One thing being a Pony Club instructor teaches you is to think on your feet and teach multiple abilities in one lesson.This is what happened to me today. Although, I did have the advantage of knowing most of the children and having been briefed on them all a couple of days in advance so I could make a plan.
The secret, I think, to managing multiple abilities in one group, is to have a layered lesson plan. This means that there is something for each rider to do or learn. For the lower level riders part of the content will go straight over their head. And for the more able, some will be revision. But you can keep them involved by asking them to demonstrate or explain to the others.
Today’s ride consisted of one fairly confident rider, jumping 60-70cm, a more nervous jockey on her new pony currently jumping 50cm. A very nervous rider jumping 40cm, and two young brothers – one just off the lead rein in walk and trot.
I put four yellow cones in the corners of the arena, to ensure none of them were cutting their corners. The older ones needed the odd reminder when they got complacent, and the younger ones liked having a visual point to steer round.
They all warmed up as a ride, with the led pony at the back so that they could walk before his leader went into cardiac arrest. They could also cut the corners and stand in the middle to rest without disrupting the flow of the ride. Whilst they trotted I made individual positional corrections, and then I started teaching them to turn with their shoulders and look where they are going more. They had to imagine there were headlights on their shoulders and they had to light up the track in front of the pony. This is something even the youngest could grasp. I asked the more experienced ones which direction was easier to turn so that they started thinking about their riding and could make their own improvements. Of course, I asked the youngest two too so that they felt included, and as I think it’s important to encourage a flow of conversation. The fact that they picked left or right at random was neither here nor there. They spoke to me, and felt part of the lesson which was the important part.
They cantered individually. The older three trotted circles before the canter, the boys were led. Canter wasn’t the main focus of the lesson, and working individually meant I could tailor it to suit everyone whilst remaining safe. If I hadn’t cantered the more advanced three would have felt short changed.
Jumping is where it gets tricky to manage different heights, so I laid out two exercises. On the three quarter line I put three fences, and put a pair of cones on the approach, getaway, and between each jump. This was to focus the riders on steering straight throughout the exercise.
On the centre line I laid three trot poles, then a fairly big gap, before a jump. Again, with cones to help them stay straight.
The trio of jumps were for the more competent jumpers, whilst the trot pole formation was for the lead rein and nervous ones.
My instructions and aims were the same, but I could build the jumps up to accommodate the two groups. The hardest part for everyone was steering straight after the jumps, and my poor cones got some battering there. Because we had the focus of the jumping on their steering the height of the jumps became irrelevant.
The three jumps were used for the two riders jumping over 50cm. For the final go, I left it so the girl on her new pony could have a more confident turn and ended on a positive note, before putting it up a bit higher for the more able rider on her last turn.
My very nervous rider started off confident and trying to keep up with her friends, going over the warm up three, but as they got bigger she diverted to the other set up. Which was fine; she didn’t feel belittled because she’d chosen the smaller exercise, yet was happy that she’d been comfortable enough to try the bigger exercise.
The trotting poles were aimed at the younger boys; the poles tested their balance and the jump was minute so they could start moving their hands forwards over the fence before we develop their jumping position. The ponies just trotted through, but the boys liked having a different shaped pole to go over.
I think all the children took away the same points from the lesson; such as turning their shoulders in the direction of movement, and the importance of steering straight when jumping. Sure, the little ones were only be following my directions without really understanding the concept, whereas the older riders were starting to grasp the theory and can now begin to apply it at home by themselves. The cones gave them all instant feedback; the older ones cringed when they knocked a cone over, realising they needed to work harder to maintain straightness. The younger ones just grinned and giggled as they trotted between the cones with the help of their leaders and hopefully they will remember riding between cones in the future for when they’re taking more ownership of their riding.
Developing layered lesson plans definitely takes practice, and they’re not the easiest to deliver, but they’re the most rewarding when you have so many happy and satisfied riders and parents.
A fellow coach and I were discussing this subject a couple of weeks ago, and we thought it should move into the public eye more.
There’s a huge trend at the moment for grassroots riders to have one off lessons with different coaches. These might be clinics organised by riding clubs, or camps.
I firmly believe that a rider should have one regular instructor until they reach the point when they are knowledgeable and confident enough in their own goals and abilities, with a thorough all-round grounding, that they can choose the specialist lessons which will complement their aims, learning style, and current instructor. I’m currently reading a book “Two Minds, One Aim” by Eric Smiley, and I thought it was interesting that he didn’t promote the idea of going to lots of different teachers.
The trouble with going to different instructors for one-off lessons is that they have to assess you very quickly, and have to deliver something near to the lesson on offer. When actually the horse and rider combination may not be at a suitable level, or it’s a bad day for both.
What I mean is that, if a showjumping coach is offering a jumping clinic and a pair turn up who are not established enough on the flat or as a partnership to successfully achieve the jumping exercise planned then the lesson could go badly wrong.
Now there are two options for the coach. Firstly, they can ignore the weaknesses of the pair and hope that they don’t crash and burn over the jumping exercise. The client will feel that they’ve had their value for money because they’ve done lots of jumps, jumped high, or have completed a tricky exercise.
Whether they can replicate it in future, or did it in any great style is left unsaid.
Alternatively, the coach can go right back to basics, make some adjustments and have the majority of the lesson on the flat, before jumping lower than the rider might have expected to, but with much more style and ease.
I recently went for a jump lesson with a BS trainer. I tend to always use her, but lessons are infrequent. The first half hour is always focusing on our flatwork. The flatwork content differs from what we do in our dressage lessons, but only in topics; the fundamentals are the same. What I mean, is that currently in my dressage lessons we’ve worked on lateral work and encouraging Phoenix to let me position her body in different ways. In the last jump lesson I had we focused on transitions within the gaits, which is also helping me teach Phoenix to allow me to adjust her, but is aiming to improve our performance in the air rather than on the flat.
Some people would be disappointed that so long was spent on the flat, but by fine tuning the flatwork, the jumping section went smoothly and built confidence because each question we were asked was achieved easily. This means that less time needs to be spent jumping because fewer attempts are needed to perfect the exercise, and you risk falling into the trap of repetition. Did the jumps go to her maximum height? No. But as the focus was on our approach rather than proving how big she can jump, they didn’t need to be big, and if anything needed to be a height that it didn’t matter if she made a mistake on the approach.
However, some people would come away disappointed with this special one-off jump lesson because in their eyes they failed the lesson requirement: they didn’t jump the height they’re capable of, and they spent more time on the flat than jumping. But actually, this sort of lesson is safer for all involved, reinforces the basic building blocks which means that the jumping comes easily, builds confidence because the jumping goes smoothly, and provides homework which can be practised with whatever facilities you have available at home, and sets both horse and rider up for a longer, active partnership.
Unfortunately, trying to give immediate lesson satisfaction means that some trainers who run clinics, end up bypassing the basics, losing the quality to their teaching, and putting horse and rider in potentially compromising positions. Yet, they get positive feedback because the riders jumped “their biggest fence ever!” or felt that they got sufficient jumps for their money.
How can this be changed? Firstly, by educating the rider on the fact that “showjumping is dressage with speed bumps” and that improving their flatwork will improve their jumping. And that they will learn something from a clinic, even if it is in an unexpected area.
Then we need to encourage trainers, most of whom know the value of correct basics, to be confident enough in themselves to spend the time with one-off clients on the basics and setting them up for long term success over jumps, rather than putting a sticky plaster over the flatwork weaknesses and letting them scramble through the jumping exercise. This is difficult though, because the trainer risks a less than flourishing report unless they have one of the enlightened riders I mentioned in the paragraph before.
It needs to be discussed though, because in our current society of musical coaches, there is a real risk of a horse and rider having an accident because the coach has failed to revise and instill the basics.
I refined one of my rider’s understanding of her seat earlier this week.
In walk she sits squarely, nicely upright, but in trot she collapses her lower back. After a quick chat, it became apparent that the collapsing is when she’s trying to use her seat to send her horse forwards. But this was counterproductive as her shift in position hinders him.
I used two analogies to begin with. The first, is to think of a bucket of water sat in your pelvis. Sitting squarely and correctly, the bucket can be brimful and not spill a drop. My rider keeps her bucket of water full in walk, but in trot, the water spills out the back.
The other thing that I wanted her to think about were the four corners of her seat bones. We only have two seat bones, but I think it’s better to think of them as having four points. Sitting correctly in halt a rider should feel that they are sat evenly left to right, and front to back. I.e. they can feel all four corners of their seat bones. When they can feel all four seat bones that bucket of water is brimful.
I sent them off in trot, tweaking their position slightly so that my rider kept feeling all four seat bones and didn’t spill her bucket. This is when the seat is in a neutral position. It’s not hugely effective, but it’s the best place to start. In order to keep her horse trotting forwards she used more voice, more leg, and a couple of little taps with the schooling whip. We had to break the cycle of her feeling the need to collapse her core when in the sitting phase of rising trot. With a more active trot she could keep her seat in neutral until she recognised when she deviated, and started to build some muscle memory.
Once my rider felt she was keeping the bucket of water inside her hips steady and could feel all four corners of her seat bones, we revised how a rider should weight the inside seat bones slightly on turns before putting that into practice.
Next up, we returned to the original discussion about using the seat. The horse was more forwards now, so more responsive to changes to her seat, which makes the learning process more rewarding as she gets instant feedback.
To send a horse on, or drive them forwards with your seat, you want to rock onto the back two corners of your seat bones. This opens up the front of your body and allows your seat to swing with the horse and encourage the energy to flow from the hindquarters to the front. If you rock your pelvis from neutral onto the back two seat bones in halt, you soon realise how slight a movement it is. When my rider tried this, she realised how she’d been trying too hard when she’d collapsed her lower back.
You can also think about that bucket of water. It’s no longer brimful, let’s say an inch from the top. When you rock onto the back of your seat bones to encourage more impulsion, the bucket will tip slightly. But you don’t want that water to slosh out the back. It’s a refined movement.
They practised changing between a neutral seat and a driving seat, until my rider could feel the slight differences in her position and could control it, and then the horse was responding to her seat aids.
Finally, we discussed the seat as a downward aid; rocking onto the front two seat bones, without spilling the bucket of water out the front, to help collect her horse, and to help ride a downward transition.
Then we put it all into practice, buy thinking of the bucket of water and the four corners of the seat bones, they rode transitions within the trot, circles and serpentines (making sure they didn’t slosh the water out the side of the bucket) until my rider felt in control of her seat aids, understood what slight movements they are, and was getting the correct response from her horse, who also started moving in a more forwards manner because he had clearer seat aids and she was carrying herself in a balanced way.
I gave a pair their first jumping lesson this week. The rider has jumped before, but is bringing on her ex-broodmare slowly. We loose jumped her a couple of months ago to see if she actually knew what to do, but otherwise have focused on her flatwork to build her muscle and strength. Canter is coming along slowly with the help of poles to help her find the rhythm.Anyway, they had a go jumping over the weekend and felt it was a bit chaotic, so I decided to give them a better experience of leaving the ground.After focusing on transitions within the gaits whilst warming up, and getting the mare bending and thinking about her rider’s aids. I laid out three canter poles between K and E on the track. I used the track to maximise the arena so that the mare was most able to stay in balance on the turns. Her right canter is her weakest so I positioned the poles just off the corner to help them keep the canter rhythm until the poles. They could have a longer straight approach on the left canter because the mare can keep left canter together in straight lines.As is with horses, I rapidly had to move onto Plan B, when the mare decided that right canter was out of the question today. She often strikes off incorrectly, but can be helped out by a trot 10m circle before the canter transition. Not today though! There was no point banging our heads against a brick wall, getting frustrated. We’d jump out of left canter and try right another day. If she continues to struggle with it we’ll investigate further.So after trotting over the poles on the right rein, and then once on the left rein, I had them canter over the poles. The mare’s canter is currently very flat and verges on the point of four beat, so I kept the poles wide to improve her rhythm, and once her canter rhythm is established we can begin to balance it so that her haunches are under her body and she’s working her body correctly.Now it was time to leave the ground. I rolled the two poles closest to K together to make a teeny tiny cross pole. Then I rolled the third pole out so that it was a whole canter stride away from the fence. I wanted them to canter over the pole, have a whole canter stride and then pop the jump. This setup wouldn’t phase an inexperienced horse, but would put her in the right take off spot.They did it once, and met the first pole badly. With the mare only having one canter gear we have to adjust the distance of the approach so that she can fit several whole canter strides in. Which will help her jump confidently and neatly. A horse who has several gears to the canter can be adjusted to accommodate a set distance. I got my rider to ride deeper into the corner, which meant that they met the pole well the second time. I built the jump up to a bigger cross once we knew the striding and their line was right, and they flew over a couple of times, growing in confidence each time.To finish, I converted the cross pole into an upright. The biggest they’d jumped to date, but as the mare was already jumping that big over the cross pole, it was a mind over matter element for her rider. To know that they could jump it.And they did!
I’ve been using my scale a lot recently; with both kids and adults with good effects.
One young client let’s her pony dribble around in a lazy, three trot, but with this scale she became much more positive with her aids and quickly got the hang of the five trot.
For others, it’s useful for teaching medium and collected gaits without the rider over-egging it and pushing the horse out of balance.
I’ve been playing around with transitions within the gaits recently, to improve my riders’ feel, to increase the subtlety of their aids, to improve the balance of their horse and the quality of the gait, and to focus the horse on its rider.
It’s quite a useful warm up exercise so once you’ve loosened up horse and rider, settled their brains and they’ve settled into a trot rhythm, you can begin. It’s equally useful in the canter work too.
The trot a horse and rider are currently in is gauged as a 5. It’s important that the horse’s natural, or most comfortable stride length is in the middle of the scale. Which means that you can’t really compare the 5 trot of one horse, with the 5 trot of another. Especially if they are at different levels of training, as they have different levels of strength and balance. This also…
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Last time I was showjumping Phoenix I wasn’t 100% happy with the bit and our approaches to jumps. She wasn’t overly strong, but the canter got a bit flat as she got confident and bold, so we almost ran downhill into the jumps. Which either meant her taking a flyer, or taking the front rail down with her knees. Or having a lucky escape! Before I start jumping her much bigger, I wanted to sort this out.
I felt there was a schooling or strength issue; if I could improve her balance in the canter then she’d find it easier to remain uphill on the approach to jumps. She’s an independent lady though, and doesn’t accept help easily. It has to be subtly offered otherwise she panics. Yes, special, I know!
I felt I needed some help with the contact to help me help her. Nothing too strong, but just different to her loose ring, double jointed lozenge snaffle.
I decided to kill two birds with one stone and take a trip to a local showjumping venue, which has an extensive bit bank. I’d have a lesson and try alternative mouthpieces.
I explained my predicament, and was given a loose ring snaffle, with two joints. But with slightly thinner, more contoured bars, and a full moon centrepiece. So what’s the difference, I hear you say? Well, to Phoenix, it’s a slightly less friendly bit of metal in her mouth, which will discourage her from leaning on my hand, and mean I can give lighter aids. Which should help me create the more uphill canter and help her to maintain it.
We spent a lot of time on the flat – more about this subject on another blog – allowing me to get the feel for the bit, and for her to accept its feel. To be honest, I didn’t feel a huge difference initially, she was fairly relaxed and accepting of the contact, but I did feel that she was more up in front of me, and less inclined to lean on the bit when I half halted. Which she sometimes does to evade sitting on her hocks and containing that powerful engine.
In the trot and canter work we played around with transitions within the gait. I needed to feel that I could adjust Phoenix easily, without her stressing, and that she used her hindquarters throughout. Particularly when she lengthens, she tends to go onto the forehand and leave her back end out behind her. Which is exactly what happens before jumps. By teaching her to shorten and lengthen in an uphill fashion, her hindquarters stay engaged and she’s lighter in my hand and in a better position to jump cleanly.
We then put this into practice with single fences and related distances, which highlight this weakness well. We jumped focusing on me helping her keep the balance of her canter throughout the approach, and after a couple of failed attempts when I held more than I needed to, and she panicked, we got it together, and she jumped beautifully out of a much better canter.
Moving onto related distances, I found that Phoenix was meeting the second element in a more uphill canter, which meant she pinged over them. Then I found that I could close my leg and ride her forwards if necessary to make the striding, without her nose diving or losing power.
It was a great session, really showing that you don’t want to be too quick to change tack, as often improvements on the flatwork will improve the jumping performance, but also that tiny changes to a bit can enhance communication between horse and rider.
Going to a bit specialist and trialling bits is definitely they way forward as more and more variations of bits come onto the market. It’s mind boggling, and can take a lot of time and money finding the perfect bit for your horse. Perhaps we’ll start to see some more bitting clinics in the calendar; where you go to a venue and have a meeting with a bit specialist, perhaps followed by a lesson to try it out?
My friend’s horse has always had a mane to be proud of. It’s very long, full of volume and in great condition. Her owner is very proud of it.
Was very proud of it.
Above, is one of Rose Lewis’s fantastic black background shots of this pony and her mane, which hangs below her elbows. I’ll wait while you go and check where the elbow is on a horse.
If you already know this, then while we’re waiting, have a look at Rose’s website – www.daydreamequineart.co.uk/ – there are lots of famous faces in her portfolio, as well as yours truly. But I don’t think I qualify for the famous faces category.
Anyway, back to the purpose of my post.
This pony’s behaviour has changed recently and I became obvious that she was uncomfortable in her back. My friend started investigating the saddle and booked her in with the physio.
The physio found quite a lot of tender spots, so gave her a good massage and prescribed rest and light, unridden exercise. Last week was her second appointment, and the physio made a horrifying suggestion.
“Why don’t you pull her mane?”
Once my friend had picked herself up off the floor, the physio explained further. The little mare has a lot of tension in her epaxial muscles (the muscles that stabilise the neck), particularly on the right. The physio thought that whilst the quantity and weight of mane didn’t necessarily cause the hypertonicity, it will hinder her recovery.
If you think about when you have your hair cut significantly, like when I had eight inches off in the summer, you can feel the weight difference. If you also have thick hair and get it layered or thinned, then you feel inches taller without the weight of your hair. Likewise, if you have your long hair tied up in a high ponytail (think Ariana Grande) you invariably get a headache after a period of time.
After some counciling, my friend set to work. She started by thinning it before taking out the length, leaving a huge pile of hair on the ground. The mare looks like a completely different pony! The below photo is after the first session, it will be neatened over this week, but you can see the he difference!
Hopefully the physio finds less hypertonicity in the neck and front of shoulder muscles on her next visit. I found it fascinating, because a long, thick mane causing muscular problems, had never occurred to me. In the wild manes wouldn’t grow as long and thick as you often see because they’d be pulled out on brambles or rubbed off on gravelly ground when they roll.
I’d be really interested to know if anyone else has come across physiological problems associated with voluminous manes, or even with shorter manes that are regularly plaited for competitions. I’m not going to tell all my clients with long manes to chop them off, but I will definitely be more open to reducing it if we find soreness or asymmetry in their neck.
I have been looking towards winter with some trepidation for the last couple of months, dreading a potential repeat of last year’s emotionally unstable Phoenix.
So as with everything, I made a plan.
I decided to maximise on the fact that she’s come on so well in her training over the summer, and reap the rewards by booking a few competitions. Having something to focus on would also help distract me too.
So in the last five weekends, Phoenix and I have been adventuring four times, and have two more adventures before November. She’s entered four showjumping classes, doing three double clears and being placed in all four. She’s been placed first and second in dressage tests, which whilst they weren’t her best work felt much more established than her last test and the consistency had improved. She’s also been on the Badminton sponsored ride to get in some cross country practice. Our next two outings are hunter trials, which will hopefully put us in good stead for some one day events next year.
So we’ve had a lovely few outings, thoroughly enjoying ourselves and building on her CV.
I planned to make some changes to Phoenix’s management this year, but I wanted to ensure I did it step by step so that I learnt which aspect she didn’t appreciate and what stressed her. She’s continued to spend time in her stable over the summer so that it is a familiar environment, which would hopefully reduce any stress there.
I decided to get her saddle checked before she started living in, and to buy her a dressage saddle that I’d promised myself, so that I knew there wasn’t an issue with either saddle or back. Phoenix’s regular massages mean I know that her overall muscle tone is healthier and better than last year, with any problems being ironed out quickly.
I have come to realise over the summer that Phoenix doesn’t cope well in the wind and rain. She gets chilly very quickly, even when we’ll rugged up, and when ridden is more tense and “scooty” in the wind and rain. I retrieved my exercise sheet which when Otis grew out of it several years ago I loaned to Mum and Matt, who rarely used it. Over the last week I’ve used it a few times and definitely found Phoenix to be more settled and rideable with it in adverse weather.
With this sensitivity to wind and rain, I decided to give her a blanket clip, not a full clip, so that her loins had extra protection. Additionally, she found clipping a very stressful experience last year, so I planned to clip her before she started living in. Then I could gauge her reaction to clipping without the factor of being stabled. We actually had a much more positive experience last week; Phoenix ate her bucket of feed, and let my friend gibber in her ear while I clipped away. It’s not my best work of art, as I quit while I was ahead and stopped clipping when she ran out of food! But it was a positive experience, and there hasn’t been a change to her behaviour under saddle.
So I’ve ticked off clipping, saddles, and back, and still had a lovely, happy horse to ride. Next on my list was feed. Phoenix didn’t eat well last year, not tucking into her hay, or drinking sufficient. She’s happily eaten hay in the field the last month so I decided not to change her forage unless she went off it when she started staying in. And then I would immediately introduce haylage. However, I bought some Allen and Page Fast Fibre a couple of weeks ago and have introduced it alongside her chaff based bucket feed. This has a low calorific value, but will fill her tummy up and hydrate her, which will hopefully mean she is less skittish as a result of gastric discomfort. I’ve recently increased her magnesium the level she had in the spring, and maintained her daily dose of gut balancer.
My plan was to get all of these steps established before Phoenix came in at night, but the fates were against me as last weekend she and her field mates started living in due to the atrocious weather conditions. I haven’t been able to exercise her as much as I wanted to this first week due to family problems, but I was thrilled when I have that Phoenix has been lovely to ride, and that she seems happy in her new routine.
It may be that Phoenix is more settled this year; in her ridden work, at the yard, with me, and having experienced a winter living in, so is less likely to become a stress head this winter. But by taking these steps I feel I’ve done my best not to overload her system with simultaneous changes, and could identify triggers that upset her.
I’m not so anxious about winter now as I feel in control, yet ready to make positive changes at the first sign of stress from Phoenix.
I’ve planned a series of polework and gridwork clinics over the winter, approximately one a month, at a beautiful local showjumping venue. They’re designed to run independently, so people don’t feel they have to attend all six, and I’ve given each date a theme. This helps me plan, and also helps riders chose which clinics to come to as they have a rough idea of what we’ll be working on.For my first clinic, I chose straightness as the theme.I wanted to work evenly off both reins as symmetry improves straightness, and often riders find it harder to ride straight when turning off one rein more than the other, so in order to ensure everyone had a chance to improve their stiffer rein, I used the centre line.I laid two tramlines just onto the centre line, to focus the riders on their turn so they didn’t drift, and were set up straight for the grid. With a fairly short approach I laid out a jump, followed by another one canter stride away. The third jump was two canter strides away, with a pair of tramlines in the middle to correct horse and rider if they’d drifted. Then there was a fourth and fifth fence one canter stride apart. The fifth fence was an oxer, and there were tramlines on the landing side and the then just before the turn at the track.The tramlines ensured they started and finished straight, and stopped any cutting of corners after the grid, so improving the getaway.I warmed up all the riders by getting them to trot through the grid with the poles on the ground, alternating the reins they’re coming off. Initially, all the horses had a good look at the arrangement of poles, but after a couple of goes, they started going straighter, my riders were channelling them forwards because they’d stopped looking down, and the horse’s stride length opened and rhythm became consistent. The riders could also start to think about whether it was easier to turn off the left rein or the right rein and make corrections.We then cantered through the poles from both reins. All horses will struggle to get the distances while there are no jumps, but as they got straighter and more forwards they started to work out how best to place their feet. So long as the horses are going through in a positive, rhythmical canter, I’m happy at this stage.I built the grid up slowly, starting with a cross as the first jump. The centre of the cross meant we knew if there was any drifting on the approach. The second fence was also a cross to help straightness, and then the tramlines corrected any drifting on the getaway and over the rest of the poles.The third jump was an upright, and once they’d jumped it confidently once, I made it into an A-frame. The apex emphasised the centre of the jump, and encouraged the horses to be neater over the jump. Of course, the horses and riders back off this slightly intimidating set-up, so I encouraged the riders to sit up after the second cross and ride positively in order to get the two strides. Once the horses have jumped it a couple of times it doesn’t cause any problems. The fourth jump also became an upright. With some groups I also made this into an A-frame, but if I felt that the first A-frame improved the horse’s technique over subsequent jumps I didn’t bother. And finally, we built the fifth fence into an oxer.Everyone found that the tramlines were incredibly helpful at helping both horse and rider stay straight, and the crosses highlighted any drifting so the riders’ knew how and when to correct over the last three elements. They could all feel the difference in their horses as their straightness improved because the distances were easier and the hindquarters more efficient at pushing the horse over the fence. They also landed in a more balanced way, ready for the next obstacle. When the horses were going straighter the riders could feel the effects of any twisting by themselves through the grid, which helped them fine tune their position.All in all, it was a great, rewarding morning, with lots of progress from each partnership. Now I need to plan next month’s “Gears to the Gaits” clinic!