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Yielding is a very useful exercise when done well. It is the first stage in creating sideways steps with a horse and a precursor to riding shoulder-in. Although this is a simple exercise, it is not easy to ride and can create more problems than it solves when ridden poorly.
In a correct yield, the horse moves laterally from your inside leg, with a soft ribcage whilst maintaining his balance by crossing his inside legs over his outside legs.
One of the main problems with this exercise is that many horses push their weight to their outside shoulder. This can be caused by the rider sitting behind the movement, leaning away from the direction of travel, by the rider pulling the inside rein or by the horse being unbalanced.
A basic yield begins on a straight line on the inner track. The horse should have a soft rib cage around the riders inside leg. The horse then moves on a diagonal from line towards the track, moving both forehand and haunches at the same rate, ideally crossing the inside foreleg over the outside foreleg and the inside hind crossing the outside hind.
Keep your hips and shoulder facing forward and move your waist slightly towards your elbow in the direction you want to go, keeping your seat balanced.
Within the exercise, your inside leg has several functions; it creates softness in the rib cage of the horse, maintains impulsion if required and directs the quarters to step sideways.
Stepping sideways needs a touch with the inside leg to create the sidestep. The outside leg releases to allow the horse to step over and then gathers the outside of the horse. All aids are given only as necessary. If the horse is performing the movement in balance, sit quietly and don’t disrupt them.
Throughout the exercise the horse should remain in balance, stepping across as a whole horse, not dropping into his outside shoulder.
If you feel your horse move weight into their shoulder, ride out of the movement by lightly closing you outside rein towards their neck (not pulling backwards) and touching lightly with you outside leg. Check that your position remains balanced and straight.
© Diane Followell - Training Riders, Transforming Horses
In a correct yield, the horse moves laterally from your inside leg, with a soft ribcage whilst maintaining his balance by crossing his inside legs over his outside legs.
One of the main problems with this exercise is that many horses push their weight to their outside shoulder. This can be caused by the rider sitting behind the movement, leaning away from the direction of travel, by the rider pulling the inside rein or by the horse being unbalanced.
A basic yield begins on a straight line on the inner track. The horse should have a soft rib cage around the riders inside leg. The horse then moves on a diagonal from line towards the track, moving both forehand and haunches at the same rate, ideally crossing the inside foreleg over the outside foreleg and the inside hind crossing the outside hind.
Keep your hips and shoulder facing forward and move your waist slightly towards your elbow in the direction you want to go, keeping your seat balanced.
Within the exercise, your inside leg has several functions; it creates softness in the rib cage of the horse, maintains impulsion if required and directs the quarters to step sideways.
Stepping sideways needs a touch with the inside leg to create the sidestep. The outside leg releases to allow the horse to step over and then gathers the outside of the horse. All aids are given only as necessary. If the horse is performing the movement in balance, sit quietly and don’t disrupt them.
Throughout the exercise the horse should remain in balance, stepping across as a whole horse, not dropping into his outside shoulder.
If you feel your horse move weight into their shoulder, ride out of the movement by lightly closing you outside rein towards their neck (not pulling backwards) and touching lightly with you outside leg. Check that your position remains balanced and straight.
© Diane Followell - Training Riders, Transforming Horses
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,Circles and turns should be easy, we ride them all the time, but they are among the most difficult movements to produce consistently well. Often only part of the circle creates a balanced horse before the movement deteriorates and the horse loses balance. Riding a corner well creates a balanced horse on the straight side of the school, not riding the corner means that your horse is unbalanced on the next side making following movements more difficult.
When the horse loses their balance, they place weight into their shoulder usually more to one side than the other. This can take the rider off balance as well. Equally, if the rider loses their balance, it has a negative impact on the horse. The more that the rider is able to maintain a stable position, the easier it is for the horse to retain their balance.
Riding circles and corners are the same, you just have fewer steps around the corner. One of the most common issues with riding these movements, is that riders try to turn the horse with the reins, forgetting the impact that their position has on the horse. Moving a horse through a corner or around a circle is done by influencing the horse’s posture through your own position.
Slightly advance your outside shoulder to align with your horse’s shoulders. Allow your hands to follow the rotation of your shoulders. Your hips need to be in line with your horse’s hips, seat balanced, weight even across both seat bones. You may need to bring your inside seat bone and hip slightly forward to maintain the alignment of your hips with your horse’s hips.
In this position, your weight will be correctly balanced, and your outside rein will come lightly against your horse’s neck. Your inside rein will move away from your horse’s neck. As your horse finds his balance, you will feel him offer a connection into your outside rein which is perfectly positioned to accept the contact offered. Your inside rein should remain soft, if you pull this rein backwards, you will block your horse’s inside hind leg from coming through and he will be unable to maintain his balance. Avoid purposely putting your weight into one or other stirrup as this will make you unbalanced in relation to your horse. If your body is correctly aligned with your horse, your weight will be in the right place.
When you want to ride out of the circle or turn, all you need to do it sit straight. Avoid trying to straighten your horse as this often results in the rider unbalancing the horse and putting weight back to their shoulder.
Practicing very correct circles and corners consistently will greatly improve your horse’s strength and suppleness, they will start to engage their inside hind leg and this develops better straightness.
In the photos below, the first shows an unbalanced horse and the second shows a balanced horse.
© Diane Followell - Training Riders, Transforming Horses
When the horse loses their balance, they place weight into their shoulder usually more to one side than the other. This can take the rider off balance as well. Equally, if the rider loses their balance, it has a negative impact on the horse. The more that the rider is able to maintain a stable position, the easier it is for the horse to retain their balance.
Riding circles and corners are the same, you just have fewer steps around the corner. One of the most common issues with riding these movements, is that riders try to turn the horse with the reins, forgetting the impact that their position has on the horse. Moving a horse through a corner or around a circle is done by influencing the horse’s posture through your own position.
Slightly advance your outside shoulder to align with your horse’s shoulders. Allow your hands to follow the rotation of your shoulders. Your hips need to be in line with your horse’s hips, seat balanced, weight even across both seat bones. You may need to bring your inside seat bone and hip slightly forward to maintain the alignment of your hips with your horse’s hips.
In this position, your weight will be correctly balanced, and your outside rein will come lightly against your horse’s neck. Your inside rein will move away from your horse’s neck. As your horse finds his balance, you will feel him offer a connection into your outside rein which is perfectly positioned to accept the contact offered. Your inside rein should remain soft, if you pull this rein backwards, you will block your horse’s inside hind leg from coming through and he will be unable to maintain his balance. Avoid purposely putting your weight into one or other stirrup as this will make you unbalanced in relation to your horse. If your body is correctly aligned with your horse, your weight will be in the right place.
When you want to ride out of the circle or turn, all you need to do it sit straight. Avoid trying to straighten your horse as this often results in the rider unbalancing the horse and putting weight back to their shoulder.
Practicing very correct circles and corners consistently will greatly improve your horse’s strength and suppleness, they will start to engage their inside hind leg and this develops better straightness.
In the photos below, the first shows an unbalanced horse and the second shows a balanced horse.
© Diane Followell - Training Riders, Transforming Horses
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A correct position is essential to allowing the horse to move and balance well and most important part of the rider’s posture is the movement of their back. A well-balanced independent rider can influence the horse subtly and support the horse with well-timed aids, creating freedom of movement and lightness.
The rider’s back should be tall, aligned, and supple, never rigid or collapsed. Correct posture begins with a neutral pelvis, allowing the spine to lengthen upward while remaining flexible.
In all paces the rider’s back must move in unison with the horse’s back, spine aligned to the horse’s spine. This allows the rider to communicate clearly through small changes of weight and posture. When this harmony with the horse occurs, the aids become invisible and the horse moves freely.
If the rider has a stiff, hollow or braced back they block the horse’s movement, leading to a shortened or tense stride. Instead of swinging freely, the stride becomes restricted, making true engagement and connection impossible.
The rider’s back also has a direct effect on the contact with the horse’s mouth. When a rider is well-balanced with a soft lower back it allows their hands to remain steady in relation to the movement of the horse. This creates a soft connection from the horse’s mouth to the rider’s seat.
A well-used back also supports self-carriage. Subtle changes in posture and weight distribution signal half-halts and transitions without force. The horse learns to respond to the rider’s body rather than strong rein or leg aids, leading to greater lightness and harmony.
© Diane Followell - Training Riders, Transforming Horses
The rider’s back should be tall, aligned, and supple, never rigid or collapsed. Correct posture begins with a neutral pelvis, allowing the spine to lengthen upward while remaining flexible.
In all paces the rider’s back must move in unison with the horse’s back, spine aligned to the horse’s spine. This allows the rider to communicate clearly through small changes of weight and posture. When this harmony with the horse occurs, the aids become invisible and the horse moves freely.
If the rider has a stiff, hollow or braced back they block the horse’s movement, leading to a shortened or tense stride. Instead of swinging freely, the stride becomes restricted, making true engagement and connection impossible.
The rider’s back also has a direct effect on the contact with the horse’s mouth. When a rider is well-balanced with a soft lower back it allows their hands to remain steady in relation to the movement of the horse. This creates a soft connection from the horse’s mouth to the rider’s seat.
A well-used back also supports self-carriage. Subtle changes in posture and weight distribution signal half-halts and transitions without force. The horse learns to respond to the rider’s body rather than strong rein or leg aids, leading to greater lightness and harmony.
© Diane Followell - Training Riders, Transforming Horses
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This month I am reviewing a half 10 metre circle performed by Kimberly Pap and Sonnenburg’s Jersey competing at the VHO Trophy 2023 starting at 3 minutes 40 seconds. https://www.youtube.com/watch?v=1cvqPdPVOsI
The half circle should give the horse and rider an opportunity to prepare for the next movement, a few strides to help the horse rebalance itself, and for the rider to check the engagement of the haunches. However, this chance is missed by the rider. The half pass preceding this turn is made with very extravagant strides and speed. The horse has disengaged his haunches and become unbalanced through the movement. (Picture A).
The half circle should give the horse and rider an opportunity to prepare for the next movement, a few strides to help the horse rebalance itself, and for the rider to check the engagement of the haunches. However, this chance is missed by the rider. The half pass preceding this turn is made with very extravagant strides and speed. The horse has disengaged his haunches and become unbalanced through the movement. (Picture A).
To bring the horse back in time to make the half circle, the rider pulls the reins, blocking the horse. The horse has no engagement of the hind leg and is unable to balance itself correctly, and drops his weight towards his right foreleg to balance. (Picture B).
As they begin the turn, the disengagement of the haunchesand weight towards the shoulder means that the impulsion, instead of balancing the horse, causes him to lean to the inside. The rider is unbalanced and using the reins for support and overbending the horse's neck. (Picture C and D).
Because he is disengaged, the horse moves his inside hind foot towards the outside, crossing his left hindleg. With his balance totally compromised, the horse uses his inside foreleg to stay upright. (Picture E and F)
At the end of the half circle, the horse is still completely out of balance as he enters the centre line with his weight towards his forehand, and disengaged haunches. (Picture G)
Below is a photo of a horse and rider correctly balanced on a circle.
Training Riders, Transforming Horses
© Diane Followell
© Diane Followell
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In a previous blog I looked at the causes of a horse rearing whilst in the middle of a dressage test, What Went Wrong? In this month’s blog, I wanted to look closely at a piaffe shown in a grand prix freestyle competition and the qualities that the horse shows in the movement in this video
https://www.youtube.com/watch? =QElJ6Og6bp8
I am focusing on the piaffe that begins at 1 minute 8 seconds. Before this piaffe, the horse is in passage and to bring the horse into piaffe, the rider makes a backward pull on the rein (1:09) whilst simultaneously using her spurs and bracing her body backwards. This has the effect of compressing the horse through its neck which puts the horse on its fore hand, disengages its haunches and disrupts the diagonal steps (below).
https://www.youtube.com/watch? =QElJ6Og6bp8
I am focusing on the piaffe that begins at 1 minute 8 seconds. Before this piaffe, the horse is in passage and to bring the horse into piaffe, the rider makes a backward pull on the rein (1:09) whilst simultaneously using her spurs and bracing her body backwards. This has the effect of compressing the horse through its neck which puts the horse on its fore hand, disengages its haunches and disrupts the diagonal steps (below).
Consequently, the horse can only bounce its haunches up in the piaffe as it’s front legs barely come off the ground (1:13) and there is no elevation of the neck and withers. Unable to correctly engage its haunches the horse is now fully on its fore hand as the front feet land significantly before the hind feet and the rhythm of the diagonal steps is completely lost.
Through the piaffe, the horse swings its left hind out to the side whereas it should move up and down under the body of the horse. The rider makes continual backward movements on the reins, blocking the horse and creating resistance in the horse’s jaw, neck and back.
Due to the incorrect movement in the piaffe, in the transition out of the piaffe, the horse makes two canter strides before picking up passage steps(1:22).
Due to the incorrect movement in the piaffe, in the transition out of the piaffe, the horse makes two canter strides before picking up passage steps(1:22).
In a correct piaffe, the horse moves its centre of gravity back, the hind legs flex more and the fore hand becomes lighter and more elevated. The haunches should not bounce higher than the withers.
The front feet should be raised higher than the hind feet, or the hind feet and front feet should come to the same height if the horse’s conformation or level of training does not allow for the former. If the hind feet are raised higher than the front feet, it is a clear indication that the piaffe is on the fore hand and incorrect.
The pictures below show two horses with different conformation showing correct piaffe steps and the piaffe shown by this horse and rider for comparison.
The front feet should be raised higher than the hind feet, or the hind feet and front feet should come to the same height if the horse’s conformation or level of training does not allow for the former. If the hind feet are raised higher than the front feet, it is a clear indication that the piaffe is on the fore hand and incorrect.
The pictures below show two horses with different conformation showing correct piaffe steps and the piaffe shown by this horse and rider for comparison.
Training Riders, Transforming Horses
© Diane Followell
© Diane Followell
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Shoulder-in is the aspirin of dressage – Nuno Oliveira.
In his book, School of Horsemanship, published in 1733, François de la Guérinière describes shoulder-in as the alpha and omega of all exercises for developing suppleness and agility in horses. An exercise used by classical dressage trainers for centuries, unchanged and instantly recognisable, it is one of the earliest lateral movements taught to horses.
Well ridden, shoulder-in provides major benefits in the schooling of horses, essentially the suppling of the horse’s shoulders, preparation for the horse to be placed into their haunches and it trains the horse to move away from the rider’s leg.
The basic principle of shoulder-in is that the horse brings their shoulder away from the line of travel, with the hind legs remaining on the line of travel, and then the horse proceeds stepping slightly sideways in the original direction. The angle may vary from horse to horse, depending on their conformation, suppleness and level of training, but all shoulder in shoulder exhibit the same qualities.
- The haunches should remain near the wall, the shoulders should be about 45 cms to 60 cms away from the wall.
- The horse’s inside foreleg should cross the outside foreleg, and their inside hind leg should cross the outside hind leg.
- They should remain equally bent through their body.
- The haunches must be engaged under their body. The degree to which they can achieve this is influenced by their conformation and level of training.
- The steps shoulder be small so the hind legs cross closely.
Common faults are;
Have a look at the pictures below, the horses are in the same stride in shoulder-in, but the pictures look quite different. Both horses show a good degree of suppleness but the horse on the right has disengaged his haunches, hollowed his back and is dropping towards his outside shoulder.
- The horse drops to their outside shoulder and straightens their body with an exaggerated bend in their necks.
- The horse does not cross their hind legs and steps forward from the line of travel.
- The horse places weight in their inside shoulder and braces their ribs against the rider’s leg, accompanied by stepping forward.
- The horse turns their shoulders too far to the inside and steps forward.
- The horse pushes the haunches out rather than moving their shoulders inwards.
Have a look at the pictures below, the horses are in the same stride in shoulder-in, but the pictures look quite different. Both horses show a good degree of suppleness but the horse on the right has disengaged his haunches, hollowed his back and is dropping towards his outside shoulder.
©Training Riders, Transforming Horses
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The Christmas holiday normally gives me a little time to do some reading, usually a mix of technical books and some more easy reading ones. This Christmas I revisited François de la Guérinière’s sizeable work, “School of Horsemanship”, a book I have read many times over the years and I always find a new understanding of the methods for training a horse.
It’s a challenging book, my copy is 322 pages of A4 size, and it covers every part of horse ownership from choosing horses by conformation and suitability, descriptions of paces and airs, to tack and stable management. Whilst the book contains some outdated advice on care, treating illness and dealing with problem horses, the relatively short chapters covering training, about 80 pages, are as relevant today as they have ever been.
With the rider’s position being such an important aspect of good riding, starting 2020 with a blog about François de la Guérinière notes on the subject should help to get us all on track for productive riding this year. A rider who sits well moves with their horse and can feel the movement and responses and can properly influence the horse towards greater collection.
The chapter on the rider’s posture in the book is only 4 pages long and begins by describing the overall requirement of the rider.
“By grace, I comprehend a air of ease and freedom which must be maintained in a controlled and yet supple posture, be it in order to maintain the depth of the seat in the saddle where necessary, or to relax at the appropriate moment, keeping in so far as possible during all the movement of the horse that exact equilibrium which comes for judicious balance of the body’s weight. Furthermore, the rider’s movements must be so subtle that they serve to improve his seat, rather than being ostentatious aids to the horse. “ (page 108)
The important point in this section is in the very first sentence, the controlled and balanced rider improves both the horse and themselves, whereas the unbalanced rider will never achieve the horse’s full potential.
He then notes that he feels that some of the methods in use at the time were diminishing the brilliance of the art of dressage.
“Given that this accomplishment has been neglected, and that nonchalance joined to a certain laxity has displaced the efforts made in the past to acquire and maintain that attractive seat which so charms the spectator and brings out the beauty of a handsome horse, it gives no cause for surprise to note that the art of horsemanship has lost a measure of its former brilliance.” (page 108)
Next, he covers mounting, insisting that the rider is responsible for checking the tack and they always mount quietly and with great care. Once in the saddle the rider must check their position, ensuring their seat is centered and not tipping towards the cantle.
His notes on holding the reins describes how to hold them in the left hand only whereas today, we use the reins in two hands, but he comments
“The bridle hand governs the forehand and should be placed over the neck of the horse neither too near or too the off side, two inches above elbow height and in front of the saddle, so that the latter does not interfere with the effect of the reins.” (page 110)
The reins are then centered over the horse’s withers with a quiet steady hand. With the reins in two hands it is much easier to allow them to wander off to the side or drop down towards the rider’s thigh. I have found that it is better to teach riders to carry their hands as a level pair just above the withers. This is so that, whilst they are developing an independent seat, their hands interfere less with the horse’s mouth, and once the rider has a secure seat and good control of their arms, they can then position their hands to help the horse more.
For the rider’s legs, de la Guérinière comments that they
“…serve to guide and control the body and the hind quarters of the horse: their proper position is to be straight and relaxed from the knee to the foot, close to the horse without touching it, the thighs and calves turned somewhat inward, so that the side of the thigh rests close along the flap of the saddle. The legs must, however, be held firm in addition to being relaxed, for if they were not they would touch the horse’s belly incessantly, which circumstances would put the horse into a state of continual confusion.” (page 110 – 111)
This is a particularly difficult position to obtain with the legs, to be relaxed and firm at the same time! This is obtained from a good balanced seat, and having the thighs rotated as described, which makes the rider’s legs stable (firm) with the minimal muscle involvement (relaxed).
The position and use of the rider’s foot is of great importance, but can only be achieved from a correct leg and seat position.
“The heel of the foot should be held a little lower than the toe, but not overly much, for that would make the leg rigid; it should also be turned very slightly to the inside, in order to control the spur easily, and not be too close to the belly, which it should meet at approximately a hand’s breadth behind the girth…..
…. If the toe were turned too far outward, the heel would be too close to the belly and the spur would touch the horse incessantly…
… Properly speaking, it is not the legs which are turned when riding, but rather the upper thighs; and when the thighs, and consequently the legs, are turned in one direction or another as much as they ought to be, so will be the feet. (page 111)
De la Guérinière notes that maintaining this position when the horse is in motion is difficult, and advises that riders spend five or six months in sitting trot without stirrups in order to develop good balance and a deep seat.
“It is by degrees that a rider gains this firmness of seat, which must proceed from equilibrium and not from the iron grip of the calves and heels which should be left to rough riding jockeys.“ (page 111)
He closes the chapter by admitting that, should the horse spook or shy it is necessary for the rider to change his posture in order to stay in the saddle (we’ve all been there!), but he insists that proper posture should be restored as soon as the horse is under control.
“By a natural process and without noticing, the rider will with time assimilate the method for maintaining a deep seat and an erect posture without rigidity or ungainliness; he will become relaxed and poised without laxity or nonchalance... (page 112)
And a final comment on balance.
…and above all without being bent forward, which is the gravest fault of all; for responsive horses move well or poorly depending upon whether or not the counterbalance made by the rider’s body is properly maintained. (page 112)
As riders we must continually check and correct our position until it becomes instinctive, so that we make it as easy as possible for our horses to follow our aids with ease.
Book – School of Horsemanship by François de la Guérinière, translated by Tracy Boucher, published by J. A. Allan press
©Training Riders, Transforming Horses
It’s a challenging book, my copy is 322 pages of A4 size, and it covers every part of horse ownership from choosing horses by conformation and suitability, descriptions of paces and airs, to tack and stable management. Whilst the book contains some outdated advice on care, treating illness and dealing with problem horses, the relatively short chapters covering training, about 80 pages, are as relevant today as they have ever been.
With the rider’s position being such an important aspect of good riding, starting 2020 with a blog about François de la Guérinière notes on the subject should help to get us all on track for productive riding this year. A rider who sits well moves with their horse and can feel the movement and responses and can properly influence the horse towards greater collection.
The chapter on the rider’s posture in the book is only 4 pages long and begins by describing the overall requirement of the rider.
“By grace, I comprehend a air of ease and freedom which must be maintained in a controlled and yet supple posture, be it in order to maintain the depth of the seat in the saddle where necessary, or to relax at the appropriate moment, keeping in so far as possible during all the movement of the horse that exact equilibrium which comes for judicious balance of the body’s weight. Furthermore, the rider’s movements must be so subtle that they serve to improve his seat, rather than being ostentatious aids to the horse. “ (page 108)
The important point in this section is in the very first sentence, the controlled and balanced rider improves both the horse and themselves, whereas the unbalanced rider will never achieve the horse’s full potential.
He then notes that he feels that some of the methods in use at the time were diminishing the brilliance of the art of dressage.
“Given that this accomplishment has been neglected, and that nonchalance joined to a certain laxity has displaced the efforts made in the past to acquire and maintain that attractive seat which so charms the spectator and brings out the beauty of a handsome horse, it gives no cause for surprise to note that the art of horsemanship has lost a measure of its former brilliance.” (page 108)
Next, he covers mounting, insisting that the rider is responsible for checking the tack and they always mount quietly and with great care. Once in the saddle the rider must check their position, ensuring their seat is centered and not tipping towards the cantle.
His notes on holding the reins describes how to hold them in the left hand only whereas today, we use the reins in two hands, but he comments
“The bridle hand governs the forehand and should be placed over the neck of the horse neither too near or too the off side, two inches above elbow height and in front of the saddle, so that the latter does not interfere with the effect of the reins.” (page 110)
The reins are then centered over the horse’s withers with a quiet steady hand. With the reins in two hands it is much easier to allow them to wander off to the side or drop down towards the rider’s thigh. I have found that it is better to teach riders to carry their hands as a level pair just above the withers. This is so that, whilst they are developing an independent seat, their hands interfere less with the horse’s mouth, and once the rider has a secure seat and good control of their arms, they can then position their hands to help the horse more.
For the rider’s legs, de la Guérinière comments that they
“…serve to guide and control the body and the hind quarters of the horse: their proper position is to be straight and relaxed from the knee to the foot, close to the horse without touching it, the thighs and calves turned somewhat inward, so that the side of the thigh rests close along the flap of the saddle. The legs must, however, be held firm in addition to being relaxed, for if they were not they would touch the horse’s belly incessantly, which circumstances would put the horse into a state of continual confusion.” (page 110 – 111)
This is a particularly difficult position to obtain with the legs, to be relaxed and firm at the same time! This is obtained from a good balanced seat, and having the thighs rotated as described, which makes the rider’s legs stable (firm) with the minimal muscle involvement (relaxed).
The position and use of the rider’s foot is of great importance, but can only be achieved from a correct leg and seat position.
“The heel of the foot should be held a little lower than the toe, but not overly much, for that would make the leg rigid; it should also be turned very slightly to the inside, in order to control the spur easily, and not be too close to the belly, which it should meet at approximately a hand’s breadth behind the girth…..
…. If the toe were turned too far outward, the heel would be too close to the belly and the spur would touch the horse incessantly…
… Properly speaking, it is not the legs which are turned when riding, but rather the upper thighs; and when the thighs, and consequently the legs, are turned in one direction or another as much as they ought to be, so will be the feet. (page 111)
De la Guérinière notes that maintaining this position when the horse is in motion is difficult, and advises that riders spend five or six months in sitting trot without stirrups in order to develop good balance and a deep seat.
“It is by degrees that a rider gains this firmness of seat, which must proceed from equilibrium and not from the iron grip of the calves and heels which should be left to rough riding jockeys.“ (page 111)
He closes the chapter by admitting that, should the horse spook or shy it is necessary for the rider to change his posture in order to stay in the saddle (we’ve all been there!), but he insists that proper posture should be restored as soon as the horse is under control.
“By a natural process and without noticing, the rider will with time assimilate the method for maintaining a deep seat and an erect posture without rigidity or ungainliness; he will become relaxed and poised without laxity or nonchalance... (page 112)
And a final comment on balance.
…and above all without being bent forward, which is the gravest fault of all; for responsive horses move well or poorly depending upon whether or not the counterbalance made by the rider’s body is properly maintained. (page 112)
As riders we must continually check and correct our position until it becomes instinctive, so that we make it as easy as possible for our horses to follow our aids with ease.
Book – School of Horsemanship by François de la Guérinière, translated by Tracy Boucher, published by J. A. Allan press
©Training Riders, Transforming Horses
- Published on
Nuno Oliveira often said that "The hands receive the work of the legs" and this succinct phrase sums up the very complicated and delicate connection between the rider’s hands and their legs. During my time at Oliveira's, I became very aware of the effects of the leg aids and how subtle they needed to be, not to mention the timing of the aids. Get it wrong and nothing happens, or you get an explosive reaction! Using your legs with the necessary tact takes time. It is not just the pressure from the legs that is important, but the timing of the aid, which varies for each horse.
For the horse to be light in the hand, the rider must give light leg aids. I sometimes work a horse in-hand with the rider, and I can feel instantly how the rider is using their legs from the feeling the horse gives my hands through the bit.
Heavy leg aids create heavy horses, and this can be easily seen. Often, if a horse is unresponsive to the rider's leg, the instinct is to use a stronger aid and repeat it until the horse moves. Whilst this can produce the desired result, when the leg is used in a strong manner, the horse often, braces their ribs against the leg and becomes more blocked and slows, or rushes off and hollows.
Having observed the responses of many horses to the leg aids, I encourage all riders to keep the leg aids as light as possible. If your horse is not responding, check that you are not blocking with your seat, back or hands, that your legs are softly against the horse and not gripping, as all these blocks will prevent your horse from moving. If necessary, use a light touch with the whip to support the leg aid and ensure that you allow your horse to go forward: they will be confused if you are asking them to go forward but blocking them with your seat or hands. If your horse has not responded, then a stronger leg aid may be needed but it should not become the normal aid - always return to a light aid afterwards.
Your position affects the aids, if you have an unbalanced seat, it is easy to allow your legs to become tight and grip harder to compensate for an unbalanced seat. Equally a rider with a balanced seat can give aids that are imprecise or poorly timed. It is important to be attentive to the pressure from your legs and the feeling of the horse’s ribs beneath them. Feeling the responses your horse gives to the aid will help you to learn the correct moment and pressure to use usually lighter that you think and then riding becomes invisible and harmonious.
For the horse to be light in the hand, the rider must give light leg aids. I sometimes work a horse in-hand with the rider, and I can feel instantly how the rider is using their legs from the feeling the horse gives my hands through the bit.
Heavy leg aids create heavy horses, and this can be easily seen. Often, if a horse is unresponsive to the rider's leg, the instinct is to use a stronger aid and repeat it until the horse moves. Whilst this can produce the desired result, when the leg is used in a strong manner, the horse often, braces their ribs against the leg and becomes more blocked and slows, or rushes off and hollows.
Having observed the responses of many horses to the leg aids, I encourage all riders to keep the leg aids as light as possible. If your horse is not responding, check that you are not blocking with your seat, back or hands, that your legs are softly against the horse and not gripping, as all these blocks will prevent your horse from moving. If necessary, use a light touch with the whip to support the leg aid and ensure that you allow your horse to go forward: they will be confused if you are asking them to go forward but blocking them with your seat or hands. If your horse has not responded, then a stronger leg aid may be needed but it should not become the normal aid - always return to a light aid afterwards.
Your position affects the aids, if you have an unbalanced seat, it is easy to allow your legs to become tight and grip harder to compensate for an unbalanced seat. Equally a rider with a balanced seat can give aids that are imprecise or poorly timed. It is important to be attentive to the pressure from your legs and the feeling of the horse’s ribs beneath them. Feeling the responses your horse gives to the aid will help you to learn the correct moment and pressure to use usually lighter that you think and then riding becomes invisible and harmonious.
©Training Riders, Transforming Horses
- Published on
One of the most important things I learnt from Nuno Oliveira is that you cannot train each horse exactly the same way. Although there were many Lusitano horses at Mr Oliveira’s stables, we also trained other breeds, Selle Francais, Arabian, Russian Budyonny and Thoroughbred among others, and Mr Oliveira adapted his methods to suit each horse’s physical and mental needs throughout their training.
By closely observing the horse that I am working with I can see how and why they move in a particular way. Some things to look for are;
Choosing an appropriate exercise encourages the horse to release restrictions they may have by developing suppleness, strength and balance. Sometimes it is necessary to be a little creative and adapt an exercise or develop a new pattern of work that is more effective for the horse and if the exercise is not working as you expected, again analyse where the problem is and make the necessary changes or use a new exercise.
If the rider is not sitting well it has a huge impact on the way the horse moves. Working on the rider’s position, balance and aids is central to creating a horse that is well balanced and supple. If the rider is off balance their horse will be constantly adjusting his balance to compensate, and the rider’s aids will be unclear which leads to difficulty in communication.
Watch the horse continually and make small adjustments as necessary. Don’t expect too much, be satisfied with small improvements and give plenty of rests, tired horses become sour, and always reward their efforts.
By closely observing the horse that I am working with I can see how and why they move in a particular way. Some things to look for are;
- Evenness of stride.
- The action of the hind legs, particularly the hocks.
- The movement of the shoulders, does the stride flow out from the shoulder or is it blocked and short?
- Is one shoulder heavier than the other?
- Does the neck look supple or does it appear rigid, either in a specific place or throughout the length?
- Listen to the footfalls, is the rhythm even or are the steps heavy?
Choosing an appropriate exercise encourages the horse to release restrictions they may have by developing suppleness, strength and balance. Sometimes it is necessary to be a little creative and adapt an exercise or develop a new pattern of work that is more effective for the horse and if the exercise is not working as you expected, again analyse where the problem is and make the necessary changes or use a new exercise.
If the rider is not sitting well it has a huge impact on the way the horse moves. Working on the rider’s position, balance and aids is central to creating a horse that is well balanced and supple. If the rider is off balance their horse will be constantly adjusting his balance to compensate, and the rider’s aids will be unclear which leads to difficulty in communication.
Watch the horse continually and make small adjustments as necessary. Don’t expect too much, be satisfied with small improvements and give plenty of rests, tired horses become sour, and always reward their efforts.
©Training Riders, Transforming Horses
- Published on
A correct shoulder-in benefits your horse in several ways:
But when problems occur the benefits are lost and, in some instances, it can be detrimental to your training. In two of my previous blogs I have addressed some of the problems that can occur with riding shoulder-in: Loss of Impulsion and Travelling and Correcting Bend.
When shoulder-in has gone wrong it is usually better to ride out of the movement, set things up again and then come back to the exercise, paying attention to the necessary corrections as you start the movement.
- Loosens both hips and shoulder joints
- Bends and supples inside hind leg
- Makes the horse obedient to the aids
- Teaches the rider independent use of hands, legs and weight
- Makes the horse agile
- Bends and supples the horse’s spine
But when problems occur the benefits are lost and, in some instances, it can be detrimental to your training. In two of my previous blogs I have addressed some of the problems that can occur with riding shoulder-in: Loss of Impulsion and Travelling and Correcting Bend.
When shoulder-in has gone wrong it is usually better to ride out of the movement, set things up again and then come back to the exercise, paying attention to the necessary corrections as you start the movement.
Rider blocking the horse or behind the movement
If the rider sits to the inside during the movement, they will be moving against the direction of travel. Closing your body towards the outside elbow helps to maintain correct balance during the movement and release the horse’s inside hind leg, allowing it to cross under the body more easily. Be careful that you don’t sit too far to the outside or you will create a similar problem!
Asking for too much angle
Only ask for the angle that your horse can manage at that time. The exercise will supple your horse and the angle will increase as they become more supple. Also, be aware of your horse’s conformation; a short coupled, stocky horse will have different angles to those of a narrower horse.
Circles and shoulder-in are exercises to supple your horse, and so you must ensure you ride each side the same. On the easier side, ride with less angle, and, as your horse’s stiffer side supples more, the angles will even up and can be gradually increased.
Asking too many steps
Asking for too many steps before your horse is able to maintain them independently will be physically challenging for him, and he will lose the rhythm and angle. Build the number of steps progressively.
Asking for too much stretch
It can be tempting to push your horse for bigger steps in shoulder-in, which results in them running on, losing balance and negates the purpose of the exercise. Initially keep the steps small with the hind feet moving close together so your horse builds strength and suppleness.
If the rider sits to the inside during the movement, they will be moving against the direction of travel. Closing your body towards the outside elbow helps to maintain correct balance during the movement and release the horse’s inside hind leg, allowing it to cross under the body more easily. Be careful that you don’t sit too far to the outside or you will create a similar problem!
Asking for too much angle
Only ask for the angle that your horse can manage at that time. The exercise will supple your horse and the angle will increase as they become more supple. Also, be aware of your horse’s conformation; a short coupled, stocky horse will have different angles to those of a narrower horse.
Circles and shoulder-in are exercises to supple your horse, and so you must ensure you ride each side the same. On the easier side, ride with less angle, and, as your horse’s stiffer side supples more, the angles will even up and can be gradually increased.
Asking too many steps
Asking for too many steps before your horse is able to maintain them independently will be physically challenging for him, and he will lose the rhythm and angle. Build the number of steps progressively.
Asking for too much stretch
It can be tempting to push your horse for bigger steps in shoulder-in, which results in them running on, losing balance and negates the purpose of the exercise. Initially keep the steps small with the hind feet moving close together so your horse builds strength and suppleness.
© Training Riders, Transforming Horses
