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December has arrived, bringing with it the prospect of a joyful Christmas and a New Year full of promise. If you have a few more presents to buy, perhaps you could consider something from one of the many equine charities who’s dedicated work helps rescue abandoned and abused horses or who are focusing their efforts on improving the lives on the many working horses, donkeys and mules round the world.
I hope that you have enjoyed the blogs this year and have found the information helpful in your training. I have planned more blogs for 2017, including blogs covering problems that occur in lateral movements and ways to correct them
.
Wishing you a very happy Christmas and a peaceful New Year.
© Training Riders, Transforming Horses
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François Baucher was born in France in 1796. As the son of a wine merchant, he was not part of the French aristocracy and it appears that he was never fully accepted by the equestrian masters of his time. In 1810, he was given the opportunity to travel to Milan with his uncle where he was given lessons in equestrianism by Mazuchelli, who used harsh training methods, unlike Pluvinel and the Duke of Newcastle.
In 1814, Baucher returned to France to continue with his equestrian career. At this time, French equestrianism had two trends; the classical ménage and outdoor English riding, which was becoming fashionable with the increasing popularity of English thoroughbred horses. This new form of equestrianism was favoured by the Comte D’Aure who would later become an outspoken opponent of Baucher.
A few years later, Françios Baucher bought a ménage at Le Havre and took over another in Rouen, publishing “Dictionnaire raisonné d’équitation” in 1833. As his reputation grew, he moved to Paris to work at the circus ménage, an entertainment that was equal to theatre and opera. Over the years his work in the circus and further publications enhanced his reputation.
Baucher is known to have used 2 methods of training. The first is primarily about bringing the horse together by simultaneous use of the rider’s legs and hands, bringing the horses head towards its body. However, Baucher continually developed and refined his techniques as he increased his knowledge of training horses, and the most significant change came when he began to engage the horse’s quarters and send them towards the head, now known as his second method. The flexions he used were important to this change; it is not to push the horse onto the hand, but to train the mouth and neck of the horse and send the energy from the quarters towards the mouth.
In 1814, Baucher returned to France to continue with his equestrian career. At this time, French equestrianism had two trends; the classical ménage and outdoor English riding, which was becoming fashionable with the increasing popularity of English thoroughbred horses. This new form of equestrianism was favoured by the Comte D’Aure who would later become an outspoken opponent of Baucher.
A few years later, Françios Baucher bought a ménage at Le Havre and took over another in Rouen, publishing “Dictionnaire raisonné d’équitation” in 1833. As his reputation grew, he moved to Paris to work at the circus ménage, an entertainment that was equal to theatre and opera. Over the years his work in the circus and further publications enhanced his reputation.
Baucher is known to have used 2 methods of training. The first is primarily about bringing the horse together by simultaneous use of the rider’s legs and hands, bringing the horses head towards its body. However, Baucher continually developed and refined his techniques as he increased his knowledge of training horses, and the most significant change came when he began to engage the horse’s quarters and send them towards the head, now known as his second method. The flexions he used were important to this change; it is not to push the horse onto the hand, but to train the mouth and neck of the horse and send the energy from the quarters towards the mouth.
Baucher’s second method shows a tactful rider using gentle bits and spurs, not as a severe punishment, but used with discretion and delicacy, creating vibrant horses and developing new airs such as tempi changes.
In 1842, Baucher published ” Méthode d’équitation basée sur de nouveaux principes “. Baucher wanted his horses to be flexible, light and well balanced, and in this work he details the system of flexions he had devised, based on his understanding that resistance in horses can be first felt in the horse’s mouth.
He recognised that the most critical area is the horse’s neck and jaw. A horse’s strength is in the hind quarters; the connection between the quarters and mouth mean that any stiffness in the quarters is reflected in the horse’s neck and jaw.
The flexions were designed to train the horse’s mouth and supple the neck and poll, giving the rider a very subtle control over the forehand – a technique that requires a trainer with very sensitive hands. This teaches the horse to yield to the lightest pressure from the bit, giving lightness and balance to the forehand.
In the mid 1840’s, Baucher’s method of using flexions was introduced to the French army, sponsored by the Duke of Orleans. There were many critics of the method who continued to work behind the scenes to discredit Baucher, and at the death of the Duke of Orleans, Baucher’s methods were replaced by those of the Comte d’ Aure.
In 1842, Baucher published ” Méthode d’équitation basée sur de nouveaux principes “. Baucher wanted his horses to be flexible, light and well balanced, and in this work he details the system of flexions he had devised, based on his understanding that resistance in horses can be first felt in the horse’s mouth.
He recognised that the most critical area is the horse’s neck and jaw. A horse’s strength is in the hind quarters; the connection between the quarters and mouth mean that any stiffness in the quarters is reflected in the horse’s neck and jaw.
The flexions were designed to train the horse’s mouth and supple the neck and poll, giving the rider a very subtle control over the forehand – a technique that requires a trainer with very sensitive hands. This teaches the horse to yield to the lightest pressure from the bit, giving lightness and balance to the forehand.
In the mid 1840’s, Baucher’s method of using flexions was introduced to the French army, sponsored by the Duke of Orleans. There were many critics of the method who continued to work behind the scenes to discredit Baucher, and at the death of the Duke of Orleans, Baucher’s methods were replaced by those of the Comte d’ Aure.
Baucher’s contemporaries disliked the flexions as they felt the horse was in constant tension, but they did concede that the method had remarkable results with problem horses as Baucher demonstrated with Capitaine, a horse considered to be un-rideable, that Baucher trained in 4 weeks.
Baucher is known to have been an excellent teacher, but the same cannot be said of his books, as he made many revisions to his works, removing parts that he believed were not relevant or of little use, and replaced them with simpler and more effective techniques. Today, without being able to ask Baucher himself for clarity on his methods, we can only read and reread his books and apply his techniques with tact and discretion.
Baucher was involved in an accident in 1855 which resulted in his legs becoming weaker, and he no longer rode in public or wrote books, but continued to work on his method, teaching dedicated pupils and leaving them to carry on his work. Today Baucher’s method is still controversial, but, in intelligent hands, it produces the lightest, most agile and responsive horses. edit.
Baucher is known to have been an excellent teacher, but the same cannot be said of his books, as he made many revisions to his works, removing parts that he believed were not relevant or of little use, and replaced them with simpler and more effective techniques. Today, without being able to ask Baucher himself for clarity on his methods, we can only read and reread his books and apply his techniques with tact and discretion.
Baucher was involved in an accident in 1855 which resulted in his legs becoming weaker, and he no longer rode in public or wrote books, but continued to work on his method, teaching dedicated pupils and leaving them to carry on his work. Today Baucher’s method is still controversial, but, in intelligent hands, it produces the lightest, most agile and responsive horses. edit.
© Training Riders, Transforming Horses
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The half pass is a movement where the horse travels diagonally away from the line of travel. The horse should be bent in the direction of the movement and the outside legs cross in front of the inside legs giving a series of steps carrying the horse forward and sideways along the diagonal line.
A half pass should have a lightness and fluidity of movement, where the horse remains engaged on the inside hind and soft on the inside rein. At the end of the movement, the horse should be bent round the rider’s inside leg and connected lightly in the outside hand – very often the opposite is seen.
The FEI requirements list the essentials of half pass as:-
The rider’s position is critical in enabling the horse to perform a correct half pass. The rider’s inside leg creates impulsion and maintains the bend, and their seat should remain level. Closing the body towards the inside elbow will place the rider’s weight correctly to the inside allowing the horse to easily step across.
The aids from the rider’s legs are important as they must alternately touch and give. Using both legs at the same time confuses the horse. Arthur Kottas and Nuno Oliveira both comment on this.
Kottas
“The inside leg first gives the bend, then the outside leg, a little behind the girth pushes the haunches intermittently towards half pass”
Oliveira
“In half pass, the inside leg gives the flexion. Get the flexion first then use the outside leg.
Be very attentive to your inside leg. You must push with one leg and stay quiet with the other or the horse will be confused.
I remind you, when you work with one leg stay quiet with the other.”
The most common error that riders make is to pull the inside rein back to create the bend. This action blocks the horse on the inside, inhibiting the movement to that side, and then the rider must use excessive outside leg to push the horse across. In addition, these actions put the rider’s weight to the outside, further preventing the horse from stepping into the half pass.
You should begin to train half pass when the horse is confirmed in a good quality shoulder-in and can maintain this from the long side of the school to the centre line. With some horses, you can ask half pass directly from the shoulder-in, but with others it can be helpful to straighten out of shoulder-in for a step, whilst maintaining the bend, and then ask for a step of half pass. Initially only ask for 1 or 2 steps, the quality is far more important than the quantity. When the horse understands this, gradually ask for 1 or 2 more steps.
At first glance, the half passes in the pictures below look correct, but if you look closer, you can see that the chestnut horse is out of balance. The rider’s inside leg has come away from the horse and the inside rein is being used to create the bend. The rider’s outside leg then has to do too much to move the horse across which impacts the rider’s position.
You can clearly see the rider on the chestnut horse is leaning to the outside of the half pass which is making the movement harder for the horse. Some horses are athletic enough to perform the movement anyway, but it produces a stiff truncated half pass.
A half pass should have a lightness and fluidity of movement, where the horse remains engaged on the inside hind and soft on the inside rein. At the end of the movement, the horse should be bent round the rider’s inside leg and connected lightly in the outside hand – very often the opposite is seen.
The FEI requirements list the essentials of half pass as:-
- The quality of the trot. Rhythm, impulsion and engagement of the hind legs must be maintained.
- The degree of bend in the half pass which depends on the steepness of the diagonal line
- The forward tendency and carrying power of the inside hind leg which is more important than the sideways tendency
- The crossing of the fore and hind legs
- The elasticity and steady contact, with the poll remaining at the highest point.
- The collection, balance and fluency
- The zig zag half pass expressed in meters should be performed symmetrically to the centre line
- The change of bend in a zig-zag half pass starts when the horse has finished the half pass to one side
- The degree of bend should be similar on both sides.
The rider’s position is critical in enabling the horse to perform a correct half pass. The rider’s inside leg creates impulsion and maintains the bend, and their seat should remain level. Closing the body towards the inside elbow will place the rider’s weight correctly to the inside allowing the horse to easily step across.
The aids from the rider’s legs are important as they must alternately touch and give. Using both legs at the same time confuses the horse. Arthur Kottas and Nuno Oliveira both comment on this.
Kottas
“The inside leg first gives the bend, then the outside leg, a little behind the girth pushes the haunches intermittently towards half pass”
Oliveira
“In half pass, the inside leg gives the flexion. Get the flexion first then use the outside leg.
Be very attentive to your inside leg. You must push with one leg and stay quiet with the other or the horse will be confused.
I remind you, when you work with one leg stay quiet with the other.”
The most common error that riders make is to pull the inside rein back to create the bend. This action blocks the horse on the inside, inhibiting the movement to that side, and then the rider must use excessive outside leg to push the horse across. In addition, these actions put the rider’s weight to the outside, further preventing the horse from stepping into the half pass.
You should begin to train half pass when the horse is confirmed in a good quality shoulder-in and can maintain this from the long side of the school to the centre line. With some horses, you can ask half pass directly from the shoulder-in, but with others it can be helpful to straighten out of shoulder-in for a step, whilst maintaining the bend, and then ask for a step of half pass. Initially only ask for 1 or 2 steps, the quality is far more important than the quantity. When the horse understands this, gradually ask for 1 or 2 more steps.
At first glance, the half passes in the pictures below look correct, but if you look closer, you can see that the chestnut horse is out of balance. The rider’s inside leg has come away from the horse and the inside rein is being used to create the bend. The rider’s outside leg then has to do too much to move the horse across which impacts the rider’s position.
You can clearly see the rider on the chestnut horse is leaning to the outside of the half pass which is making the movement harder for the horse. Some horses are athletic enough to perform the movement anyway, but it produces a stiff truncated half pass.
© Training Riders, Transforming Horses
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The Olympic Games presents a great opportunity for us to indulge in watching wonderful horses perform in the dressage arena, but how can we best appreciate the performances when the same movement on horses with very different training, conformation and expression in their paces can appear quite differently?
By looking for the qualities of a movement it becomes easy to compare different types of horse. An example of this is extended trot. In extended trot, warmbloods with big movement tend produce a big, expressive step, whereas an Iberian horse will show a less visually spectacular pace, however this does not mean that the Iberian extension is incorrect, or that the Warmblood extension is perfect. So how can you identify a correct movement?
An extended trot is described by the FEI as follows;
The aim is to show the utmost impulsion in trot strides with as much lengthening and ground cover as possible without a loss of balance.
The regularity of the two-beat rhythm with still longer moments of suspension than at medium trot.
One of the key phrases in the description above is “with as much lengthening and ground cover as possible without a loss of balance.” This accepts that each horse will have a different expression depending on their conformation. In extended trot I look at the movement of the horse’s shoulder, which should be free moving and the foot should be placed at the furthest point of the extension and not drawn back. Looking at the hind leg you should see an equal suspension and length in each of the diagonal steps.
The neck position is also important. Extended trot requires the horse’s neck to be lengthened and the head may come slightly in front of the vertical. If the neck is shortened, the withers will drop and the shoulders and back are blocked.
The pictures below show two breeds of horse both doing an extended trot. They are moving with a free shoulder, the fore leg carrying the reach through the forearm and the foot lowering at the farthest point of the reach. The neck is long and rises up from the withers. The horses back is not blocked and the hind leg is correctly reaching under the body.
By looking for the qualities of a movement it becomes easy to compare different types of horse. An example of this is extended trot. In extended trot, warmbloods with big movement tend produce a big, expressive step, whereas an Iberian horse will show a less visually spectacular pace, however this does not mean that the Iberian extension is incorrect, or that the Warmblood extension is perfect. So how can you identify a correct movement?
An extended trot is described by the FEI as follows;
The aim is to show the utmost impulsion in trot strides with as much lengthening and ground cover as possible without a loss of balance.
The regularity of the two-beat rhythm with still longer moments of suspension than at medium trot.
- The light and steady contact with the line of the nose clearly in from of the vertical, the poll remaining the highest point, but in a longer frame than at medium trot.
- The suppleness throughout the body, a swinging back and elasticity of steps.
- The straightness.
- The impulsion, lengthening of steps, ground cover and over track. The hind feet step as far as possible over the prints of the front feet while maintaining the energy and same tempo.
- The energy and engagement of the hind quarters, the self-carriage and balance.
- The clear differentiation from medium trot.
- The transitions into and out of the extended trot.
One of the key phrases in the description above is “with as much lengthening and ground cover as possible without a loss of balance.” This accepts that each horse will have a different expression depending on their conformation. In extended trot I look at the movement of the horse’s shoulder, which should be free moving and the foot should be placed at the furthest point of the extension and not drawn back. Looking at the hind leg you should see an equal suspension and length in each of the diagonal steps.
The neck position is also important. Extended trot requires the horse’s neck to be lengthened and the head may come slightly in front of the vertical. If the neck is shortened, the withers will drop and the shoulders and back are blocked.
The pictures below show two breeds of horse both doing an extended trot. They are moving with a free shoulder, the fore leg carrying the reach through the forearm and the foot lowering at the farthest point of the reach. The neck is long and rises up from the withers. The horses back is not blocked and the hind leg is correctly reaching under the body.
The grey horse has a shorter more upright conformation than the other horse, but both extensions are correct, showing a lengthened frame and free shoulder and back.
At the other end of the scale is piaffe which is another movement in which it is easy to compare different horses. The FEI description of piaffe describes the qualities that should be present;
At the other end of the scale is piaffe which is another movement in which it is easy to compare different horses. The FEI description of piaffe describes the qualities that should be present;
The aim of piaffe is to demonstrate the highest degree of collection which giving the impression of remaining in place. To perform the movement with forward intent while maintaining clear diagonal steps.
To compare piaffe in different horses, focus on the hind legs. The height and suspension should be the same in both legs, and the feet should be placed on the ground in line with each other; sometimes one hind foot is placed further back than the other.
In the forehand, the legs should lift to the same height on each side, and should be under the shoulder when on the ground, not back under the body of the horse.
The neck should be raised from the withers in a graceful arc. Some horses have a more closed head and neck position than others, which is appropriate, providing the rider is not restricting the forward movement with their hands.
- Cadence and regularity
- Elasticity and spring
- The lowering of the haunches
- Collection (maximum carrying power of the hind quarter)
- Balance
- Giving the impression of remaining in place
- Consistent elastic contact and performed in true self carriage
To compare piaffe in different horses, focus on the hind legs. The height and suspension should be the same in both legs, and the feet should be placed on the ground in line with each other; sometimes one hind foot is placed further back than the other.
In the forehand, the legs should lift to the same height on each side, and should be under the shoulder when on the ground, not back under the body of the horse.
The neck should be raised from the withers in a graceful arc. Some horses have a more closed head and neck position than others, which is appropriate, providing the rider is not restricting the forward movement with their hands.
In the pictures above the horse on the right is showing a greater degree of flexion in the hocks and lowering of the quarters than the horse on the left, but looking at the qualities of the piaffe, they are both correct.
Correct dressage training should result in a strong, supple, well balanced horse who takes weight towards the hind quarters and remains light in the hand. There should be an overall quality of lightness in all work which is the result of self-carriage. There should be no tension in the reins, with the ultimate expression of this lightness in “descente de mains”, where the rider is able to lower the hands, releasing the rein contact and the horse remains in the same frame and movement.
Correct dressage training should result in a strong, supple, well balanced horse who takes weight towards the hind quarters and remains light in the hand. There should be an overall quality of lightness in all work which is the result of self-carriage. There should be no tension in the reins, with the ultimate expression of this lightness in “descente de mains”, where the rider is able to lower the hands, releasing the rein contact and the horse remains in the same frame and movement.
© Training Riders, Transforming Horses
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François de la Guérinière was born in France in 1688 shortly after the death of William Cavendish. De la Guérinière was the director of an equestrian establishment in Paris for 15 years, and in 1730 he was appointed director at the Manege of the Tuileries, home of the royal equestrian academy. He held this position for over 20 years until his death in 1751.
During this time he wrote “The School of Horsemanship” and the complete book was published in 1733. Building on the work of previous masters of dressage, he developed shoulder-in on a straight line, which he states is the “alpha and omega of all exercises”.
The School of Horsemanship is over 300 pages and covers all topics of equestrianism from naming the parts of the horse, to feeding and grooming to surgical procedures – not all of which we would agree with today! However, the section on training covers about 80 pages and is still very relevant for today’s rider.
He begins with discussing the correct riding position and how it is important for the rider to be able to give correct aids and remain in balance with their horse. He observes that there are riders who have not spent time developing a good posture to the detriment of both the horse and the art of riding.
It is important to note that he agrees with William Cavendish that different horses need different training depending on the temperament, conformation and intended final use of the horse. He views dressage as an art and throughout these pages he often refers to the need to observe the horse and train according to the nature of the horse. The qualities of a well-trained horse are suppleness, obedience and precision, as this horse is able to respond to the rider with ease and grace, and has no difficulty responding to the rider.
The section dealing with the hands and reins is slightly more difficult to transpose into today’s riding as he describes the use of a double bridle with the reins held in one hand, however there are some important details that we can learn from his description. He writes at some length about the action of the hand; a rider’s hand must be light, gentle and firm. A gentle feel being the primary contact, moving to either lighter of firmer, depending the aid needed, but always returning to the gentle contact. He is adamant that the hand should never move directly from a light contact to firm contact as this is too abrupt for the horse’s mouth and will provoke a resistance.
He defines the role of the rider’s leg as being used to control the body and quarters of the horse. A very long straight leg position with the lower leg resting close to the horse, with the thighs and calves turned inwards. So far, so easy, but he then says they must “be held firm in addition to being relaxed, for if they were not they would touch the horse’s belly incessantly, which circumstance would put the horse in a continual state of confusion.”
The remainder of this section gives a lot of other information. The timing of aids is important, as is the stillness of the rider in relation to the horse and the need for clarity in everything the rider does so as not to confuse the horse.
A well-timed, mild correction is most effective, as it preserves the good will of the horse, observing that horses make mistakes from misunderstanding or weakness, and if the trainer punishes them though anger or frustration it is likely to make the horse resistant to the rider, rather than respectful.
Trot was used extensively to build suppleness in horses, as this pace has a natural impulsion and uses all the muscles of the horse. The trot should not be used excessively, as the horse needs to have sufficient strength and energy in the work, and should not be worked until he is tired.
During this time he wrote “The School of Horsemanship” and the complete book was published in 1733. Building on the work of previous masters of dressage, he developed shoulder-in on a straight line, which he states is the “alpha and omega of all exercises”.
The School of Horsemanship is over 300 pages and covers all topics of equestrianism from naming the parts of the horse, to feeding and grooming to surgical procedures – not all of which we would agree with today! However, the section on training covers about 80 pages and is still very relevant for today’s rider.
He begins with discussing the correct riding position and how it is important for the rider to be able to give correct aids and remain in balance with their horse. He observes that there are riders who have not spent time developing a good posture to the detriment of both the horse and the art of riding.
It is important to note that he agrees with William Cavendish that different horses need different training depending on the temperament, conformation and intended final use of the horse. He views dressage as an art and throughout these pages he often refers to the need to observe the horse and train according to the nature of the horse. The qualities of a well-trained horse are suppleness, obedience and precision, as this horse is able to respond to the rider with ease and grace, and has no difficulty responding to the rider.
The section dealing with the hands and reins is slightly more difficult to transpose into today’s riding as he describes the use of a double bridle with the reins held in one hand, however there are some important details that we can learn from his description. He writes at some length about the action of the hand; a rider’s hand must be light, gentle and firm. A gentle feel being the primary contact, moving to either lighter of firmer, depending the aid needed, but always returning to the gentle contact. He is adamant that the hand should never move directly from a light contact to firm contact as this is too abrupt for the horse’s mouth and will provoke a resistance.
He defines the role of the rider’s leg as being used to control the body and quarters of the horse. A very long straight leg position with the lower leg resting close to the horse, with the thighs and calves turned inwards. So far, so easy, but he then says they must “be held firm in addition to being relaxed, for if they were not they would touch the horse’s belly incessantly, which circumstance would put the horse in a continual state of confusion.”
The remainder of this section gives a lot of other information. The timing of aids is important, as is the stillness of the rider in relation to the horse and the need for clarity in everything the rider does so as not to confuse the horse.
A well-timed, mild correction is most effective, as it preserves the good will of the horse, observing that horses make mistakes from misunderstanding or weakness, and if the trainer punishes them though anger or frustration it is likely to make the horse resistant to the rider, rather than respectful.
Trot was used extensively to build suppleness in horses, as this pace has a natural impulsion and uses all the muscles of the horse. The trot should not be used excessively, as the horse needs to have sufficient strength and energy in the work, and should not be worked until he is tired.
Famous for developing shoulder-in, de la Guérinière dedicates a chapter to the movement. He found that Cavendish’s exercise of quarters out on the circle created supple quarters in the horse, but could place them onto the forehand. It was this observation that led him to develop shoulder-in. He used shoulder-in to develop circular suppleness in the shoulders of the horse, which is needed to make turning easier and for lateral movements. He lists the benefits of shoulder-in as;
- Suppling the horse’s shoulders
- Teaches the horse to lower the inside haunch and bend the hocks in preparation for collection
- Teaches the horse to move away from the leg, crossing both fore and hind limbs
Following the work in shoulder-in de la Guérinière then moves on to croup to the wall, whereby the horse moves with the quarters towards the wall and the shoulders away. The horse should be curved round the rider’s leg in the direction of the movement.
However he advises that circles are still of benefit during all training, as they keep the horse supple and forward and can be used to refresh the horse after difficult exercises such as shoulder-in. De la Guérinière uses this movement as a natural progression from shoulder-in.
The book also covers passage, turns, changes of hand and offers some exercises and work patterns for riders to use.
Interestingly, he comes to the canter work late in the book. He agrees with other trainers of the period that horses should only canter once they have been made supple in the trot, so they do not lean on the reins. (I use correct trot work to improve a horse’s canter work.) De la Guérinière advised cantering only after “the horse is supple in its entire body, trained to the shoulder-in and croup to the wall, and is accomplished in the piaffe between the pillars” and then they will canter easily.
The canter should be short and energetic and created through impulsion, half halts, and “descente de main” (lowering of the hands and releasing the contact while the horse maintains the position). De la Guérinière deals with the various problems that a trainer may come across in canter, covering how to work horses with differing conformation and ability.
However he advises that circles are still of benefit during all training, as they keep the horse supple and forward and can be used to refresh the horse after difficult exercises such as shoulder-in. De la Guérinière uses this movement as a natural progression from shoulder-in.
The book also covers passage, turns, changes of hand and offers some exercises and work patterns for riders to use.
Interestingly, he comes to the canter work late in the book. He agrees with other trainers of the period that horses should only canter once they have been made supple in the trot, so they do not lean on the reins. (I use correct trot work to improve a horse’s canter work.) De la Guérinière advised cantering only after “the horse is supple in its entire body, trained to the shoulder-in and croup to the wall, and is accomplished in the piaffe between the pillars” and then they will canter easily.
The canter should be short and energetic and created through impulsion, half halts, and “descente de main” (lowering of the hands and releasing the contact while the horse maintains the position). De la Guérinière deals with the various problems that a trainer may come across in canter, covering how to work horses with differing conformation and ability.
The final chapters deal with the voltes, pasades, pirouettes, terre-a-terre movements and the airs above the ground with a short paragraph dedicated to each.
When you pick up a copy of The Manual of Horsemanship it is a bit daunting to start to read, but see what you can glean from it. The first reading can be perplexing, but if you reread it you will begin to gain huge insights into classical techniques for training horses.
De la Guérinière’s legacy is that of a progressive training system, in line with the horse’s natural abilities, seeking to develop a light, calm and responsive horse. Although his book was written nearly 300 years ago, it is much easier to read than earlier books and the advice he gives on training horses is still applicable, and the criticisms he makes shows that there have always been conflicting ideas in the dressage world!
When you pick up a copy of The Manual of Horsemanship it is a bit daunting to start to read, but see what you can glean from it. The first reading can be perplexing, but if you reread it you will begin to gain huge insights into classical techniques for training horses.
De la Guérinière’s legacy is that of a progressive training system, in line with the horse’s natural abilities, seeking to develop a light, calm and responsive horse. Although his book was written nearly 300 years ago, it is much easier to read than earlier books and the advice he gives on training horses is still applicable, and the criticisms he makes shows that there have always been conflicting ideas in the dressage world!
© Training Riders, Transforming Horses
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A word that is often used in relation to schooling horses is gymnastics, and it’s a good description because it creates an image of what we need to do in our training to create a light, balanced and manoeuvrable horse.
If you look at a gymnast, they are strong, supple and perfectly balanced, and from that balanced position. They can move in any direction. It’s the same for horses. A horse that is balanced, supple and strong will have a steady head carriage because they are light in the front and the weight is moved back towards the haunches which makes them manoeuvrable.
The exercises we use for developing this quality were created centuries ago, defined and refined by subsequent dressage masters. They consist of building the horse through circle work and moving on create suppleness through the lateral exercises; shoulder-in, quarters-in, and renvers, ridden both on the straight lines and on circles.
All horses are one sided, left handed or right handed, and it’s the work that you do to encourage the horse to release the stiff side and stretch the soft side that creates a horse who is even on both sides and ultimately straight.
Good training develops the qualities of
If you look at a gymnast, they are strong, supple and perfectly balanced, and from that balanced position. They can move in any direction. It’s the same for horses. A horse that is balanced, supple and strong will have a steady head carriage because they are light in the front and the weight is moved back towards the haunches which makes them manoeuvrable.
The exercises we use for developing this quality were created centuries ago, defined and refined by subsequent dressage masters. They consist of building the horse through circle work and moving on create suppleness through the lateral exercises; shoulder-in, quarters-in, and renvers, ridden both on the straight lines and on circles.
All horses are one sided, left handed or right handed, and it’s the work that you do to encourage the horse to release the stiff side and stretch the soft side that creates a horse who is even on both sides and ultimately straight.
Good training develops the qualities of
Balance is key to developing self-carriage and lightness. Circles start to create a supple horse and are the first lesson in balance.
A correctly ridden circle teaches a horse many things:
To give round the riders inside leg
To start to engage the inside hind
To stretch to the outside rein
To develop suppleness in both directions
You can feel when a horse is out of balance through the weight in their shoulder, the horse will drift towards the heavy shoulder. On a circle, your horse will drift out when the weight is to the outside shoulder. When the weight is to the inside shoulder, your horse falls into the circle.
Identifying a loss of balance
In the first picture below, you can see that the horse has lost her balance and put weight in the outside shoulder in order to come round the corner. The second picture shows the effects of this unbalanced corner, as the horse is comes down the straight side of the school crooked.
The third picture shows the same horse coming round a corner in balance.
The next two pictures show a horse in travers. The first picture shows a loss of balance; you can see the stiffness of the movement over the back and quarters, and weight is in the inside shoulder. You can also see the effect on the rider’s position, pushing her to the outside.
In the second picture, the rider has corrected the bend, which has taken the weight out of the horse’s shoulder, and brought the horse back into balance. The horse has moved her weight out of the inside shoulder and this has allowed the hind legs support the weight, the head and neck to soften and the back to lift. Also the rider is now sitting balanced and centred.
In the second picture, the rider has corrected the bend, which has taken the weight out of the horse’s shoulder, and brought the horse back into balance. The horse has moved her weight out of the inside shoulder and this has allowed the hind legs support the weight, the head and neck to soften and the back to lift. Also the rider is now sitting balanced and centred.
It takes time to build up enough suppleness for your horse to be able to keep the bend and his balance, but time spent now will be repaid later. If you rush this part of the training, you will have problems in later work and then you will have to come back to this work to make the correction.
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Over the centuries, classical riders have studied the work of their predecessors and expanded the understanding of the techniques and skills that have been passed down. Throughout, there is one quality that they all sought to achieve from every horse; lightness. This aspect of a trained horse makes them maneuverable and easy to ride and it should be the focus of every trainer’s work. When you have ridden a horse that is truly light it becomes the most important quality that you search for in your training.
Lightness is developed through a steady, systematic approach to using classical training techniques. The horse needs to be balanced and supple, so they can move their weight towards the haunches and develop self-carriage. This involves the horse and rider balancing themselves and working together. Once true self-carriage is achieved, lightness becomes apparent.
Lightness brings a softness to the impulsion and a unique expression to each horse throughout their work. The ultimate demonstration of this lightness is “descente de main” or descending the hands. This is where the rider is able to lower the hands, releasing the contact, and the horse remains in the movement, without interference from the rider.
This quality has been over-shadowed in today’s competitive dressage world, it takes time and builds on a pre-existing foundation of creating a balanced, supple horse. Nuno Oliveira emphasised the value of working a horse on correct, geometric circles with the weight of the reins being sufficient contact. The rider must have a well-balanced seat and supple back in order to have exact control over the leg, seat, back and hand aids.
Developing lightness begins with the early work, centering round applying the training techniques in an appropriate way for each horse. Setting up correct basic foundations starting with circles is the key to the correct progression of dressage. Nuno Oliveira said that horses learn many things when ridden correctly round a circle, as this begins to supple them, places them round the inside leg to the outside hand and starts to engage the inside hind leg.
From correct circle work and riding correct corners, shoulder-in develops more easily, and these 3 movements form the basis of dressage and more advanced work. It is worth remembering that when problems occur in advanced movements, they are often resolved by coming back to correctly ridden circles and shoulder-in.
In these pictures, the black horses are heavy and blocked in front, whereas the other horse is light. Look at the lengthening of the horse’s frame, rather than the hooves, the contact in the rider’s hands and the position of the horse’s head and neck.
Lightness is developed through a steady, systematic approach to using classical training techniques. The horse needs to be balanced and supple, so they can move their weight towards the haunches and develop self-carriage. This involves the horse and rider balancing themselves and working together. Once true self-carriage is achieved, lightness becomes apparent.
Lightness brings a softness to the impulsion and a unique expression to each horse throughout their work. The ultimate demonstration of this lightness is “descente de main” or descending the hands. This is where the rider is able to lower the hands, releasing the contact, and the horse remains in the movement, without interference from the rider.
This quality has been over-shadowed in today’s competitive dressage world, it takes time and builds on a pre-existing foundation of creating a balanced, supple horse. Nuno Oliveira emphasised the value of working a horse on correct, geometric circles with the weight of the reins being sufficient contact. The rider must have a well-balanced seat and supple back in order to have exact control over the leg, seat, back and hand aids.
Developing lightness begins with the early work, centering round applying the training techniques in an appropriate way for each horse. Setting up correct basic foundations starting with circles is the key to the correct progression of dressage. Nuno Oliveira said that horses learn many things when ridden correctly round a circle, as this begins to supple them, places them round the inside leg to the outside hand and starts to engage the inside hind leg.
From correct circle work and riding correct corners, shoulder-in develops more easily, and these 3 movements form the basis of dressage and more advanced work. It is worth remembering that when problems occur in advanced movements, they are often resolved by coming back to correctly ridden circles and shoulder-in.
In these pictures, the black horses are heavy and blocked in front, whereas the other horse is light. Look at the lengthening of the horse’s frame, rather than the hooves, the contact in the rider’s hands and the position of the horse’s head and neck.
In the pictures below, the horses are all in piaffe. The horses in the first two pictures lack lightness, whereas the horses in the last picture show lightness. Notice the rider’s hands and connection to the bit, the position of the withers, neck and head as well as the general outline of the horse.
© Training Riders, Transforming Horses
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William Cavendish was born in 1593. He lived through the English civil war, but his love of horses was a life-long passion, wherever he was his horses went with him. He was a highly regarded equestrian, and whilst some of his stable management advice is questionable in this day, his books provide a wonderful insight to his innovative training methods.
He published two books, written in French, La Methode Nouvelle et Invention extraordinaire de dresser les Chvaux in 1658, and Methode nouvelle, et invention extraordinaire de dresser les chevaux in 1671. These books added to the work of earlier renaissance riders and his work was hugely influential to later riders, one of the most notable being Francois de la Guérinière. Today it’s easy to dismiss his method of training horses as irrelevant, but, horses don’t change and the methodology he created was used by later masters of dressage and is still applicable to horses today.
A significant change he made was in the rider’s position. The method at that time was to grip with knees so the horse could not displace the rider. Cavendish advocates a position where the rider keeps his own balance and does not rely on the reins or gripping the legs.
Cavendish followed Grisone’s wish for a straight, light horse, but rejected the more forceful methods in Grisone’s training in favour of a softer, sympathetic approach.
Cavendish reminds the rider that “ you ought to be lavish of your rewards, and sparing of your corrections, otherwise you will spoil your horse. You should pardon him a great many faults, as proceeding from ignorance; for how should a horse know what he has never been taught?”
Viewing dressage as an art, he writes at length on the need to train each horse according to their natural ability, emphasising that not all horses are able to do dressage, and those that do may not be able to perform all movements.
“if the horseman studies nature, and dispositions of his horses, he would better know how to appropriate them to the uses for which they were created, and consequently they would become good horses.”
He stresses that it is the rider who responsible for the training, not the horse, and points out that the rider should never demand more from the horse than it is capable of giving, advising a gentle and unhurried approach. He uses a natural progression of exercises so that the horse wants to move on to the next stage. A horse put under pressure will either panic or resentfully accept the rider’s demands – either way, the rider will feel the repercussions from this at some point. Cavendish comes back to this point several times, reiterating that the rider must assert himself without intimidating his horse.
He published two books, written in French, La Methode Nouvelle et Invention extraordinaire de dresser les Chvaux in 1658, and Methode nouvelle, et invention extraordinaire de dresser les chevaux in 1671. These books added to the work of earlier renaissance riders and his work was hugely influential to later riders, one of the most notable being Francois de la Guérinière. Today it’s easy to dismiss his method of training horses as irrelevant, but, horses don’t change and the methodology he created was used by later masters of dressage and is still applicable to horses today.
A significant change he made was in the rider’s position. The method at that time was to grip with knees so the horse could not displace the rider. Cavendish advocates a position where the rider keeps his own balance and does not rely on the reins or gripping the legs.
Cavendish followed Grisone’s wish for a straight, light horse, but rejected the more forceful methods in Grisone’s training in favour of a softer, sympathetic approach.
Cavendish reminds the rider that “ you ought to be lavish of your rewards, and sparing of your corrections, otherwise you will spoil your horse. You should pardon him a great many faults, as proceeding from ignorance; for how should a horse know what he has never been taught?”
Viewing dressage as an art, he writes at length on the need to train each horse according to their natural ability, emphasising that not all horses are able to do dressage, and those that do may not be able to perform all movements.
“if the horseman studies nature, and dispositions of his horses, he would better know how to appropriate them to the uses for which they were created, and consequently they would become good horses.”
He stresses that it is the rider who responsible for the training, not the horse, and points out that the rider should never demand more from the horse than it is capable of giving, advising a gentle and unhurried approach. He uses a natural progression of exercises so that the horse wants to move on to the next stage. A horse put under pressure will either panic or resentfully accept the rider’s demands – either way, the rider will feel the repercussions from this at some point. Cavendish comes back to this point several times, reiterating that the rider must assert himself without intimidating his horse.
His methodology centres round keeping things simple, highlighting the need to create suppleness, which improves mobility in both the shoulders and haunches. The exercises he recommends improve the athletic ability of the horse by moving the horse laterally, beginning with the shoulders and then the haunches. He does not use many exercises, but each one is described in detail and accompanied by a diagram for clarity. However, this does not always make it easy to follow!
Throughout his books, he describes the lateral movements we use today. He clearly describes the shoulder-in, although he does not refer to it as such. It is a movement now strongly associated with Francois de la Guérinière, who further refined it based on Cavendish’s work, and often quotes Cavendish in his own book.
Cavendish cites patience and knowledge as essential qualities in a rider, using steady steps in training over several days, not forcing the horse’s head position but working slowly towards the desired head carriage and making the desired movement easy so horse wants to do the movement.
He recommends short, varied lessons, and that the session should end with the horse as energetic as when you started. This allows the horse to rest otherwise he will grow too tired to retain what he has learnt.
Cavendish suggests that you should praise often and use the whip sparingly.
“Instruct him then by frequent repetitions. When you have taught him, if he maliciously rebels, correct him, but let it be seldom, and the correction should not last long. If the horse obeys ever so little, stop him, and make friends with him by some present recompense.”
To retain the sensitivity of the horse, the rider should not give aids every step, but according to the rhythm of the horse. Constant aids makes horses insensitive, like a block or stone. When the horse obeys, you should cherish and make much of him.
Still extremely relevant, his manual should be high on the reading list of anyone who is interested in classical dressage.
Quotes are from “A General System of Horsemanship”, translation of Cavendish’s 1658 book
Throughout his books, he describes the lateral movements we use today. He clearly describes the shoulder-in, although he does not refer to it as such. It is a movement now strongly associated with Francois de la Guérinière, who further refined it based on Cavendish’s work, and often quotes Cavendish in his own book.
Cavendish cites patience and knowledge as essential qualities in a rider, using steady steps in training over several days, not forcing the horse’s head position but working slowly towards the desired head carriage and making the desired movement easy so horse wants to do the movement.
He recommends short, varied lessons, and that the session should end with the horse as energetic as when you started. This allows the horse to rest otherwise he will grow too tired to retain what he has learnt.
Cavendish suggests that you should praise often and use the whip sparingly.
“Instruct him then by frequent repetitions. When you have taught him, if he maliciously rebels, correct him, but let it be seldom, and the correction should not last long. If the horse obeys ever so little, stop him, and make friends with him by some present recompense.”
To retain the sensitivity of the horse, the rider should not give aids every step, but according to the rhythm of the horse. Constant aids makes horses insensitive, like a block or stone. When the horse obeys, you should cherish and make much of him.
Still extremely relevant, his manual should be high on the reading list of anyone who is interested in classical dressage.
Quotes are from “A General System of Horsemanship”, translation of Cavendish’s 1658 book
© Training Riders, Transforming Horses
- Published on
This quote from Nuno Oliveira is worth repeating, “the hands receive the work of the legs”. If the rider is using the legs well with tact and timing, the horse becomes light in the hands. If the leg is not well timed the hands become strong and there is no lightness.
The horse must be able to respond to the lightest of aids and then the rider must cease the aid, and allow the horse to continue in the same frame, only giving an aid when a change is required. The timing and co-ordination of aids is important, if the legs say go, the hands and seat must not block that aid.
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With a hot horse, your legs must remain softly against horse’s side and touch lightly or the horse will be surprised by the leg. Don’t clamp your legs on or your horse can’t breathe
The leg positions for different riders may not look exactly alike, dependent on their leg length and the shape of the horse. The pictures below riders with correct leg positions, but each looks slightly different.
This quote from Nuno Oliveira is worth repeating, “the hands receive the work of the legs”. If the rider is using the legs well with tact and timing, the horse becomes light in the hands. If the leg is not well timed the hands become strong and there is no lightness.
The horse must be able to respond to the lightest of aids and then the rider must cease the aid, and allow the horse to continue in the same frame, only giving an aid when a change is required. The timing and co-ordination of aids is important, if the legs say go, the hands and seat must not block that aid.
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- Legs start in the hips, tightness in the thighs will affect the seat and back.
- Lightly touch the legs in the rhythm of the horse.
- Don’t push the heel down as this will tighten your leg, leg the weight drop down through a supple heel.
- Legs must touch and give.
With a hot horse, your legs must remain softly against horse’s side and touch lightly or the horse will be surprised by the leg. Don’t clamp your legs on or your horse can’t breathe
The leg positions for different riders may not look exactly alike, dependent on their leg length and the shape of the horse. The pictures below riders with correct leg positions, but each looks slightly different.
© Training Riders, Transforming Horses
- Published on
“The hands receive the work of the legs”
This quote from Nuno Oliveira sums up the crucial relationship between the rider’s hands and legs, if a rider’s legs and seat act correctly, the hands can be light and tactful. If the rider’s legs and seat don’t act with precision, the horse becomes heavy in the hands.
Remember that a rider’s hands start in the shoulders, and any movement in the arms or shoulders is magnified in the hands and can interfere with the rein aids. Your upper arm should hang close to your side, not be clamped in, with your elbow near to your hip.
Your hand is carried by your forearm allowing the wrist to be supple and the fingers should be free from gripping. Your hands should be close together, as a pair, just above the withers, not dropping down to your thigh or carried wide. Keeping your elbows close to your hip, your back and seat moving with the horse’s back, your hand will follow the movement of the horse’s head.
It’s difficult to control your hand movements. In everyday life we tend to use our hands first, but in riding we should use them last and with great tact. You must be able to have a still, soft hand before you can do anything with them, then you can give delicate tactful aids and place your hand in the best position to help your horse.
And a thought from William Cavendish about the hands:-
“The main secret for a horse that is heavy upon the hand, is for the rider to have a very light one; for when he finds nothing to bear upon with his mouth, he infallibly throws himself upon the haunches for his own security.“
These pictures demonstrate the effect of the hands. The black and white pictures show correct hand position and contact the other four pictures show the negative effects of incorrect hand aids; contracted necks, over flexion, resistant jaws and blocked polls.
Remember that a rider’s hands start in the shoulders, and any movement in the arms or shoulders is magnified in the hands and can interfere with the rein aids. Your upper arm should hang close to your side, not be clamped in, with your elbow near to your hip.
Your hand is carried by your forearm allowing the wrist to be supple and the fingers should be free from gripping. Your hands should be close together, as a pair, just above the withers, not dropping down to your thigh or carried wide. Keeping your elbows close to your hip, your back and seat moving with the horse’s back, your hand will follow the movement of the horse’s head.
It’s difficult to control your hand movements. In everyday life we tend to use our hands first, but in riding we should use them last and with great tact. You must be able to have a still, soft hand before you can do anything with them, then you can give delicate tactful aids and place your hand in the best position to help your horse.
And a thought from William Cavendish about the hands:-
“The main secret for a horse that is heavy upon the hand, is for the rider to have a very light one; for when he finds nothing to bear upon with his mouth, he infallibly throws himself upon the haunches for his own security.“
These pictures demonstrate the effect of the hands. The black and white pictures show correct hand position and contact the other four pictures show the negative effects of incorrect hand aids; contracted necks, over flexion, resistant jaws and blocked polls.
