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de la Guérinière
M. de la Broue, and after him the Duke of Newcastle, say that in order to have a good hand, it must be light, gentle and firm. This state does not proceed solely from the action of the hand, but principally from the seat of the rider; for when the body is unbalanced or askew, the hand cannot be in its proper position, and the rider concerns himself primarily with keeping his seat. Furthermore, the legs must act in consonance with the hand, otherwise the effect thereof will never be correct; such consonance is called, in the terminology of the art, accord of hand and heel, which is the perfection of all aids
Kurt Albrech
Reins and legs can never compensate for an incorrect placement of the rider’s weight!
G.Steinbrecht
The skill of the hand can justifiably be considered a measure of the rider’s total skill. It is completely erroneous to believe that good hands could be an isolated favourable characteristic of some riders. Rather, they are the result of a perfect seat and fine feeling.
G.Steinbrecht
If the rider artificially applies more weight, the stirrup aid results which has become indispensable for all driving aids. It becomes a major fault if it is used to hold onto the stirrups in order to prevent their loss, or if it becomes a support for the seat. Riders who make such an error are still lacking in the fundamentals of their art, and they must first perfect their seat, and particularly their balance.
de la Guérinière
Elegance on horseback consists of a straight and free position as a result of a well balanced body: as a result the rider maintains, during all the movements the horse makes, without losing his seat, as much as he is able to, in an appropriate balance, an air of comfort and freedom, which makes him an elegant rider.
Nuno Oliveira
You must relax your waist and your back to go with the back of the horse and keep your bottom in the saddle.
William Cavendish
Now a good Seat is of such Consequence, as you shall see hereafter, that it is One of the chief Things maketh a Horse go perfectly; the very Manner of sitting being almost beyond all other Helps
M. de la Broue, and after him the Duke of Newcastle, say that in order to have a good hand, it must be light, gentle and firm. This state does not proceed solely from the action of the hand, but principally from the seat of the rider; for when the body is unbalanced or askew, the hand cannot be in its proper position, and the rider concerns himself primarily with keeping his seat. Furthermore, the legs must act in consonance with the hand, otherwise the effect thereof will never be correct; such consonance is called, in the terminology of the art, accord of hand and heel, which is the perfection of all aids
Kurt Albrech
Reins and legs can never compensate for an incorrect placement of the rider’s weight!
G.Steinbrecht
The skill of the hand can justifiably be considered a measure of the rider’s total skill. It is completely erroneous to believe that good hands could be an isolated favourable characteristic of some riders. Rather, they are the result of a perfect seat and fine feeling.
G.Steinbrecht
If the rider artificially applies more weight, the stirrup aid results which has become indispensable for all driving aids. It becomes a major fault if it is used to hold onto the stirrups in order to prevent their loss, or if it becomes a support for the seat. Riders who make such an error are still lacking in the fundamentals of their art, and they must first perfect their seat, and particularly their balance.
de la Guérinière
Elegance on horseback consists of a straight and free position as a result of a well balanced body: as a result the rider maintains, during all the movements the horse makes, without losing his seat, as much as he is able to, in an appropriate balance, an air of comfort and freedom, which makes him an elegant rider.
Nuno Oliveira
You must relax your waist and your back to go with the back of the horse and keep your bottom in the saddle.
William Cavendish
Now a good Seat is of such Consequence, as you shall see hereafter, that it is One of the chief Things maketh a Horse go perfectly; the very Manner of sitting being almost beyond all other Helps
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There are several factors that will contribute to a horse being unbalanced, and it is important for the rider to recognise the reasons behind the balance problems so they can choose the most appropriate exercise to correct the difference and develop the horse’s straightness.
Most riders are familiar with horses being naturally one side and will turn more easily one way than the other, but there are other factors that influence a horse’s balance and what that horse will ultimately be able to achieve. Conformation contributes greatly to this. A horse who has a large shoulder and thick set neck with quarters and hind legs that are a relatively small in comparison will have a different frame to a horse with a thin neck and shoulder and a more powerful hind end. Horses who are short coupled will generally find the collected movements easier than a horse with a long back, but the extensions may not be as expressive.
However, conformation is not the whole story; the way a horse moves is equally important. I have seen horses with less than ideal conformation transform when they move just because the use themselves well.
Another equally important consideration is the work they have been doing. A horse just off the race track will have very different schooling needs to a horse that has been used for light hacking.
So how does this translate to you and your horse? Take some time out to look at how your horse is made, how he moves and what his life story is; it may provide you with the training direction you are looking for.
I’ve blogged previously about what you can do to improve your horse’s balance and straightness, so do read through those posts if you’re looking for tips and exercises to incorporate into your training.
Most riders are familiar with horses being naturally one side and will turn more easily one way than the other, but there are other factors that influence a horse’s balance and what that horse will ultimately be able to achieve. Conformation contributes greatly to this. A horse who has a large shoulder and thick set neck with quarters and hind legs that are a relatively small in comparison will have a different frame to a horse with a thin neck and shoulder and a more powerful hind end. Horses who are short coupled will generally find the collected movements easier than a horse with a long back, but the extensions may not be as expressive.
However, conformation is not the whole story; the way a horse moves is equally important. I have seen horses with less than ideal conformation transform when they move just because the use themselves well.
Another equally important consideration is the work they have been doing. A horse just off the race track will have very different schooling needs to a horse that has been used for light hacking.
So how does this translate to you and your horse? Take some time out to look at how your horse is made, how he moves and what his life story is; it may provide you with the training direction you are looking for.
I’ve blogged previously about what you can do to improve your horse’s balance and straightness, so do read through those posts if you’re looking for tips and exercises to incorporate into your training.
© Training Riders, Transforming Horses
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One of the most often used phrases in training horses it that the horse should move straight. It is a very important element of dressage and one of the most difficult to achieve. To create a straight horse there are some qualities that need to be developed, the first of which is suppleness and balance.
When a horse is unbalanced they use their shoulders and neck to support themselves and impulsion that is created pushes them further into the shoulder. It’s the equivalent of running downhill, the faster you go the more unbalanced you become.
Suppleness and balance are linked, the horse starts with stiffness to one side, they flex and turn more easily in one direction than the other, and good training supples the stiff side and strengthens the easy side of the horse so they become equally flexible.
Working round correct circles teaches a horse many things; they give to the rider’s inside leg, stretching the outside of their body to the outside rein giving the “inside leg to outside rein” connection. This is not a connection the rider should take; the outside rein should be soft and accept the connection when the horse seeks it.
Correctly ridden circles also start to encourage the horse to bring the inside hind leg onto a slightly shorter step, tracking in the line of the fore leg and starting to engage the hock under their body. This creates a better balance, as the horse’s weight comes out of the shoulder and then the head and neck can release and stretch forward. The shoulder becomes free from supporting the horse’s weight, the horse moves straight and this raises the wither and neck position.
When a horse is unbalanced they use their shoulders and neck to support themselves and impulsion that is created pushes them further into the shoulder. It’s the equivalent of running downhill, the faster you go the more unbalanced you become.
Suppleness and balance are linked, the horse starts with stiffness to one side, they flex and turn more easily in one direction than the other, and good training supples the stiff side and strengthens the easy side of the horse so they become equally flexible.
Working round correct circles teaches a horse many things; they give to the rider’s inside leg, stretching the outside of their body to the outside rein giving the “inside leg to outside rein” connection. This is not a connection the rider should take; the outside rein should be soft and accept the connection when the horse seeks it.
Correctly ridden circles also start to encourage the horse to bring the inside hind leg onto a slightly shorter step, tracking in the line of the fore leg and starting to engage the hock under their body. This creates a better balance, as the horse’s weight comes out of the shoulder and then the head and neck can release and stretch forward. The shoulder becomes free from supporting the horse’s weight, the horse moves straight and this raises the wither and neck position.
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When I’m teaching I am constantly checking to see if the rider is correctly balanced. Sometimes it is very obvious; if the rider is out of balance it will make the horse unbalanced and result in a crooked movement. Sometimes it is much more difficult to see; a slight shift in the riders weight can have a big effect on the horse.
If you think about carrying someone on your back, it’s easier to carry them if they hold themselves straight. If they grip with their legs, lean to the side or backwards, sag with a round back, it makes it much more difficult for you to move and you will be constantly struggling against their weight to move straight forward. It’s the same for your horse.
A classical position allows you to feel what is happening in your horse’s back and then you can make precise corrections. This position also allows you to move with your horse, so when he is making a movement, you can sit with him and don’t disrupt his flow.
Riders with a good stable classical position can use this to help their horse, but if the rider’s weight moves unintentionally, it unbalances their horse. A good position allows you to give light, precise well timed aids, and to have a flexible lower back that will follow your horse’s back, so you start to ride by feel.
© Training Riders, Transforming Horses
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There are currently some pictures circulating on the internet of the Spanish Riding School using rollkur. This is a particularly worrying move as the SRS has always been considered one of the most prestigious institutions of classical dressage. Today the word “flexion” is being used to redefine rollkur (as is “low, deep and round”) however, these “flexions” are not flexions according to the classical principles. True flexions are done without pulling and require a trainer with great tact and knowledge. The horse should turn through the neck and the nose should remain up or on the vertical, and when the horse softens his jaw, the rider’s hands soften. The horse’s head should never be pulled down to the chest, horizontal to the ground. With the pressure that needs to be applied to the bit for these deep flexions/rollkur, the horse can never soften his jaw.
Fexions were originally developed in the mid 1800s by Francois Baucher. He realized that tension in a horse was expressed by tension in the jaw, so developed a series of flexions to train the jaw to accept the bit softly. Baucher’s aim was to educate the horse to release the mouth to the slightest indication of the rider’s hand, resulting in relaxation of the muscles in the poll and neck.
Baucher’s flexions are started from the ground and require great skill and feel on the part of the trainer so the horse understands what is being asked and does not become more resistant. Throughout Baucher’s descriptions of flexions he places great emphasis on the tact that the trainer needs to teach flexions correctly, and the damage that is caused by poorly trained flexion.
Searching Google for rollkur pictures shows how unnatural and distressing it is for horses. Dressage should enhance a horse’s natural ability, and work only to develop the best each individual horse can produce, only then do you see the full beauty of the horse. No doubt the rollkur debate will continue, but as more people look for a different, more sympathetic way to train horses, classical dressage is more relevant today that ever.
Make sure you check back in a fortnight for more classical dressage tips. In the mean time, you can visit me on my Facebook and Twitter accounts for more information about all things classical dressage
© Training Riders, Transforming Horses
Fexions were originally developed in the mid 1800s by Francois Baucher. He realized that tension in a horse was expressed by tension in the jaw, so developed a series of flexions to train the jaw to accept the bit softly. Baucher’s aim was to educate the horse to release the mouth to the slightest indication of the rider’s hand, resulting in relaxation of the muscles in the poll and neck.
Baucher’s flexions are started from the ground and require great skill and feel on the part of the trainer so the horse understands what is being asked and does not become more resistant. Throughout Baucher’s descriptions of flexions he places great emphasis on the tact that the trainer needs to teach flexions correctly, and the damage that is caused by poorly trained flexion.
Searching Google for rollkur pictures shows how unnatural and distressing it is for horses. Dressage should enhance a horse’s natural ability, and work only to develop the best each individual horse can produce, only then do you see the full beauty of the horse. No doubt the rollkur debate will continue, but as more people look for a different, more sympathetic way to train horses, classical dressage is more relevant today that ever.
Make sure you check back in a fortnight for more classical dressage tips. In the mean time, you can visit me on my Facebook and Twitter accounts for more information about all things classical dressage
© Training Riders, Transforming Horses
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For me, the ultimate goal of classical dressage is a light horse, which is a joy to ride, maneuverable and responsive with a back that carries you, giving you the quarters so you can direct the energy. Balance is key to creating lightness and is interlinked with suppleness. The starting point of all classical dressage training should be to build suppleness and balance both laterally and longitudinally.
It is not possible to collect a horse that is not supple, collection requires the hind legs to flex through all the joints or the leg moves straight and the energy is pushed to the shoulder. This puts weight in the reins and prevents lightness.
Horses start unbalanced, with weight in the shoulder, but with careful work on circles and in shoulder-in, you can start to build the suppleness and balance needed to develop a straight horse. Due to this link between suppleness and balance, your horse will not be straight until a basic level of balance and suppleness has been achieved.
To begin working on suppleness and balance, start working on a circle and encourage inside bend through your position. The inside leg is softly used against the horse’s side so that he gives round the leg. It may help to bring the inside seat bone slightly forward to keep your seat balanced. This bending of the horse’s body will stretch the outside and strengthen the inside. To balance the action of your leg, bring your outside shoulder forward. Don’t bring the inside rein back as this will block the inside hind from coming through.
Do let me know how you get on with the above exercise and make sure you check back next week for more classical dressage tips and training. In the meantime, you can visit me on my Facebook and Twitter accounts for more information about all things classical dressage.
It is not possible to collect a horse that is not supple, collection requires the hind legs to flex through all the joints or the leg moves straight and the energy is pushed to the shoulder. This puts weight in the reins and prevents lightness.
Horses start unbalanced, with weight in the shoulder, but with careful work on circles and in shoulder-in, you can start to build the suppleness and balance needed to develop a straight horse. Due to this link between suppleness and balance, your horse will not be straight until a basic level of balance and suppleness has been achieved.
To begin working on suppleness and balance, start working on a circle and encourage inside bend through your position. The inside leg is softly used against the horse’s side so that he gives round the leg. It may help to bring the inside seat bone slightly forward to keep your seat balanced. This bending of the horse’s body will stretch the outside and strengthen the inside. To balance the action of your leg, bring your outside shoulder forward. Don’t bring the inside rein back as this will block the inside hind from coming through.
Do let me know how you get on with the above exercise and make sure you check back next week for more classical dressage tips and training. In the meantime, you can visit me on my Facebook and Twitter accounts for more information about all things classical dressage.
© Training Riders, Transforming Horses
