The Accuracy Clinic

I had the third of my winter clinics this weekend, and for once the rain stayed away!

The theme was accuracy, which developed the straightness work of the first clinic, using skinny fences and jumping on an angle.

In the centre of the school I placed the skinny fence. Then I strode out three horse canter strides to a jump in front and behind the centre jump, which meant there was a grid of three fences with three strides between each jump. A pony would get four strides between the jumps.

Then, from the skinny jump, I walked diagonally, again for three canter strides, and built another fence. The line I walked meant that the fences were jumped on an angle. I added another three fences so that they formed two diagonal lines of three fences, with the skinny jump in the centre. To help my riders find their line, I used narrow white rails as tramlines.

I warmed up the riders in trot and canter, getting them to ride the lines so that the horses stopped looking at the tramlines or wobbling as they stepped over the poles on an angle. The riders could also focus on how they rode their corners on the approach and getaway without the complication of having fences.

Once everyone’s lines were flowing over the poles, I put up the fences. I had the skinny jump as an upright and all of the others as crosses to help guide my riders’ eye to the middle of the fences. We started by jumping the central line. Having the skinny jump in the middle meant that riders had to maintain their straightness between the jumps, not letting their horse drift slightly. As long as they had an even rein contact with legs draped evenly around their horse, this line flowed nicely and was fairly straightforward. Horses sometimes back off a narrow fence, so in order to keep the line flowing, the riders had to be positive between the first and second fence without chasing them out of their rhythm.

If a rider steers predominantly with their reins, they end up with a snake like effect, wiggling between the jumps, so this is a useful exercise for encouraging riders to use their legs to steer the body of the horse and keep a stiller hand.

Next, we progressed to riding the diagonal lines. The secret was to ride deep into the corner before the first jump, and focus on the final cross. Think of riding the fences as one combination, rather than separate elements, as this helps the line flow. The horses naturally back off when jumping on an angle as the ground lines can be a bit deceiving, and they usually fitted in an extra stride. Once my riders had gotten their eye in, they could use more leg between the fences to encourage their horse to take them to the next fence. The riders had to commit The reins were usually quieter by now, and the horse travelling between leg and hand, which improved the shape they made over jumps, improved their rhythm and tempo, and the rider became more in sync with the horse and the lines rode more fluidly and accurately, I put together a course. Jump the centre line, turn left and jump on her diagonal line followed by the other diagonal line and finally back up the centre line in reverse. This turned the focus to linking the jumps together, getting a good jumping canter immediately, using all of the arena to set up the line.

The improvement in all the horses and riders was great to see; the jumping rhythm improved, and both horse and rider were committed to their jumping line, and jumping in a straighter fashion over the fences, with a cleaner bascule because they thought they were jumping on an angle so the take of point wasn’t as clear as it could have been. Definitely a good challenge for anyone who feels they they or their horse drift whilst jumping or between elements.

The Franklin Method

I think I’ve mentioned before, that I go to Equestrian Pilates every week. Earlier this year my Pilates teacher went on an intensive course to learn about the Franklin Method, and has since applied it to our classes.

Intrigued, and curious to know more about the logic of hitting yourself with an orange ball, I decided to organise a clinic at my yard.

In Pilates, we’ve tapped any tight muscles with balls to stimulate nerves and increase our range of movement during the warm up. But other than that, the Franklin Method was a completely new concept to me.

The clinic started with an off horse session where we learnt that the Franklin Method focuses on reconditioning the body and movement to improve function. Using props and imagery it helps improve your proprioception and posture by activating unused muscles. We learnt a little bit about anatomy, with the help of a spine, then we were introduced to the props. There were a variety of sized balls, spiky and smooth, and peanut shaped balls, as well as some resistance bands. We discussed the ideal riding position and talked about how using our core, having our pelvis level, the correct lower leg position and arm position can improve our stability in the saddle. Some of this I’ve seen before, in demos, teaching books, and used it myself when teaching, but using resistance bands to help with the explanations was really useful too. Finally, I sat on a saddle and we were shown the different way we’d use the props once aboard our horses.

I really wasn’t sure how sensitive little Phoenix would cope with me riding with balls, but I’d ridden her for an hour the day before with plenty of canter work and luck was on my side as she seemed to have her brain firmly wedged between her ears as I warmed her up in the arena, and was remarkably relaxed.

After settling the horses and warming ourselves up, we walked a straight line away from the camera to assess our straightness and symmetry before getting started with the props. The first prop that we used was a squishy peanut shaped ball, and we sat on it so it was evenly sat underneath our seat bones. Then we walked round. Sitting on a wobbly seat makes you use your core muscles, which is useful if any of yours have switched off; it also makes you very aware of each seat bone, and if you are wobbling more onto one side than the other.

There was no pressure to do anything outside your comfort zone with any of the props. If you wanted to trot or canter then do so, but if not just walking was equally beneficial.

We then sat on just one round, smooth ball, putting it under first one seat bone, and then the other. This is particularly useful if you sit crookedly in the saddle. I like to think that I’ve got a good sense of where my body is in space, and am fairly symmetrical as a rider, but I didn’t find a huge difference between seat bones when I sat on just one ball. Which is good, but I could see how it would be useful for anyone unaware that they are sitting to one side.

Still focusing on our seats, we sat on a heavier, water filled peanut ball. Again, only in walk as I felt that was the limit to Phoenix’s acceptance of it, I found my hips really loosening up. The water ball exaggerated Phoenix’s movement, causing me to move my seat more. Afterwards I really felt like I was sitting inside my saddle, not sitting on top. I then worked in sitting trot, and was astounded in the improvement. I sat deeper, absorbed Phoenix’s movements more, and consequently she relaxed and stepped out more and I felt her really swinging over her back.

We moved on to working on our legs with small softly spiky balls. One was placed on the inside of the top of the thigh, so it sat between the saddle and my leg. A second ball was placed closer to the knee on the opposite leg. For me, this was particularly painful as I got cramp on the outside of my thigh, but tapping it with a ball helped dissipate it. I did some work in walk, before swapping the balls round. They had the effect of loosening my hips and helping lengthen my leg and let it wrap around Phoenix.

Finally, we moved on to the arms. I didn’t have a go with a resistance band wrapped round my shoulders, running to the hands, which is useful for encouraging riders to carry their hands more correctly, and to connect their shoulders to the reins, which improves the subtlety of their half halts and stabilises the hands. We felt this would be a step too far for Phoenix, so I used a circular resistance band round my wrists, which helps keep the hands as a pair and gives instant visual feedback if one hand goes for a little wander. I really liked this exercise, and could see how the visual cue and the pressure of the band would really help some of my clients who struggle with their outside rein, or have a wandering hand.

To encourage elbows to hang closer to our sides, we rode for a few minutes with a ball in each armpit. Upon taking the balls away, your elbows return to your torso like iron filings to a magnet. Again, useful for anyone with sticky out elbows!

The Franklin Method had an immediate effect in correcting positions, and making you as a rider aware of different, switched off, areas of your body. You could see the horses responding to the changes in position, releasing of tight knees and hips, and the reduction in crookedness. The other thing that I liked about the Franklin Method is that it complemented my teaching methods and biomechanical explanations, so I will definitely be encouraging all my clients to have a go at riding with balls.

For more information, check out the website www.ridewithballs.com.

Finding the Problem

When you have an undesirable behaviour in the horse, such as refusing jumps, napping etc it can be so difficult to find the cause.

Once a horse has had their saddles, feet, legs, backs, teeth checked for ill fit or injury, very often the unwanted behaviour is labelled as a ‘behavioural problem’ and has very negative connotations. All to often I see aggressive reactions to the unwanted behaviour, which often compounds the problem.

Once you’ve identified that there’s no physical cause for a behaviour then it’s a matter of understanding the horse’s mental state. Horses react to the current situation, they don’t plan in advance to cause trouble or refuse to comply with their rider. An interesting article went round social media last week which explained this well – take a look here.

So if you have a behaviour, such as napping or rearing, and you’ve found the underlying cause to be an injury or poorly fitting saddle; you’ve fixed the physical cause, but your horse still naps, then it is caused by their mental state and in order to correct the behaviour you need to get inside their head and do it slowly.

I’ve just started working with a horse who started refusing or grinding to a halt before a fence and cat leaping it. After some weeks of troublesome jumping, a small injury was diagnosed and he was subsequently rested and then brought back into work. However, his behaviour whilst jumping continued.

Unfortunately, he can’t speak English and tell us the problem, but we can listen and respond to his body language. I believe that the horse had pain association with jumping, because of the injury, and then because he was cat leaping he wasn’t comfortable jumping, regardless of the fact his injury had healed. Whilst he had his injury, he’d have had a physical limitation when jumping, and if faced with jumps beyond this ability (even if they were within his usual ability) he would have lost confidence in both himself and his rider. This creates a vicious cycle of him not wanting to jump, despite the fact he has been given a clean bill of health.

Because he hasn’t wanted to jump, he’s become rather backwards thinking on the flat, so the first thing I did when I rode him was get him thinking forwards. I’ve given him very light hands, to support him as necessary, but in no way acting as a handbrake. Every transition has prioritised over him responding to the aids, and going forwards, even if his head isn’t in the ideal position. I want him to move his body as required in order to do the requested movement so that he realises that it doesn’t hurt and that he can do it. We can tweak movements in the future to improve his way of going.

This week, to help his jumping, we used canter poles to encourage the canter to stay forwards, and then once he was taking me into the poles, we added a jump to the end of the poles. The jump wasn’t too small that he would trip over it, nor was it too big to be outside his comfort zone. The poles kept the canter forwards, regulated his stride and positioned the horse in the correct place to take off. This would give the horse some positive experiences over the jump, so rebuilding his confidence and ensuring he didn’t have any twinges from jumping awkwardly. As the horse became bolder, I lengthened the poles so that he wasn’t quite so close to the jump on take off. Starting with the poles closer than ideal and lengthening the distances slowly stopped the horse even thinking about chipping in before the jump.

Once he was confident in cantering three poles to a jump with no strides between, I removed the third pole, so that the two poles set up his canter, and he just had to keep the momentum going for one stride before the jump. We repeated this work off both reins, until I felt he’d done enough. He needed a certain amount of repetition to build good associations with jumping, but not so many that he became tired and be more likely to falter.

Next time, the plan is to build a simple related distance. There will be two poles on the approach to the first jump, as we’ve already done, which will put him in a good canter and give him a good jump over the first element. Then he has to maintain that canter for two strides before the second jump. Then we’ll increase it to three strides between the two jumps, then four and so on. The purpose of this is so that he learns to jump the single fence without poles to help, but by setting him up at the beginning with poles we can ensure he isn’t likely to fail or back off the jump. Again, the jumps won’t be big, but I may make them uprights instead of cross poles to give him something else to think about. Not having them high means that as well as not having any pain association from jumping awkwardly, his injured leg will get stronger and hopefully he’ll stop anticipating any pain from that site. Then we’ll continue along this theme with other grid work type exercises until he doesn’t have negative associations with jumping, and is confident in his own ability again.

With any “behavioural” problem I think it’s best to identify the triggers for the behaviour and then work on calmly and quietly giving your horse a few positive experiences so that the habit is broken, and they begin to build trust in their rider and themselves in that situation, then you can adjust the situation; for example if your horse naps at a particular spot out hacking on their own, ride, long line or lead past the spot in company until they have had some good experiences there, before perhaps riding first past that spot in a group instead of following their friend, and then venture there on your own. Strip back the environment/activity and provide emotional support from your horse from others, people on the ground, anything, and then as the event becomes calmer and stress-free, take away their support slowly as they become more confident and less reactive to that set of triggers.

Poles and Transitions

I adapted this exercise last week for my clients to improve their canter transitions.

When you aren’t working to a dressage test, or set of quick directions, it can be easy to spend too long preparing for a canter transition, aborting at the first corner, and then in the downward transition it’s easy to spend half a dozen strides recovering and finding their balance.

I wanted my riders to be in the position that they could strike off into canter with instant preparation, and can ride into a balanced trot immediately. After all, once you get to elementary level, the movements start coming up very quickly!

I laid out five trotting poles on the track on the long side; with a fairly short distance between each one. I wanted the horses to be on the verge of collecting over the trot poles. With the mare who struggles to get the correct canter lead I placed the poles so that the last pole was at the quarter marker and she could use the corner to get the correct strike off. The other, more established horses, had the poles in the middle of the long side so that the canter transitions were in a straight line.

I worked each combination through the poles until they were balanced, and the trot had become more together and uphill, with increased cadence. Then we added in the canter.

After riding the trotting poles, I asked them to ride forwards to canter before the corner (or at the corner for the less established mare). Then they had to ride forwards to trot at the corner before the poles.

We repeated the exercise a few times, moving the transitions so that they were closer to the poles.

The result was that my riders started riding more quickly, and I don’t mean rushing; the time between preparing and riding the transitions, and then reacting to the outcome, decreased. The horses became more responsive to the aids and then more active in the transitions.

The trotting poles engaged the hindquarters, which helped the horse push upwards into canter, so it felt like a pop into a steadier, more powerful canter. The mare who tends to run into canter suddenly began to almost jump into it, which resulted in a less harum-scarum canter.

Having the trotting poles in the near distance when riding into trot encouraged the riders to sit tall and hold in their core so that the horse sat on his hocks and didn’t fall onto the forehand after a couple of strides, unable to contain all this energy. Often a horse and rider will go into a powerful, energetic trot, pushing nicely from behind, but after a few strides they both seem to collapse and lose energy, so losing the quality of the trot as they bowl onto their forehand. However, the poles require the horse to maintain the initial trot for longer so builds up their strength and balance. Again, the horse and rider have to be thinking and react quickly to correct any loss of rhythm or balance.

Having to ride a downwards transition before some poles doesn’t give a rider the opportunity to accept a sloppy, unbalanced transition, nor does it mean they can do it “when the time is right”. The time is now, and they have to make it right. If they do get an unbalanced transition, for whatever reason, the looming poles encourages them to react and correct it; which is very important around showjumping courses, and so that the next dressage movement is not impeded.

I was really impressed with the improvement to both the horse’s transitions, the quality of the canter and trot, and of the positive, quick thinking way that my riders were now riding.

Spirals

It’s a classic exercise to introduce leg yield, and can help increase a horse’s bend, but I find that spiralling in and out on a circle can encourage bad rider habits to form and is so often detrimental to both horse and rider, rather than achieving the desired effect of increasing the engagement of the inside hind leg.

The basis of the exercise is that you establish a twenty metre circle before spiralling in towards the centre and then spiralling out again.

I begin teaching this exercise by standing at X, and asking my rider to ride a twenty metre circle from either E or B. We spend some time establishing the roundness, and identifying points where their horse is liable to drift out (usually at E and B), or fall in (usually as they cross the centre line). Then I ask them to slowly decrease the size of the circle by moving the horse’s outside shoulder in first. This reduces the rider using the inside rein to pull their horse onto a smaller circle, and encourages the use of the outside leg. Decreasing the circle slowly requires more balance and more subtle aids. The inside rein opens slightly to indicate moving across whilst the outside leg pushes the horse over, outside rein prevents the horse overturning with their head and supports the outside shoulder. The inside leg maintains the correct bend, and the rider turning their shoulders into the circle with their weight in their inside seat bone helps the horse stay in the correct bend.

By spiralling in slowly, and almost adopting a shoulder fore position the horse will bring his inside hind leg under his body, propel himself forwards more correctly and feel lighter and more engaged. The smaller circles require more suppleness and balance from the horse. I often tell my rider to stay on a certain sized circle, or not to spiral in any further because I can see that the horse has reached their limit in terms of suppleness so are better staying at this point instead of going smaller but losing the quality to their gait.

From the small circle, I ask the rider to sidestep out onto a bigger circle before riding a few strides on this circle and then sidestepping again. This makes a series of concentric circles, rather than a spiral. This helps control the movement and keep it correct. By only leg yielding a couple of strides at a time the rider doesn’t lose their horse’s outside shoulder, the inside hind continues to push the horse sideways so they stay engaged. The rider’s outside aids continue to be effective and the horse stays balanced.

Some horses are more likely to rush back to the track, so pulling themselves across in the leg yield from the outside shoulder. In this case, I get the rider to “ride smart”: as they start to ride towards E or B they have to apply the outside aids before their horse drifts and takes control of the movement, and then ask for the leg yield as they move towards the centre line, when the horse has no inclination to fall out. This ensures that the leg yield comes from the rider’s aids and is not the horse anticipating.

Ridden correctly, the horse becomes more supple and engaged, and it is an excellent warm up exercise for gently stretching them and unlocking and tight or resistant spots. I find it incredibly useful when Phoenix gets her knickers in a twist (when the wind blows or the something is out of place) as when I move her body around subtly she releases through her barrel and becomes more rideable. It’s also useful for identifying a stiffer side in rider or horse, as well as fine tuning the rider’s aids and control through a movement.

So often I see the spirals being ridden badly; the head and neck over bending as the horse spirals in, with too much inside rein, and them falling rapidly through the outside shoulder in a race to get back out to the bigger circle. Which doesn’t help engage the inside hind leg, or promote the rider using their outside aids correctly or effectively.

Next time you ride this exercise, try changing your approach to it, and critique yourself to make sure you aren’t letting either yourself or your horse cheat by drifting in and out on the circle. How many times do you pass B as you move in or out? Can you increase that number? Slowing down the movement requires more balance and more obedience from your horse.

Adjustability to the Canter

I’ve talked recently about transitions within the gait, and using the idea of a scale of 1-10 to help get the idea of different gears and transitioning between them.

This month’s clinic had the theme gears to the gait, so I concocted an exercise and lesson plan to improve the rider’s feel for their canter, improve their horse’s adjustability, as well as improving their overall canter.

I had my riders warm up in working trot, working between a 4-trot and a 6-trot while I assessed them and made corrections to their position and way of going. We did the same in canter, and even just by riding small transitions the horses started to use their hindquarters more, to lift their shoulders and get more power to their trot and canter.

Next up we started working through a related distance: it was walked as three horse strides and four pony strides to accommodate all sizes and stride lengths. I had them jumping the related distance, with reasonably sized cross poles until the horses had settled into their usual jumping rhythm and were jumping the fences appropriately. Not too big, yet not being complacent and tripping over the fence. Once we knew how many strides a horse got between the two fences when in canter gear five, we could start to make some changes.

Firstly, I asked my riders to approach the related distance in a more collected canter – fourth gear – and to see if they could hold the canter together between the fences to get an extra stride in. Some horses manage this easily, but others who lock on to a line are less adjustable and tend to launch over the second jump rather than fit in a small stride. Not naming any names Phoenix…

To help anyone who struggled to keep a shorter canter between two fences I had a slightly different experience. I asked them to jump the first fence and then ride a circle away from the second jump, of 10-15m before jumping the second element. I laid a pole out to help them scribe a circle. It could become a jump if necessary.

Doing this circle exercise a few times helps the horse maintain a more collected canter, teaches them not to lock on to a jump too early, they become more responsive to the rider’s half halts, and pretty soon they start to fit in that extra stride in the related distance.

When the exercise is ridden well in fourth gear, there should be four regular strides between the two fences. It’s vital that the rider sets up the more collected canter early in the approach, rather than trying to adjust the canter in the middle. It usually takes a couple of attempts to get the four regular strides, rather than progressively shorter strides between the jumps.

Then it’s time to lengthen the canter over the jumps. When you jump from a more extended canter the horse’s bascule will change as their take off point moves further back and the arc they make becomes longer. Think of steeplechasers. A lot of horses here will fall onto the forehand as they try to pull themselves along, and then they aren’t in the best position to jump so can either chip in or bring the fence down with their front legs. The answer is to practice lengthening the canter on the flat and over canter poles to build the strength in the hindquarters.

Once my riders could adjust the number of strides between the related distance we moved on towards dog legs and built a simple course, but with the added challenge of trying to get a different number of strides in each related distance. The dog leg distances were all walked as three horse strides or four pony strides as well, so I challenged my riders to jump round changing between their fourth, fifth and sixth gear canters.

Each jump could be jumped from each direction, and the easiest course was to progressively lengthen the canter throughout. Starting in fourth gear and then finishing in sixth gear. Harder, was starting in sixth gear, dropping straight to fourth and then back up again.

By the end of the sessions the horses were all more adjustable in their canter, were better balanced and more uphill in all the gears. And the riders had a better feel and understanding of the canter they needed to create before jumps.

So how does this impact your course riding? Well, at competitions there is a measured distance between jumps, but when you’re walking the course and striding out the distances you may discover that the distance is a bit short or long for your horse’s normal jumping canter. In order to jump smoothly and be in the best position to go clear the stride length of your canter needs to be adjusted to best fit the distance. So when you walk the course you can start to plan your gears on the approach to jumps to best ride the getaway and hopefully go clear!

Teaching a Range of Abilities

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.

Back To Basics

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.

The Rider’s Seat

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.

A First Jumping Lesson

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!

The plan now is to keep working on right canter, and do more canter polework to help establish the rhythm, and then using poles to help set up the mare for jumping, and to tell her where to take off until she is more experienced and has more understanding of the idea of flying.