If he is finding it more difficult, go back to the work he is comfortable with and then try the side steps just once in each session, and if he doesn’t lift the leg it doesn’t matter. Don’t push things, patiently repeat the aid a little more robustly. Continue to do single steps for a few days until your horse starts to offer the side step straight away, then you can ask for a second and third step. As your horse steps across with his hind legs, you should allow his front feet to follow, crossing round a very small circle. Try to keep your feet moving round a small circle as well, not stepping backwards. If you plant your feet, you will block his movement and he will become twisted and stuck. Take your time. Don’t expect it all on day one. Be satisfied with a calm lifting of the leg for day one and build it over several days; work in your horse’s time. When he is confidently offering the steps, allow him to make the movement for himself, and just make corrections. Diane Followell - Training Riders, Transforming Horses In last month’s blog I wrote about the benefits of in hand work with your horse and how to start and stop when working in-hand. This month covers the next stage, circles. Once your horse is walking on and halting with confidence, you can start to go around circles. Begin by walking on a straight line and then start to bring yourself round the circle and your horse should follow you. If your horse continues down the side of the school, don’t try to pull him round the circle as this could make him push his outside shoulder out and fall more away from you. Instead, gently indicate to him that you want him to follow you with a soft give-take on the lunge line to bring his head round.
The hardest part is for you to make a correct circle shape, usually riders step to the inside, so move slightly towards your outside shoulder to avoid this. It is important that your horse starts to curve round the shape of the circle, so initially don’t make the circle too small, give both of you a chance to understand what you are doing. Keep your space: if he crowds you by falling in through his inside shoulder, use your hand against his shoulder or the whip gently on his side to invite him to move away. If he drifts away from you, make sure the whip is quiet and gently give-take on the lunge line to bring him round. Keep walking backwards to draw him round the circle. Stay in front and to the side of him. After you have completed the circle go on to a straight line making sure you give your horse enough space between you and the fence, and halt. You can then build up to more circles and, as your horse becomes more supple and balanced, you can make the circles a little smaller. Diane Followell - Training Riders, Transforming Horses In-hand work is a very useful method for helping horses develop the strength, suppleness and understanding of movements without the added weight of a rider. I also use this technique to help riders with difficulties in certain movements. At the Quinta all our young horses were started using this in-hand method and by developing the basic work in hand before the rider was in the saddle. The whole process of starting the horse was calmer and simplified. They had the strength and balance to carry the rider more easily, and understood the basics; walking and halting, circles, stepping sideways, shoulder-in and rein back. Further on in their training, in-hand work was used to introduce the first steps of piaffe and passage. There are two methods of working a horse in hand, and I use both in my teaching. The first is to work the horse from the ground by using the cavesson and the second is to work them using the reins. I start horses and riders using the cavesson because it is easier for both the horse and rider and is less harsh for the horse if the rider makes a mistake. The model for the pictures is a young pony who is learning in hand work as part of being backed. General Points Use the lunge cavesson and whip with the long end wound up round the whip handle. Stand in front of, and to the side of your horse, so that you can see all of him and he can see past you. The lunge line should be safely looped up and held close to the cavesson. Have your elbow near your side so you can control your horse on the cavesson. Hold the whip in your other hand. Have the handle in the palm of your hand so you can rotate your wrist, and hold it pointing it down towards the floor when you are not using it, and raise it gently when you use it. Keep yourself on the inside; don’t step across your horse or allow him to step across you. When you are walking, you need to step backwards and at the same speed as he does– but he should not rush past you. Use a light flick on the lunge line against the cavesson to slow him down. Keep your shoulders soft and your elbows bent, a lot of riders let the horse go past them and then they lose control of the horse, or hold their hand close to themselves which draws the horse’s head inwards, pushing the horse towards the outside shoulder.
Some horses are very wary of the whip, so you can use a schooling whip or just your hand if they are more settled like that. Walking and Halting Stage 1 The first thing to teach your horse is to stop. This is done by gently placing the whip on his quarters but first you need to acclimatise him to this. He already understands the lunging instructions and so start by using these voice directions. Gently encourage him to walk forwards, stepping back at the same time and speed that he does (some horses can be confused when you stand in this position, but gently encourage them to walk and they will move forward.) Then, using your voice only, ask him to halt. If he does not stop you can use a small jiggle on the cavesson to help. Try to keep the tension out of your body and just hold the whip softly, pointing down. It’s very important that this work is done calmly and quietly. Your horse will take triggers from your voice, body position and the whip (as well as any noises from outside!) When he has taken a few steps, ask him to halt, again using your voice. You need to stop walking backwards when your horse stops. If you stop before he does he will walk straight past you! When he stops, give him a pat. Repeat this a few times until you are both comfortable with walking and stopping. Stage 2 Now you can introduce the idea that the whip is asking for halt. We do this through 3 steps. Firstly, ask your horse to walk and then ask your horse to halt by the wall or fence. When your horse is quietly standing, very gently raise the whip up and rest it on his quarters. Some horses move away from the whip because they understand that this is what the whip indicates. Quietly lower the whip and ask them to stand again using your voice and repeat the raising of the whip to the quarters. Stage 3 Once your horse is standing quietly from your voice command and doesn’t move when you raise the whip to his quarters, you can start to lift the whip while he is walking. Ask your horse to walk on and then, using your voice ask him to halt and at the same time, raise the whip to his quarters. Repeat this several times until he is quietly halting as you use both your voice and the whip together. You can support this with a light feel on the cavesson, but don’t rely on this aid. If he becomes anxious at any time, go back to the previous step. Stage 4 Once he is stopping confidently from both your voice and the whip, start to bring the whip up before you use the voice command. You are looking for him to stop from the whip movement and your voice becomes a supplement to confirm the action. Look for the moment when your horse stops as you bring the whip up, before it touches his quarters! Some horses pick this up very quickly, whereas others take a few sessions. It’s important that you don’t rush things. This work it takes as long as it takes, especially if both you and your horse are learning together. Again, if at any point your horse becomes anxious, go back to the level he was comfortable with and repeat that step until he is calm again. Common problems that riders find with this technique are:
Sometimes it is because the aid you are giving is too big or the whip is not still.
Diane Followell - Training Riders, Transforming Horses To start the new year I'm looking at definitions for some of the French terms associated with higher levels of classical dressage; Descente de Mains, Ramner and Rassembler. Please see my previous blogs for discussions on other dressage terms; Cadence and Collection and Rhythm, Impulsion and Engagement. Descente de mains This is a French term and the literal translation is “descent of hands”. For classical dressage purposes, descente de mains is a lowering or giving of the rider’s hands to softly release the contact and have the horse remain in the movement without altering the frame, rhythm or cadence, and is most telling in piaffe. It is a simple and very tactful movement for the rider, but comes as the result of precise training; a horse in balance, with the correct level of impulsion and rhythm. Descente de mains is not riding with loose reins or when the horse has his neck stretched down with his nose near the floor! Nuno Oiveira and Arthur Kottas Heldenberg both give clear precise descriptions of descente de mains. Arthur Kottas Heldenburg from Kottas on Dressage (glossary) describes descente de mains as A term from French equitation; basically, a yielding of the rein contact, either as a reward or to check the horse’s self-balance. In respect of the hands, ‘descente’ can mean either a physical lowering, or ‘reduction’ (lessening) of the contact – commonly both. Nuno Oliveira, Reflections on Equestrian Art Descente de main: the rider relaxes his fingers and the horse meanwhile maintains the same pace, the same attitude and the same cadence. Ramner A good definition of Ramner can be found in Dom Diogo de Bragança’s book Dressage in the French Tradition (page 18) Ramner, the neck is raised and self-supporting, verticality of the head (or a position of the head close to the vertical, and in front of it), the poll at the highest point of the neck. It is possible to position the horse’s head by raising your hands, but this will not create ramner, which is a position that the horse chooses for himself based on other factors. The horse must be supple, balanced and able to control the impulsion generated from the haunches. As these qualities develop, the horse becomes more engaged, and the forehand will become lighter, the neck will lengthen from the withers and the poll will appear to advance with the nose near vertical. It is important to understand that this starts from the withers, not the head. Rassembler The translation of rassembler is given as To bring together. To assemble, to gather together. To gather together, to collect. In classical dressage terms it defines a horse who is in perfect balance, haunches engaged with the weight displaced back to the haunches as much as the horse’s conformation will allow, creating lightness in the forehand and a very maneuverable horse. Again, it is a position that the horse acquires for himself through careful and precise training and is one of the ultimate goals of classical dressage. In Dressage in the French Tradition by Dom Diogo de Bragança, he describes rassembler as ..balance or equilibrium on a short (collected) base of support (the horse's feet placed close together). …which is the harmonization of the means necessary for the execution of natural gaits, or those that are derived from them, on a short base of support. Rassembler is indispensable for classical high school training. It is different to collection because it is a quality that is more tied to lightness and ramner than collection alone implies. Whilst ramner refers to the position of the horse’s head, rassembler refers to the whole horse. Diane Followell - Training Riders, Transforming Horses Talking with many people about dressage I have found that there are a lot of different interpretations of the terms used to describe the qualities we are trying to develop in our horses. I have looked at the Oxford Dictionary, the FEI Judging guidelines, and descriptions from the works of classical riders to try to find a common thread between them. In this and the next two blogs, I have attempted to draw together some of the differing concepts for commonly used terms. Rhythm The interpretation that generally comes to mind when talking about rhythm is “A strong, regular repeated pattern of movement or sound. A regularly recurring sequence of events or processes.” -oxfordenglishdictionaries.com For dressage, this dictionary definition is appropriate, however the FEI Dressage Hand Book Guidelines for Judging give a more precise definition relating to dressage: “The characteristic sequence of footfalls and phases of a given pace. “ In dressage terms, rhythm is the regularity of the foot falls the horse makes; it is not the speed of the footfalls, that’s the tempo. The following quote by Arthur Kottas Heldenburg from his book Kottas on Dressage, (page 100), expands on the definition and starts to define more of the qualities that are needed for a horse to have a good rhythm. “The rhythm is correct when the horse moves with ease, in a stable and balanced posture, active and relaxed at the same time. The horse feels good and works with pleasure; the rider is relaxed stable and can work without tiring.” The emphasis here is that the horse has learnt to balance himself through correct suppling exercises and has the strength to maintain the regular rhythm. Points to consider
Impulsion The definition on Impulsion from oxforddictionaries.com gives the impression of force or pressure being used, which is not quite in line with the dressage meaning: “the act of impelling or the state of being impelled motion produced by an impulse: propulsion a driving force; compulsion." The FEI Dressage Hand Book Guidelines for Judging gives a slightly different description: “Impulsion is the transmission of controlled, propulsive energy generated from the hindquarters in to the athletic movement of the eager horse. Its ultimate expression can be shown only through the horse’s soft and swinging back and is guided by a gentle contact with the rider’s hand.” Arthur Kottas Heldenburg From Kottas on Dressage page 203 “The propulsive energy generated by the horse’s hind quarters and controlled by the rider’s leg, seat and reins.” Nuno Oliveira’s description takes things a little further, showing that impulsion is more than just power or energy: “Impulsion can be defined as the ability by the horse to stay in the same cadence, the same position [attitude], with the same level of energy without the constant help of the rider.” Nuno Oliveira from “The Wisdom of Nuno Oliveira” by Antoine de Coux (page 74), and on page 67 “Impulsion has nothing to do with speed. Impulsion begins by the mind of the horse, not his legs.” By this he means that the horse must be willing to go forward when the rider lightly touches with the leg. The FEI definition only focuses on the physical side of impulsion i.e. the energy and where it is directed, and emphasizes a gentle contact through the reins. Classical dressage combines this with the attitude of the horse in terms of its self-carriage, enable through controlled strength and balance. Engagement For this term, the oxforddictionaries.com description is far from the meaning that dressage implies by the word. It defines engagement as : “The action of engaging or being engaged” However, the definition of Engage gives a more meaningful description in dressage terms “Engage, (with reference to a part of a machine or engine) move into position so as to come into operation.” If we take this explanation and relate it to the action of the horse’s haunches, it becomes more meaningful. The FEI Dressage Hand Book Guidelines for Judging shows it is more than simply bringing something into position, such as the horses haunches. “Hind legs stepping well under the horse’s body. Increased flexion of the joints of the hind quarters during its weight-bearing phase. This causes a relative lowering of the hind quarters/ raising of the forehand, thus shifting more of the task of load bearing to the hind quarters. A prerequisite for upward thrust/impulsion.” This explanation has a good description of the mechanics of engagement, but a horse cannot engage without impulsion, so you have a circle of requirement: increase the impulsion and you can increase the engagement. Arthur Kottas Heldenburg (from Kottas on Dressage page 203) describes engagement as “The hind limbs are said to be engaged when, during the forward (stance) phase of the movement, they are placed sufficiently forward under the horse’s mass to enhance balance and provide a good level of forward propulsion/lift.” Whilst these definitions give good descriptions of engagement, they don’t convey the whole picture. Engagement is part of a process that enables to horse to carry their weight towards the haunches and lighten the forehand. It is one element combined with balance, suppleness, rhythm and impulsion which brings the horse to its point of collection and lightness. Diane Followell - Training riders, Transforming Horses
The leg sequence in canter creates an uneven, twisting movement, unlike trot where the diagonal pairing of legs gives a more even step. In canter, it is harder to straighten the horse who is often bent more towards the soft side and travels with quarters to that side, quarters in on one side and falling to the shoulder on the other side, and the rider can be pushed to one side by action of the horse's back. Some common problems in canter are that the horse;
And among the most common cause are;
It is always worth giving your horse a general check, - particularly the back, saddle, bit and teeth - to ensure that there are no physical problems causing the reaction to canter. Clarity of aids is very important, start your correction here, checking that you are not tipping your upper body and causing a loss of balance and that your aids are correct. There is a lot of discussion over which aids are best, some people favour lateral inside aids, others prefer diagonal aids and still other use outside lateral aids. It doesn’t matter which you choose, but you must be 100% consistent with them. If your horse is crooked in trot, holding weight in one shoulder, the canter transition will be difficult, and these horses often only canter on one lead. In this instance, go back to suppling work using circles and shoulder-in, half pass travers and renvers to rebalance your horse, and then ask for the canter again. Working correctly in a well-balanced trot will improve your horse’s canter. Whilst young horses can benefit from cantering in straight lines outside, cantering in the school is difficult for them because of the frequency and tightness of the corners. The masters worked in trot, developing collected trot and sometimes even taking this as far as piaffe and passage before introducing canter in the school. A good collected trot will help all canter work, and any time spent developing the trot work and improving the collection and balance in trot will follow through to the canter and help to improve the balance and suppleness there. Canter is improved by having well-balanced canter transitions from trot. Ensure that your horse is balanced and light before you ask for the canter. Then canter for a short time, once or twice round the school, as you will improve the canter by a good transition, not by cantering for a long time. Diane Followell - Training riders, Transforming Horses
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AuthorDiane Followell Classical Dressage Trainer
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