I’ve been working on a new analogy recently, which has been positively received and greatly helped several riders. So here it is.
So often riders get overly focused on what’s going on at the front end of their horse, as it’s easier to see that rather than feel what’s going on behind them, that they become handy and forget to ride from leg to hand.
Some horses, when a contact is taken up, shrink in the neck and try to hide behind the bridle, either by hollowing or becoming overbent.
Putting the two together makes a difficult combination.
In walk, I get the rider to gather their reins – not too short, but not slack – and this is the rein length that they will maintain. I ask them to imagine that they have created a box with each rein being the long side of the box, and the short sides of the box are created by the bit and the space between the hands. The box is going to stay fairly square, and this size.
I ask my rider to push their horse forwards in the walk, focusing on the idea of filling the box in front of them with the head and neck. This encourages the rider to use their leg rather than their hand to improve the horse’s gait. It also discourages the rider from shortening the reins, and the horse shrinking behind the bridle.
Once this is established in walk, we move into trot. The aim is to keep the horse filling the box in front of the rider. This encourages the rider to keep using the leg and have a softer hand, which creates a more positive and consistent rein contact. The horse tends to stay longer in the neck, and the rider feels that they have more horse in front of them than they do behind.
I find that thinking of this box helps change the rider’s thought process and they start to apply the leg before the hand.
Of course, the size of the box can be changed as necessary – if the horse carries themselves in a shorter frame in one gait, or they are being asked to stretch longer and lower – but adjustments to the rein length should be planned and not fussy with micro adjustments. This also helps create a more stable connection between mouth and hand.
Once a rider understands and visualises the box, it becomes a useful reminder when the horse drops behind the leg, becomes over bent, or shortens the neck. I find it particularly useful to improve the canter, helping the rider to use their seat and leg to increase the energy in the canter.
During August I had a slightly concerning time with Phoenix. She was doing well under saddle, but something wasn’t quite right and I couldn’t put my finger on it, but the result was that I was riding cautiously, and I felt that Phoenix was quite flat when I rode her. I was carrying her around the second test at competitions, and after jumps she readily fell to walk unless I actively rode her away.
There was nothing to see, she moved well. Then I wondered if she wasn’t fit enough, so I upped her canter work. One day in mid August I took her for a canter around the fields, which she was most definitely up for, pulling my arms out my sockets on the way home. But she was puffing away for significantly longer afterwards than normal. Then a few days later she was breathing very heavily during a dressage lesson and I could only do short bursts of work before letting her rest, nostrils flaring.
I monitored her closely for a few days; there weren’t any clinical signs at rest, no coughing, breathing rate was normal, and she recovered quickly after exercise, but she was definitely “puffy” and flat in her work.
So I called the vet, who came a week later to check her over. In the very least, Phoenix would get an MOT and my mind laid to rest. The vet listened to her heart and lungs in the stable, declaring them problem free. Then I lunged her.
As is typical when you have the vet, Phoenix looked slightly off on the left fore when I lunged her. Not hugely concerning to the vet, but it was flagged up. However, Phoenix did show an “intolerance to exercise” which concerned the vet.
We decided to rest Phoenix for a week to hopefully resolve the mild lameness, and see if a rest caused her respiration to sort itself out. A week passed and Phoenix was sound, but I still wasn’t happy with her breathing, so I booked the vet to scope her trachea so we could see if there were any issues, and take a sample of the cells to test for abnormalities.
I found the experience fascinating and really educational. Phoenix was sedated, and then a thin tube with a camera was pushed up one nostril. At the end of the tube was a box, held by the vet. This had a screen, showing an image of her trachea from the camera, and some knobs to control the angle of the camera.
The vet showed me Phoenix’s larynx, and explained that she was looking at the movement of the arytenoid tendons to see that they’re both opening and closing evenly and fully. It is fairly common for horses to have a mildly paralysed left arytenoid cartilage, causing them to “roar”. You may have heard of the “tie-back operation” which is often done to improve the performance of sufferers. Thankfully, Phoenix’s larynx looked very healthy and fully functional.
I then got to slowly push the tube further down Phoenix’s trachea, while the vet controlled the camera, studying the screen intently. Again, her trachea looked healthy. There was no obvious mucus, no inflammation.
The next job was to take a fluid sample from her trachea. This was really interesting! The vet syringed some water down the tube so that it formed a puddle in her trachea. Then the syringe was used to suck the liquid back up.
The liquid which came back from Phoenix’s windpipe was unexpectedly dirty given her mild symptoms, so the vet sent the sample to the lab to be analysed for signs of infection and abnormalities.
In the meantime, we discussed potential management techniques to help improve Phoenix’s respiratory health. Things like soaking hay, dust free bedding, maximise turnout, different drug options including Ventapulmin and steroids.
Two days later I spoke to the vet. To her surprise, the samples had come back clear. Which didn’t really solve the mystery of why she was puffing when being ridden. Apart from the fact that she had lost fitness with me riding more cautiously and backing off her exercise. But at least I now know that there isn’t anything seriously wrong with Phoenix.
The scoping gave me the confidence to start pushing Phoenix’s fitness and work intensity, because her respiratory system is healthy. I’m still concerned that she had some form of reaction mid August, perhaps a low level virus or to a type of pollen, but as there are no long term symptoms I’ll just have to keep a close eye on her at that time next year to see if she has a similar flat, puffy phase. Then I can liaise directly with the vet, picking up where we left off this autumn.
Whether it’s the change in weather – wetter, less humid, less pollen – or the fact that with better ground I’ve taken her for a couple of pipe openers around the fields and cleared her lungs of any muck, but Phoenix has been coping better with exercise, and although not her usual sharp self (perhaps she’s grown up?) she’s still forwards in her work and not trying to fall into walk after a couple of jumps.
To some, I may have overreacted to Phoenix’s mild symptoms and overthought things, but getting her an MOT has allowed me to push aside doubts and ride more positively, which has broken the cycle of doubt where I don’t ride positively so Phoenix doesn’t go positively… And now we’re back on track!
I’ve been thinking a lot about judging dressage. It’s definitely something I’ve thought about doing in the future, but at the moment I’m quite happy dabbling in my Demi Dressage judging. Which has a scale of 1 to 10, but focusing much more on the teaching side of things – taking the time to comment on how the movement has gone well or how to improve. And the scale isn’t comparable to British Dressage. For example, there’s no way we’re going to be giving out 4.0s and 5.0 to the tiny tots doing their first test. So the marks used tend to be higher than you’d expect, with 9.0s dotted around. But we want to be encouraging, give them a good experience and help them improve both themselves and their pony.
It’s an approach to judging I think should be universal. Aim to give positive and constructive feedback, encourage riders of all ages to improve and have another try at a test. After all, the judge sitting as C doesn’t know their journey. Sure, they may be full of confidence and able to take a tough judge. But they may also be nervous and spent months building up to this moment. It may only be a prelim test, but to them it’s their Olympics.
Phoenix and I have been plugging away at affiliated dressage this summer; being very comfortable and bored in novice, we pushed up to elementary.
Our first elementary test wasn’t an easy one – typical – but we could ride each element and I felt that so long as she didn’t anticipate anything, or spook then we should make a respectable debut. The test itself, she rode everything as I asked. Conservative, and sometimes a little wobbly, but as well as she could. I was pleased.
However, when the scores came through I was really disappointed. Expecting 62% ish, with what I thought to be realistic expectations, we’d scored 57%.
Initially, I was gutted. The score was much lower than I felt we really deserved. Yes it hadn’t taken us out the placings, but it just felt very unfair. Phoenix has quality gaits and usual marks are 6.5 when she’s going in a very average way. Of course, if she jogs the walk or spooks she picks up a 4.0. But that’s fair.
Anyway, I looked at the score sheet for some feedback, and it was very disappointing. Little to no feedback or justification for the low scores. I looked at the rest of the class, and there were more scores than usual in the 50s, so it seemed to be a general theme of the day. I was very frustrated and disappointed, moping around for a couple of days feeling like I’d been wasting my time.
Then I saw a friend who had been volunteering and supporting her friends at the competition. We had a moan, but most importantly, she told me that those competing regularly at elementary had received a score approximately 5% lower than their normal. Which made me feel better, and that another judge would have put us in the low 60s that I’d anticipated for our first time, and it wasn’t a personal vendetta.
Before we go any further, let’s look at the repercussions of judging negatively. Yes, I respect that you need to use a range of marks, but no decent feedback and for the whole class to be scored low is not good for anyone.
It’s not good for the competitor. My first experience of an elementary test did not inspire me to continue trying. I wanted to give up. I lost my confidence and self belief. And I wouldn’t be the only competitor in this position. Leisure riders who spend hours of time and lots of money training towards a test, perhaps it’s at the top of their game, are in it for fun. Reading those score sheets are not fun. These riders, who go to British Dressage competitions regularly actually make up a large proportion of BD membership, and make these show days financially viable. Don’t put them off.
It isn’t a good advert for British Dressage – why would you opt to go to a BD show if you regularly received unfair judging when there are perfectly acceptable Riding Club options, which a more inviting and supportive atmosphere.
It’s not great for the judge. I looked her up and I won’t be going to the BD venue she’s associated with. Nor will I put her name forward to judge at any Riding Club or Pony Club competitions. If I learn she’s judging a class I’m entered in, I’m not sure I’d even bother going. I’d rather forfeit the entry fee. And I definitely will not be looking for lessons or clinics with her, or recommending her to anyone else.
The venue. It’s very local to me, and whilst the venue was great, it will be quite a risk returning there in case she judges again, so the venue has certainly lost out from that perspective.
No one benefits from this situation, and as I said before, it may be the first rung on the BD ladder, but to some this is a massive achievement – training, overcoming nerves, travelling, riding in a new environment, and then learning the test.
Depending on your point of view, fortunately or unfortunately I had already entered another elementary test at another show. Which meant I had to pick myself up and brush ourselves off.
I sent the test video and sheet to my coach, and then ripped up the score sheet. I’d rather put my trust in her to guide me in my next training steps, than dwell on those low numbers. I knew already what our weaker areas were, so started practising those before our next lesson. I also did some fun hacks and jumps to remember why I ride Phoenix.
It was definitely a test of resilience. I really didn’t want to go to our next competition, and had to dig deep to practice. It was also interesting to note that my general confidence with riding and work took a dip. I thought of attending some clinics, but didn’t want to ride in front of anyone unknown. The risk of taking another battering I guess.
But it was fine. We weren’t hugely well prepared, and the second test had some mistakes. But the scores were fair, and justified, and we came home with a first and second. This inspired me a bit more, so I entered another two tests to keep the ball rolling. Last weekend the scores increased further, although there were still some mistakes (like riding canter to halt instead of canter to walk in the simple changes, and me forgetting where the final halt transition was on the centre line and wobbling around), and we had another first and second.
I feel like we’ve established ourselves at elementary level, and it feels the right level of difficulty – not perfect, but challenging enough. So now I’m planning a few weeks of training to consolidate what we’ve learnt from the competitions. And really focus on our weaker points, such as finding and maintaining the balance in medium trot. Then we’ll get out between the white boards again and hopefully have some more successful outings.
I’ve enjoyed playing around with a tricky exercise over trotting poles with several clients recently. No longer are they going in a straight line perpendicular over the poles, but rather riding a shallow loop over them.
I laid out about nine poles with a conservative distance and had my rider begin by trotting straight over the poles, centrally at first and then if I wanted to check their adaptability or accuracy, I had them trot over the left then right end of the poles. This is where coloured poles come in useful as they can aim for a specific band of colour.
Then I mark out a shallow loop over the poles using cones, or even potties. The markers need to be clearly seen above the poles. The diagram below shows the placing of the poles.
So that they don’t run before they can walk, I begin this next phase by asking them to trot from between the first set of markers to between the second set, and then straight over the second half of the poles. This is usually fairly straightforward, especially if we’ve started on their easy rein. The distance between the poles is now marginally longer because they’re riding the hypotenuse of a triangle, so stuffy horses sometimes need a wake up call and to be ridden with more leg to encourage the longer stride that is required. There’s an adaptability and balance question as they go through the second set of markers because they are changing their bend and line slightly, which is trickier for the horse and requires more rider balance when they have an increased cadence over the poles.
Once the first half of the loop is established, I ask the rider’s to ride from first set of cones to the second, then back to the third. This is when the horse’s balance and suppleness is really questioned. It usually takes a couple of goes to get the exercise correct. If a horse were to really struggle I’d add a couple of extra trot poles and another set of markers so that the change of bend happened over three poles rather than one, as show below.
To make it easier initially, the markers can be quite wide apart, and the loop more shallow. As they understand the exercise and improve the timing of their aids and accuracy, the shallow loop can become deeper with greater accuracy needed between the markers.
After riding the shallow loop over the poles on both reins it becomes apparent which is their more supple rein, as the increased cadence shows up any weaknesses in both their balance and range of movement.
The rider usually notices an improvement in the horse’s general way of going after this gymnastic exercise. I usually finish by trotting straight over the poles to rediscover straightness of both horse and rider, especially if they’ve found the exercise quite challenging. And then we play around with normal shallow loops, and my horses and riders are usually lighter and using their back muscles better.
During the first lockdown in the spring I was really motivated and focused on Phoenix – she benefitted from six days a week of consistent work and really got to grips with half pass.
Then followed a summer of fun – long hacks, jump training, camp. I really felt that our relationship was strong and secure. She was jumping confidently up to 1m over coloured poles and cross country.
I affiliated her with British Dressage in the summer, and took her to a couple of competitions, where she placed each time at Novice, with scores over 65% each time. I have mixed reactions to competing her; the range of scores is frustrating – 8, 8, 8, 8, 4. I mean, was the spook at the shadow really necessary? I always feel that we haven’t performed at our best, and I feel the 70 scores are within grasping distance as soon as we get the consistency. She scores above average, but I know we can do better so I’m never satisfied. My plan was to do our first elementary test in the autumn.
However, lockdown in November cancelled that and since then I’ve felt a bit aimless. Is there any point in preparing for competitions that will probably be cancelled? What’s the point in training if there’s no where to go? Is she even improving? We accidentally qualified for the Novice Winter Area Festival, but I immediately decided not to go. I’d planned to aim for them at elementary level, so to qualify without trying to gives me hope that we can qualify if we put some effort in!
We’re in full on winter Phoenix mode, which whilst manageable now, often leads to frustrating rides when she’s tense and scooty. I’m having a quarter sheet made to measure as she’s between sizes and the bigger ones spook her when they touch below her stifle, whilst the smaller ones don’t sit comfortably over her quarters so restrict her movement. This should help as Phoenix is definitely happier with a warm bottom, protected from the wind and rain. She also has bags of energy which, I’ve recently discovered, can be controlled by being exercised twice a day, or by taking her for a hack followed by working her in the school. Of course, this risks getting stuck in a vicious cycle where she just gets fitter and fitter… So I’m keeping this trick up my sleeve for times when I need her a little tired.
Feeling aimless is not me. Not having a goal or focus doesn’t do well for my state of mind, and doesn’t do well for getting the best out of Phoenix. So over Christmas I’ve enjoyed lots of hacks, and then got a schooling session filmed so I could see how she’s going. It wasn’t the best day for filming – very cold and frosty – so she was a little tense, but I was pleased to see that she is looking strong and established in the trot, more uphill, but could cover the ground more. When she relaxes she opens up in her frame; I just need to get that relaxation quicker! With this elusive relaxation I can also refine her medium trot, which is very fragile and prone to going crooked when she gets tense. As she can fly along on the lunge in medium trot I have no concerns about her ability, she just needs to relax and embrace the bigger strides.
Phoenix’s canter work is looking better; more rhythmical and established. But she needs to learn to wait and not rush so much. I need to sit into her more, which I had been trying to do before Winter Phoenix arrived, and she needs to accept this change of position so I can use my seat more effectively. I was pleased that her canter half pass looks as good as it feels, and it helped to balance the canter whilst taking out the tension.
Phoenix seems happier when being asked something complicated; i.e. Cantering half pass instead of cantering in a straight line. Which means I need to ride through the silly moments and focus her mind on the harder stuff before addressing the quality of the easy movements. Being able to visually see her working, has given me a boost of motivation. I’ll keep plugging away at her lateral work, developing her consistency, and then aim for some elementary classes when restrictions are lifted with the aim of trying our hand at a medium test or two in 2021. Now to hope that we have some pony parties to go to!
Every so often, do you allow yourself to dream? I’m always hearing competitions on the radio – when you hear a song, ring in and win money. I never ring in. I don’t have a good track record of winning lucky dip competitions. I was always the grandchild returning from Weymouth carnival empty handed, before being given the teddy that Granny had won as compensation. The only competitions I’ve ever won are from hard work.
It doesn’t stop me from pipe dreaming though. What would I do with a sizeable lump sum of money?
I wouldn’t go crazy, stop working, travel the world, buy a brand new range rover or anything. But I’d definitely move house I think.
Recently I’ve come to the conclusion that what I want from our next house is enough space for Otis at the bottom of the garden. Just 3 acres or so. Enough for him and some sheep for company. Or possibly the pony. A slightly bigger house would be great – four bedrooms and an extra downstairs room to lighten the working from home burden. Detached. On the edge of a large village. I’d be very happy with that setup. Not too much housework, and a moderate garden. But space for Otis to join in family BBQs. Don’t worry, I’ve not forgotten Phoenix. She can come for any holidays. But she needs the facilities of a livery yard, and I like the social side.
But what if money were no object? What could I live with? It sounds such a hardship. But you know what I mean. What would be my utopia?
I love teaching, so there’s no way I’d stop. I rediscovered that today after a couple of weeks of feeling decidedly average in the coaching department. But I wouldn’t want the hassle of a livery yard. Or the invasion of privacy.
I’ve mulled it over and I think I would want a fairly small house – five bedrooms maximum. Not like these ten bedroom mansions I keep spotting online. A sensibly sized garden. Half a dozen stables. An arena – bigger than a 20x40m so it has more scope for jumping. And something like 8 acres. I could live with slightly less.
So what would I do with this? It’s too small to be a livery yard and I’ve not changed my mind on it being too much hassle. Instead, I’d have 3 permanent residents – Otis, Phoenix and a pony. Then I’d offer holiday, training and rehab livery for one or two horses. If anyone was on holiday, or out of action due to illness or injury, then their horse could come on a working holiday with me. If someone needs help training their horse, then I could offer a bootcamp, and if an owner is struggling with a rehabilitation programme – walking out twice daily or restricted turnout – then I could offer this on a quieter setting, which many horses would benefit from alongside the consistency I could provide. All alongside my freelance teaching.
I could run monthly clinics myself , or hire out the arena for Riding Club clinics and Pony Club rallies. Or I could just offer my arena for clients to come and have lessons with me. Offering clinics would then cover my need for social support with Phoenix. Equally, perhaps I have one livery who is a chosen friend who could provide some chore cover and be a friend to hack out with. Alternatively, a nice equestrian neighbour who I could hack out with would be lovely.
I think this would strike the balance for me between having privacy at home, and earning a sufficient income to cover the running costs of a small stable yard.
It slightly scares me how much livery fees are when I start thinking of the inevitable pony which will arrive in the next couple of years. Especially when you consider that during the winter small people often lose interest. If the pony could spend the winter at home with Otis (such as in scenario one) there would be less workload in terms of stable chores, less pressure to work the pony in dark evenings, and less financial pressure. In both scenarios, the pony could be ridden during school holidays and on fine weekend days either on little hacks or in the school. Surely when you factor in livery fees, this option is becoming increasingly economically viable.
Of course, it is a tie having horses at home, but with the world changing we’re spending more time at home and it wouldn’t be too expensive to have a house sitter for when we went away – solving both the cat and horse problem.
So if anyone knows a suitable property and can provide a lump sum, please get in touch! In the meantime, I’ll carry on daydreaming.
I often talk about vertical balance with my riders as it’s one of the easiest ways to feel if a horse is unbalanced on turns. Have I blogged about it? I shall check as it was definitely on my list to do but I don’t actually remember writing it.
Anyway, when looking at improving vertical balance I use the concept of diagonal aids. That is, the inside leg works in conjunction with the outside rein and vice versa.
Riding a horse is all about a balancing act. From day one, a rider is balancing the horse between going forwards from the leg and not going too fast by using the hands. Yes, the seat is also involved but as that works for both teams we’ll ignore it for the moment. It’s like having clutch control; every car is slightly different and there’s a skill involved.
Once we start talking about vertical balance the balancing act becomes a side to side one.
Initially, I ask my riders to ride some turns in walk, identifying the aids they’re using. Sometimes they get it right, after all I teach “indicate with the inside rein, instigate with the outside leg” when steering, but sometimes they’ll use one limb more than another, compensate for their or their horse’s crookedness, or have totally forgotten about one particular aid. Then, we discuss how the diagonal pairs work together to turn a horse, and to keep them upright on turns.
The left rein and right leg work as opposites to the right rein and left leg to keep the horse vertically balanced.
For example, the inside rein indicates the direction of turn as the outside leg pushes the horse in. The outside rein and inside leg work to prevent over steering and the horse falling in around a turn.
When a rider starts to think about their diagonal limbs working as pairs it becomes easier for them to work on a grey scale. Instead of it being black and white, putting the steering wheel onto full lock, they can now steer by degrees. Just as learning a half halt provides them with gears to each gait.
Half halts then begin to develop from a speed regulator to asking for bend, and correcting balance subconsciously. The rein contact becomes more consistent and because a leg aid is always applied with a rein aid the horse is ridden in a more forwards manner. Using diagonal pairs helps develop the feel and timing for aids too, which helps with refining the way of going.
Developing the concept of riding with diagonal pairs naturally leads on to riding inside leg to outside rein, which is a precursor to leg yield.
I enjoyed introducing the idea of diagonal pairs to one of my young riders a couple of weeks ago to help her transition from riding off the inside rein as a child usually does to riding with the outside aids. She had fabulous results as her pony started pushing through from behind, was more balanced on all their turns and taking the contact forwards. Thinking in diagonal pairs allowed her to position her pony wherever she wanted, and to correct him if they went off course. It was a very satisfying lesson to teach as I felt they both benefitted hugely from the rider’s new found understanding, feel, and knowledge.
It’s a tricky one. Because it’s both three beat or four beat depending on your level of training; and tricky in that it is also both correct and incorrect with four beats.
Confused? Yep, a lot of people are from my observations.
Let’s start with average Jo Bloggs, working up to elementary level with an average all rounder horse. You know the type. Which I think encompasses the majority of leisure riders. A correct canter for you is a three beat canter; the outside hind coming forwards followed by the inside hind and outside fore together, then the inside fore and the moment of suspension.
You might have heard coaches talking about the fact your canter is four beat, or talking about improving the quality of the canter so it is more of a three beat canter. A lot of leisure horses can have a four beat canter, when the diagonal pair becomes broken and those feet don’t touch the ground simultaneously. But in a negative way. The sequence of legs is the outside hind, outside fore, inside hind, inside fore. It’s almost a lateral canter, and results from a number of issues. A horse who is too much on the forehand, lacking impulsion or activity in the hindquarters, has an interfering rider, has poor conformation or stiffness in their hindlimbs, is likely to develop this lateral, four beat rhythm. Sometimes when a horse loses balance they will revert to the four beat, lateral canter, when otherwise they have a three beat canter.
So this laterally four beat canter is not good from a training perspective because it’s very difficult to create the elevation needed for collection and lateral work. You can improve it by the use of polework, using more seat and leg to create impulsion, using hillwork and medium canter to create a more active hindleg, but ultimately it is performance limiting, so you’d struggle with advanced level work. This type of four beat canter is called negative diagonal advance placement (DAP).
That’s the negative four beat canter out the way, now let’s look at the positive four beat canter. Have you ever seen photos of elite horses, youngsters or under saddle, and noticed how uphill their canter is? And how there is no way the diagonal pair hit the ground simultaneously because the forelegs are so elevated? Well you’d be right. The inside hind does land fractionally before the outside fore. This is called positive diagonal advance placement.
So why is a sequence of footfall outside hind, inside hind, outside fore, inside fore, seen as a positive four beat canter? Well firstly, a horse who can engage their hindquarters that much will be more powerful and find collection easy. If you watch a horse doing a canter pirouette you will see that it is a definite 4 beat canter, which it has to be in order for them to be able to rotate almost on the spot. A horse who is unable to canter with a positive DAP will find this level of work nigh on impossible.
This means that when you are looking for the next future dressage champion, you are looking for a four beat canter, a positive DAP, as that suggests that they will be able to perform at the higher levels. A good example is below.
I had a look through my photos and found one of Phoenix at her first prelim. She had an unbalanced canter at the time, and you can see that although it looks lovely at first sight, she is showing slight negative DAP. I’m struggling to find proof of her recent canter work (apparently babysitting duties trumps cameraman duties?!) but just by her becoming stronger and more balanced she shows strides of positive DAP, particularly when she relaxes into collected canter work.
I then also found this image of Matt, showing slight positive DAP. Of course, not on par with the elite dressage stars, but a useful example.
This image of Matt brings me onto my final point, or musing. At what point does a positive DAP become a gallop? After all, the sequence of footfalls is the same on paper – outside hind, inside hind, outside fore, inside fore. I asked my trainer for her opinion, and she thought the gallop was differentiated because of it’s speed and the horse’s carriage whilst galloping – long and flat rather than uphill. She also helped explain that in a three beat canter the footfalls are regular, in a four beat canter the diagonal pair aren’t landing together, but they aren’t a whole beat apart. It’s like they’re slightly off beat. In musical terms: crotchet, quaver, quaver, crotchet.
There is loads of information about diagonal advanced placement, and it happens in the trot too, so go and have a look on Google. And when you come out the other end of the rabbit hole, let me know what you think of the subject!
I’ve been working with a new combination over the summer; an eleven year old girl and her new 15hh horse, with a history of showing and showjumping.
They have been the perfect example of how improving the flatwork improves the jumping. Initially, they could barely get over a line of trot or canter poles. Not because the horse was green, but because he needs to be ridden correctly. Which is a big learning curve for any child moving up from kick and point ponies.
We started the summer improving their relationship on the flat; exploring the concept of rhythm, improving rider position, developing the idea of riding leg to hand. These all began to improve their straightness and balance.
As this improved, the jumping and polework became easier; they had fewer run outs, maintained a rhythm to and from a fence and were more balanced. We did gridwork which helped the transition from polework to jumping, and helped my rider adjust from a pony’s pop to a horse’s bascule.
I then turned my attention to the quality of the gaits, and improving my rider’s feel for a poor trot or canter and her ability to improve them. I mainly did this on the flat, but then I started to notice (which is very common) that my rider was improving on the flat, but not making the connection to that work with her jumping. She got more confident, wanted to jump bigger, and then little problems started to creep in.
With the typical “urgh flatwork” reaction that a lot of kids give, I decided to do a jump lesson without focusing on the jumps. Of course, she went over the jumps, but all my critiquing was on the flat, to hopefully help my rider understand the importance of her flatwork.
I erected the jumps to a reasonable size – big enough that if she didn’t ride the approach correctly then her horse would politely duck out, yet small enough that she wasn’t concerned about the height. As she warmed up we discussed rhythm, impulsion, how reactive he was to the aids, riding from leg to hand, balance on the turns etc.
She warmed up over a simple cross pole on a diagonal line across the school; the first time off the left rein the canter was a bit flat but she got away with it. The second time she held a better rhythm and kept the canter together and rounder so that the jump was more of an extreme canter stride with a better bascule. I focused her on the quality of the canter and let the feel over the jump do the teaching.
We changed the rein, so she was coming off a right turn. Now, I’ve been drumming into her all summer about her pony drifting through the left shoulder, improving her left contact and use of the left leg. Which is improving on the flat but goes out the window once jumps come on the scene.
As expected, they drifted left, her pony loaded his left shoulder and they had a clunky jump. I put myself on the outside of the turn the next time and had her ride a squarer turn without using her right rein. This kept her horse in slight outside bend, controlled the shoulder, and improved their vertical balance and accuracy to the fence. Which led to a much better jump.
We repeated this a few times, made the fence an upright, and it started to come together nicely.
Next, was a double off the dreaded right rein. They jumped it fine when it wasn’t particularly big, and could get away with a crooked, flat canter approach, but once the fence increased to 80cm, when my rider drifted around her right turn and let the canter fall apart her pony either skirted left around it, or got in very deep. Again, I focused on the flatwork and as soon as my rider was riding from leg to hand, riding squarer corners, and kept the impulsion and rhythm balance to the take off point, they flew the fences nicely, making the horse striding easily. He’s only a little horse so easily falls into pony strides if he gets deep to the first fence but the jumps are awkward and he risks knocking the front rail.
I turned my rider’s attention briefly to her recovery after the fence; sitting up quicker and assessing the quality of the canter. It was more to increase her awareness and give her something to mull over in the next couple of weeks rather than a big teaching subject for the day.
Next, we started to link the course together, discussing the time and space between the fences rather than the time in the air. As my rider rode around the course I talked her through the balance of the canter, the outside aids, the straightness of their approach. When she got it, they flew!
However, when she let the canter get sloppy, for want of a better term, they got in deep to the jump and scrambled over it. When she stopped riding around the turn and presumed her pony would take her over the jump, he drifted left around it. There were good parts to the course, and this really emphasised the importance of her approach and canter, and equally she could really see the contrast between the great parts and the “get over by the skin of your teeth” jumps.
We then rode the elements she’d found hardest, talking through the changes she needed to make before going, and there was a definite improvement by the end.
I’m hoping that the takeaway message from today’s jumping lesson was not jump orientated, but more of an awareness of the quality of her canter and her horse’s balance on turns.. She can practice this on the flat and as part of her warm up, and it will in turn benefit her dressage. Which I think she’ll focus more on it when she understands how much it helps her ride a smooth, flowing, balanced course clear.
After all, showjumping is just dressage with speed bumps. Get the bits on the flat right, and the jumping is easy. Sneaking flatwork into a jump lesson is often the only way to get young riders to see purpose to their flatwork and motivate them to improve it for the sake or their jumping.
I’ve been working on upping the canter work with Phoenix; increasing my standards, pushing her boundaries, improving her balance and strength. Last night I had a play with one of the canter sequences from an elementary test, and whilst it’s definitely work in progress, it was good to feel how hard Phoenix had to work to keep her balance. I want to start using bits of this in trot and canter for some of my clients – so watch out!
The sequence is nicknamed the PIG from elementary 59 as those are the letters you ride to, but as I was in a short arena I adapted the exercise slightly to suit her current level of training.
In canter on the left rein, ride from M to X to D, then cantered a left ten metre circle. At D, ride a simple change before a right ten metre circle in canter. Finish the sequence by riding from D to A and then turn right to change the rein.
The line MXD requires balance because the horse has to change their propulsion leg, akin to counter canter. I found that it helped lighten Phoenix’s forehand and collect her canter slightly.
In elementary 59 you continue along the centre line to A, but it is easier to ride a ten metre circle at D, or just before, at Phoenix’s current level of training. As she finds the MXD line easier, I will extend the centre line and ride a left turn at A. The canter becomes more collected and elevated after X, which actually really helps prepare her so that she stays balanced on the circles.
At the end of the left ten metre circle, ride a simple change before a right ten metre circle. This is particularly useful for Phoenix as in the downward transition she often swings her hindquarters to the right, so the quick change of bend and strike off into right canter helps resolve this. Simple changes also come into elementary level so it’s a good opportunity to practice these. After the right circle, I rode a straight line to A then turned right.
The exercise can be repeated off the right rein using the HXD line, with the right canter circle first. It can also be ridden from the A end of the school – using the KXG and FXG lines.
At elementary level, movements come up quickly in tests, so whilst Phoenix may be perfecting the individual movements, with plenty of preparation time, and in ideal locations around the arena, it is the art of putting different movements together in rapid succession which will really cement her at this level.
I really like how this sequence flowed, so may well incorporate it into more of my teaching and schooling of horses as the changes of bend improve a horse’s balance immensely.