Perfecting the Jump Position

I spend a lot of time tweaking my rider’s jumping position. Sometimes we have lessons using a simple exercise where I draw their attention to a body part, which may not be wrong, but could be repositioned slightly to improve their security and stability. Sometimes I get them to hover in their jumping position for several strides on the flat to ensure that they have the muscle strength and balance to stay secure over jumps. After all, it’s harder to hold yourself in a static plank than to do one which involves leg lifts. Even with experienced jumpers, it’s worth revising their position regularly to ensure they don’t slip into bad habits.

So what is the perfect jumping position?

In an ideal world, your jumping position will be such that if the horse were to be taken away from underneath you, you wouldn’t fall over. But let’s break it down to the different areas of the body.

The stirrups need to be shorter for jumping than when riding on the flat. For novice riders it may only be a couple of holes, but more advanced riders can have half a dozen holes difference or more. There shouldn’t be a change in the position of the lower leg when going from the three point position on the approach to the jump to two point position over the fence. It’s very common for the lower leg to swing backwards. I often find that getting the rider to soften the knee and allowing the weight to drop into the heel will correct this. Sometimes I’ll get them to go into their jump position in halt and I hold their ankles to prevent them swinging backwards. Often, the pressure of my hand is enough for my rider to be aware of their lower leg and to adjust the balance of their foot as they fold into their jump position so that their lower leg remains immobile.

Next, is the foot and ankle. The ankle needs to be springy; it is a shock absorber. If it is braced and rigid then the heel cannot stay lower than the toe and points down, often in conjunction with the lower leg swinging backwards in the two point position. To solve this, I like to spend a lot of time trotting and cantering in jumping position to develop a more secure lower leg and flexible ankle. A useful off horse exercise for developing ankle flexibility is standing with the balls of you feet on a step and dropping the heels, stretching the calves and achilles tendons.

With the weight into the lower leg a rider is infinitely more secure should they have a dodgy jump – either a chip in on take off, or if a stride is taken out. Next up in the security stakes, is the upper body.

In the ideal jump position, the rider should fold from the hips, with their bottom near the cantle. A lot of riders learning to jump will struggle to fold sufficiently from their hips, either curling their shoulders and hunching instead of folding, or keeping the upper body fairly upright. Over smaller jumps you don’t need to fold as much as larger jumps, but it’s still important to practise the fold from the hips to improve flexibility.

If a rider doesn’t take their bottom to the cantle they are usually tight in the knee, with the toes down and lower leg swinging backwards. This means that their centre of gravity is over the withers so if the horse puts the brakes on, or chips in a stride the rider is vulnerable. Going repeatedly into jump position on the flat helps build muscle memory and improve flexibility. Even if a rider finds it hard to fold the upper body, it’s important they still feel like they’re taking their bottom backwards into a squatting position. In fact, doing some off horse squats can help a rider identify the correct muscles. They will also realise how the foot and ankle need to work in order to stay balanced.

One of the biggest traits I see with established jump riders is a stiff back. They’re secure in the lower leg and weight is over the knee, but in a bid to fold from the hips they are holding tension in the small of their back, sometimes even arching it slightly. This actually encourages the horse to stiffen through their back and means the rider can’t absorb movement as easily so may well be jarred on an awkward landing. This comes back to having a straight upper body on the flat with poise yet no tension – sitting trot can help develop the core so the back muscles are not recruited in sitting upright.

Once the legs and upper body are in position, it’s time to correct the arms and head. A rider should be looking straight forwards over a jump, ready for the next one on the course, and not changing their weight distribution (remember, our heads are very heavy!) over the horse’s back, so making their job harder. The hands should be following the movement of the horse’s head so they are neither restricted or left with no contact.

I was always taught to hold the mane halfway up my pony’s neck, which stopped me pinning my hands on the withers and restricting them over a jump, but also taught me to keep elbows flexible and become more in tune with the neck movement over a jump. Holding the mane also gave some support as I learnt my jumping position. Nowadays, I find people quite reluctant to hold the mane, opting for the neckstrap instead. However, the neckstrap sits at the base of the neck so only encourages a rider to fold and lean on their hands for support and stability.

Ultimately, the only way to overcome this trait is to jump without reins. Which can only effectively be done if the lower leg and upper body are fairly established and balanced. I love sending my riders down a little grid with their reins tied in a knot; it makes such dramatic improvements! If a rider is not balanced enough for this I may do some jumping position on the flat or over poles with one arm out to the side, or just encourage my rider to correct the position of their hands and lift them up from the horse’s neck. At the other extreme, is the rider who throws their hands forward in a bid to ensure they don’t jab their horse in the mouth. I often see riders going from one extreme to the other before finding a happy medium. With those with overzealous hands, I find it helpful to put a band in the mane for then to grab to aim for. The band being just below the half way point to try and train the hands to “follow the movement of the head, not overtake it”. As with the upper body folding, less give with the hands is needed over smaller jumps, but I feel it still paramount to ensure novice riders understand the correct hand position so that they do not jab the horse in the mouth as the jump height increase. Finally, along with ensuring the hands follow the horse’s movement, is checking that the rider is not sticking their elbows out – pushing the hands up the mane usually prevents these chicken wings!

Of course, no one’s perfect, and our individual conformation can make the ideal jump position hard to perfect, but if we know what we are aiming for then we will be as stable and secure as possible over jumps, which helps our horses jump in a balanced and unhindered way.

Jumping Away From Home

August started off with an absolutely crazy week recovering from Pony Club camp week and judging Demi Dressage tests. Which means my blog has been neglected. But let’s start afresh with one of my latest challenges.

One of my clients has a lovely pony who is perfectly capable jumping at home, but gets a cricket score whenever they go out jumping. Since lockdown they’ve been focusing on arena hire, getting him out and about. But they’ve found themselves stuck in the cycle of one refusal, then he jumps the jump fine. By the end of the session he’s jumping beautifully, but of course that’s not the way a showjumping competition works!

This week I went along with them to see if we can break the cycle.

I had my rider warm up quickly, purposefully keeping away from the fillers and jumps. Meanwhile, I put all the jumps at about 50-60cm, with a central gap between the fillers.

We used the first, plain jump as a warm up fence and made a plan. My rider expects her pony to refuse so rides expecting a stop. The pony stops and once he’s stopped he uses it as an excuse to stop at the next jump. A self fulfilling prophecy. With the jumps as low as they were, he could jump them from a standstill. Therefore the pony learnt that he only had one option – forwards – and that going left, right or backwards wasn’t an option. My rider had to set him up in a straight line, use her seat to send him forwards and channel him straight with the leg and hand. She needed to ride slightly defensively yet positively so that she wasn’t giving him any vibes to have second thoughts. If he stopped, he had to walk over the jump between the fillers. So there was no turning away.

My rider jumped the first, plain fence to set them both up into a positive, rhythmical canter. They came around the corner and he screeched to a halt at the fillers on the first part of the double. She sat back, used her legs and he jerked over the fence unelegantly before trotting over the second element. They picked up canter and approached number three on a long dog leg, with bright, white fillers. He backed off, thought about stopping, but my rider rode so determinedly that he cat leapt over it from a slow trot.

But then the penny dropped. And for the rest of the round, the pony started taking his rider into the fences, fillers and all, without hesitation. Of course, his rider still had to be on the ball and not become complacent, but they seemed to be reading from the same page.

I adjusted the jumps for their second round, bringing the fillers closer and the jumps higher. Again, this went smoothly. Number two caused a problem again, but it was because their approach wasn’t straight rather than anything else. The rest of the course was confident and flowed very nicely.

The third round was up at 70-80cm, with all the fillers underneath the jumps, so much more like a showjumping competition. They flew this time, with my rider not looking twice at the fences.

Finally, I put some oxers in and turned two fillers around so it was a different image at the front. I didn’t want to have them repeating the jumps too many times as they had nothing to prove with the height, but I wanted to keep putting in new questions now that we’d changed both mindsets and broken the cycle.

The ninth jump didn’t cause an issue at all with the change of filler and addition of a back rail, but number two did. When he stopped, I moved the fillers slightly and put the pole down so he could still walk forwards over the jump. Turning around wasn’t an option. As the rest of the course flowed so nicely, with no hesitation, I turned our attention to jump two before we finished.

As the pony was getting tired, I lowered the first jump to a cross as it’s purpose was to set up the canter and start the jumping course. We focused on having counter flexion on the turn to stop him falling through his outside shoulder, and then channelled him positively. He stopped again, but it looked to be more of a test of rider than anything else. I moved the fence again so he wasn’t turned in a circle, and jumped it. We repeated the exercise and then he jumped boldly over, although my rider couldn’t let her guard down! After the double she jumped the third jump, so that they were finishing on a fence where he wasn’t backing off at all.

Next time, I want to start in a similar fashion, with only one warm up fence, and the fillers will start at the side, but closer together and the fences slightly bigger. But still small enough that they can be jumped from a sticky trot. Then hopefully we will progress to jumping with the fillers underneath the jumps quicker. My aim is to give the pony a positive, confidence building experience whilst ensuring that he learns that forwards is the only way to go when cantering towards a jump. In the meantime I want my rider to continue riding so positively, be more aware of how she is setting him up in terms of straightness and the use of her aids, yet starting to change her mindset from “he’s going to stop” to “he will jump it”. Once they can get to a training venue and jump a clear round straight away they can progress to clear rounds and competitions.

Getting Back into Jumping

I had my first jump with Phoenix for three months last weekend. I didn’t jump her initially during lockdown and then the ground has been so hard I haven’t wanted to use the jumping paddock. I was going to hire a training venue, but then saw a local gridwork clinic so decided that was a better option. Phoenix benefits from lots of grids to stop her rushing and engaging her brain, but it always involves so much getting on and off to adjust poles! Yes, I am lazy!

Anyway, the layout was excellent and I shall be using it for my own clients, so watch out!

There was a grid of three jumps placed on the centre line, one stride between each one and the middle jump on X. Then across the diagonals, between M and X, and H and X, were three canter poles, before one stride and the pole at X.

The session was all about straightness so we warmed up cantering straight across the diagonals, obviously traversing the pole at X on an angle. We worked on riding the corner in a balanced way so that we were straight over the poles and didn’t drift. Then the second and third canter poles were converted into bounces, as alternate diagonal poles. This meant that if you drifted towards the lower side over the first pole you had to jump the higher side of the next pole.

Once the raised canter poles were established and the horses confident over them and staying fairly straight the jump at X was raised to an upright and we jumped diagonally across the arena a few times.

Phoenix tends to load her right shoulder when jumping. She used to do it on the flat but as she’s getting stronger she’s carrying it more, but when caught up in the excitement of jumping she will regress to loading it. Which means that this exercise, particularly off the left rein, is highly beneficial.

The exercise is actually very straightforward if you can ride a straight line. The bounces help lift the shoulders, engage the hocks, and subsequently the upright is cleared easily and neatly. Sometimes when jumping on an angle a horse is inclined to drift through the open side. Partly because of the visual effect of the jump drawing them outwards, partly because the horse is crooked, and partly because the rider isn’t channelling their horse straight with the leg and hand. If you have the foundation right in your flatwork then the jumps will follow.

The next exercise was building the centre line grid up to two uprights and an oxer. The work across the diagonals developing straightness was put to the test with uprights and very little to guide the eye. The improved bascule and confidence in the horse’s jump also shows the benefits of improving their straightness.

We rode courses, linking all three lines up, and then finally changed the angled bounces to an upright, making a one stride double with the jump at X.

Having a lot of poles definitely helped Phoenix slow down and think about the job in hand, and the straightness work improved her bascule and ability to make related distances easy in a regular rhythm. Watch out clients, you’ll see some similar exercises soon!

Stepping It Up

I did quite a lot of adventuring in the autumn with Phoenix, of all disciplines to give her more experience, but the wet ground cut it short and with Christmas getting out and about went on the back burner a bit. I don’t think that’s a bad thing though, as it gives you time to focus on stepping up a level. Which is what I’ve been doing.

The flatwork side of things I’m slowly introducing novice movements, letting Phoenix think that they’re her idea. Medium trot is coming along nicely, she reins back well, direct transitions between halt and trot are sussed. It’s the dreaded walk to canter which keeps upsetting our canter work which is holding us back at the moment.

On the jumping side, I’ve done a lot of work on the canter and just before Christmas jump schooled her at a lovely, local venue. Through the autumn she was doing the 70cm and 80cm class so that she had a warm up before her level of jumping. However, now a 70cm course involves speed as she overreacts to my aids and is overly confident. Sure she goes clear, but it doesn’t feel controlled or like I have any say in how we go. In December, after jumping a course of 80cm I put the jumps up to 90-95cm. Then, it got interesting. Phoenix backed off the jumps, not enough that it all went wrong, but she had to think about the fences, and then she let me help her out. I could balance the canter and apply the leg on the approach. There were a couple of green errors, a pole down, the odd stop when she didn’t quite have the right canter and take off spot. But nothing unexplainable, and I found that I preferred the feel I had around a bigger course. It was time to step up a level!

With Christmas and the EHV outbreak over, I’m planning Phoenix’s adventures over the next few months. We’ve entered a combined training in a couple of weeks – a pre-novice dressage test and 85cm course. But the next showjumping competition I have in the diary has classes of 70,80,90cm. The first option is too simple for Phoenix, but the 90cm seems like such a jump up. I mean, she’s only jumped a couple of courses at that height non-competitively. Would I be throwing her into the deep end and creating a problem for myself if she scrambles round and loses her confidence?

When I take Phoenix jump schooling I try to go with a companion who will push me without pressure. Who will encourage the jumps to be raised appropriately, but doesn’t apply peer pressure to push us beyond our limits. I think this is really important for ensuring sessions are positive, confidence building, yet progressive.

For some reason, the 90cm class seems more daunting than when I entered Phoenix into her first 80cm. Perhaps it’s because I’ve not regularly jumped her at that height or higher, or perhaps it’s because it’s been almost four years since I was seriously jumping with Otis. And that was completely different: I was younger, had less to lose if it went wrong, was much more confident, knew Otis inside out, etc. I think there’s an element of my nerves as much as anything.

I want to step up a level with Phoenix, so before I made a decision, I decided to take Phoenix schooling again, with the aim of testing both of us around a bigger course to see how she coped and whether I felt that I was ready to give her the support that she needed round a bigger course. After all, it’s counter productive to wing it and get around a course by the skin of our teeth, than to give ourselves another few weeks of schooling at that level. Phoenix warmed up a little wildly over some smaller fences, doing her usual trick of ignoring my half halts and balancing aids and rushing to the fences. So after riding a course of 80-85cm, we built the jumps up so that they were 95cm high and the full width.

I was very pleased with how she jumped. Of course, it wasn’t perfect, she got a bit fast and flat on a related distance and took down the back rail, and we ended on a half stride to the final jump so just brought it down. But she felt powerful, confident, and jumped the height with ease, they were just errors which won’t happen with more experience. And when I rode the fences we’d faulted at again, she jumped them easily. So, decision made, we’re doing our first 90cm class at the end of the month, which should be fine with a warm up competition in the meantime. Wish us luck!

Containing The Excitement

I’m working separately with two teenagers at the moment to try to retrain their (funnily enough, both) mares so that their jumping isn’t so fast and furious. Both horses are experienced jumpers, but very quick in the air, and very fast on the approach.

Now, I don’t think you’re ever going to completely change a horse’s way of jumping, in that some have more scope than others, some prefer a slower, more collected canter approach, and others like the leg applied on take-off more than others, and so on. However, correct training can enhance a horse’s jumping technique, and there are lots of exercises to help correct undesirable jumping behaviours. I don’t expect either horse to stop being forwards to a fence, but I aim to have them politer and steadier on the approach so that it is safer and less hair-raising for their riders.

With one mare, I started off with a pole on the ground between two wings and incorporated it into their warm up. I had my rider walk and trot over the pole, using it within circles, and basically doing flatwork around the pole, going over it every so often calmly, and when it’s least expected. This takes away the novelty factor of jumping and poles, and reduces the amount of repetition and so stops her anticipating jumping.

Initially, she made quite a thing about the pole, jumping it and cantering off. So we repeated the calm and quiet approach, with my rider staying positive but neutral. She just went with the pony over the jump before calmly slowing her down. Then there was no negative connotation between the rider and the jump.

What I liked about this mare, and I don’t know her very well, was that she was very obedient to her rider’s downward aids. She was happy to let her rider influence her. I did think that her jumping was almost a bit panicked, so I hope that by slowing her down she learns to read and understand the question, so begin to enjoy jumping more. The important thing though, is that she was willing to work with her rider, and seems to become steadier each time.

I built the jump up slowly, and we focused on my rider aiming to trot the approach to the jump by half halting strongly until a couple of strides out when the hand is softened and the seat and leg tells the horse to go and jump. After the jump, my rider had to sit up quickly and ask the pony to come back to trot.

We varied this basic approach by using circles on the approach, transitions to walk (a good exercise was trotting towards the pole on the ground, walking over the pole, and trotting away), and varying the length of the approach. She started to listen to her rider and stayed in trot until a couple of strides off the jump, and was fairly quick to trot again after the jump. I emphasised to her rider that she shouldn’t interfere on the last couple of strides so that her pony could sort her legs out. The pony should be at the tempo and rhythm set by her rider on the approach and getaway, but ultimately they have to jump the jump so shouldn’t be hindered.

The other mare will jump an exercise very calmly the first time, but then she gets over excited and gets quicker and quicker. So I change the exercise promptly, only doing each level once or twice – making a cross an upright, or changing the rein, adding in another element etc. And my rider tries to keep the trot and rides a circle or two, or three, on the approach until the mare stops anticipating the jump. The circle shouldn’t be too close to the jump that the pony thinks she is being pulled out of the jump, and it should be planned by the rider. Using a combination of changing the exercise and using numerous circles on the approach we managed to get a steadier approach, but there was a fine balance between containing the excitement and not frustrating this mare as she then has the tendency to explode and go even faster to the jump!

With both mares, I’ve found that avoiding simple jumps helps slow them down and get them thinking about the obstacles. This week, I built a grid of one pole and a canter stride to a small upright, then one canter stride to a cross. I had my rider walk over the first pole, then ride forwards to the little upright. I was really pleased that the pony walked happily over the pole and my rider could then ride positively to the jumps, instead of having to restrain the mare. We only did this grid twice because she jumped it so calmly and quietly. I want to build up to trotting over the first pole and then calmly cantering the grid.

When working with a horse who tends to rush fences it’s important that the rider has an unflappable demeanour, and a strong core so that they can hold the horse together before and after jumps, yet calmly stay in balance over the fence and don’t pull the horse in the mouth or get left behind in the air.

It can be difficult to retrain a horse to jump, but with a consistent approach of calm, quiet riding and using a variety of approaches to keep the horse focused on their rider and not rushing to the jumps. I also find that not repeating exercises too often, and returning to flatwork for a few minutes between jumps to resettle the horse has beneficial effects. As a horse starts to slow down and keep a more rhythmical approach to a jump their bascule will improve as well, which will help improve their posture and muscle tone, so making their jumping easier and prolonging their working life.

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.

Trying Bits

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?

An Unlucky Pole

I took Phoenix showjumping today. She stormed round the 70cm clear, pushed into third place by some whizzy kids. In her first 80cm class, she had a pole down. But was still the fastest four faulter to be placed seventh.

On a side note, before I return to my main reel of thought, I’d like to well, boast really, about how amazing she is to take out. Loads herself, waits patiently and quietly for her class, warms up calmly, waits quietly, jumps her best, and then stands round while her little fan hugs and kisses her neck. She really makes the day enjoyable from that perspective.

Back to my original topic of conversation. That pole we had down. It reminded me of a conversation recently held between friends. One friend was suggesting that there is no such thing as an unlucky pole, and it is becoming an excuse for sloppy riding and a lack of clear rounds.

After every jumping round I do, I come away planning my improvements. Even the clear rounds. Last time we competed and had the last jump of last round – yes, annoying because we were a good ten seconds faster than our rivals – I knew exactly what had gone wrong. In trying not to upset Phoenix’s fairly fragile canter I hadn’t half halted between the last two fences and she needed it. So she had bounded on in a flat canter and basically went through the jump. I beat myself up then for letting her down more than anything, and went away to strengthen the canter and ride related distances properly. That wasn’t an unlucky pole.

Today; what went wrong? I’m yet to see the video, but it was a related distance on a slight left curve. We had the second element down. Phoenix’s canter felt much stronger throughout the day and she wasn’t towing me onto her forehand. She’d jumped big into the related distance because it was a loud filler and I’d really pressed the go button, and I think that this meant the distance between the fences along with the line I rode, and the stage she’s at in her training meant that she just got too close to the second element and brought down the front rail of the oxer.

Now was that unlucky? I think it could have gone either way today. We could have gotten away with it. Neither of us did anything wrong, she wasn’t tired, her technique was neat, and it’s perfectly within her capabilities, but the sequence of events just didn’t flow on the day. It was unlucky in the sense that she was jumping very well and confidently so didn’t really deserve to knock one with such a slight error.

That doesn’t mean there isn’t anything for me to learn from today. Her canter still needs improvement as if I had more scope to collect her I could have adjusted her enough to correct her bold jump into the related distance. I could’ve ridden a wider line, but it’s hard to change course once you’re on it. I also think I over-rode the first element, but I think the more competitive experience we both get together the better as I’ll know exactly how much leg to use and she’ll be less likely to have a second look at a fence. I also think she’ll benefit from a few jumping exercises I’ve got planned to help teach her not to bowl on quite so much through a related distance, as that is a common theme. But we’ll do our homework for next time.

So is there such a thing as an unlucky pole? I think you can be unlucky as a pair in that you deserved to go clear from the way you rode the rest of the round and the minor error which caused the pole to come down. You’ve tried your best with your ability on that day. But that doesn’t mean it’s an excuse. After all, a clear round is the goal and a pole down is a less than perfect result, so improvements can be made at home.

We riders need to walk away from a knock down and try to work out how we can improve on it. Be it riding better lines, improving the canter, practising on different surfaces and inclines, practising with fillers or water trays, changing tack, boots or studs if they’re becoming a hindrance or any other weakness you feel you and your horse have. Then, we will achieve perfection.

The video from the 80cm class has just come through, so I thought I’d share it so you can see our slight error. It was a straightforward course, but full of related distances, which is the area we have we working on most recently so it was a useful test.

Lightening the Forehand

Feedback I’ve had when jumping Phoenix, and what I know to be true, is that I need to get her stronger in canter and get her nose off her chest. This isn’t because I put her in an overbent frame, but more to do with the fact her confirmation allows her to do this easily and when she’s finding the canter work harder she leans on my hands and gets a bit on the forehand.

On the flat we’ve been focusing on relaxation and self carriage, ignoring the canter unless she’s in the right frame of mind because she can get uptight and a bit panicky if you do too much correcting to her way of going. She doesn’t like to be interfered with.

I’ve kept the idea of her taking her nose out in any canter work we’ve done on hacks and any other time, but I decided this week to give her more of a challenge.

I laid out three canter poles, then one canter stride to a final pole. Phoenix is getting much more confident in her footwork through pole exercises so I wanted the three poles to help establish her rhythm and discourage her from rushing. As she can sometimes drift through grids I laid two poles as an arrow with the tip touching the final pole. I wanted to jump an A-frame but wanted to introduce the question early so that Phoenix could process it and be confident.

After trotting and cantering the poles from each rein I put the final fence up, leaning the diagonal poles in the middle. I approached in canter, and whilst Phoenix was spot on over the jump, really lifting her shoulders and staying straight, she kept giving a hop, skip and a jump over the canter poles.

I felt like she was getting herself in a bit of a stew on the approach because she was a bit too fast and unbalanced in canter. So I trotted into the exercise, letting her pick up canter over the first pole. Then, she was foot perfect and wasn’t as quick. Which felt better as it felt more controlled, like she understood the exercise more.

I continued to approach in trot, and gradually raised the second and third canter poles to little bounces. Now I actually wanted her to give a little skip over the poles, so that she lifted her shoulders, engaged her hindquarters and lifted her nose so that she was looking where she was going.

The final jump immediately felt better, as she pinged over them, really coming up in front.

I raised the A-frame fence gradually, but Phoenix took each height in her stride, feeling very correct in her bascule and technique. I loved the feel of the canter now – the balance and power that I had – and it was only when the jump reached 1.05m did she feel like she was having to work over it. I only did it once before leaving our session on a very positive note. She had jumped her biggest to date comfortably, and was confident in her approach. I felt there was an improvement to the canter, which she will hopefully take forward to the flatwork and allow me to adjust her to re-create that canter next time I ride.

My plans now are to do more of the bounce work, perhaps a line of six or so, to strengthen Phoenix’s hindquarters and improve her canter, as she seems to respond better to the poles dictating her canter rather than me interfering. She’s already schooling over 90cm courses, so I won’t push it any higher without getting her some more competition experience and getting her stronger. But hopefully the combination of the bounce work and more canter work on the flat will improve her performance around courses.

Riding Dog Legs

I did the keyhole jumping exercise with a client a couple of weeks ago, and we discovered that she and her pony found riding left dog legs significantly harder than riding right dog legs.The pony is a left banana, and will drift through his right shoulder at every opportunity, but we’ve been addressing both of their straightness and it’s improving all the time. However, jumping and turning left highlights the fact there’s still a weakness here.So this week I decided to tackle left dog legs. I warmed them up with the focus on riding squares, my rider using her outside aids to turn, and keeping the inside rein open without going back towards her, and the pony turning from the outside aids. I see this a lot and for whatever reason, a rider may apply the correct aids to turn, but the horse doesn’t obey immediately, and then in a panic that they aren’t going to make the turn, the rider resorts to pulling them round with the inside rein. They know they’re doing it, but you can’t help it if you’re going to miss the turn! This then creates a cycle that the horse doesn’t turn until the inside rein is utilised, which causes the outside aids to fall by the wayside.My rider has identified in previous lessons that she sometimes forgets to use her right leg to push her pony to the left, so a lot of our flatwork looks at switching that leg on. Furthermore, as she reverts to her left rein, her right hand disappears up her pony’s neck, thus allowing him to drift out of that shoulder. Now I’m not saying she’s to blame – it’s a chicken and egg scenario. But she’s the bigger person, the one I can explain things to, so we have to address her aids first. This is where the flatwork is so helpful; riding the squares and leg yielding, to identify her asymmetry in her aids, and to ensure her pony is responding to the right leg before we add in jumps.Once warmed up, I had them canter a three stride, left dog leg of poles, of which I’d laid dressage boards on the outside of the curve. The visual aid will encourage the pony to turn left, which breaks the cycle of her resorting to the inside rein. She could focus on applying the correct aids and get the correct response from him which would help his understanding.They cantered through the exercise a few times until the canter stayed forwards and the turn was balanced with the correct aids. Interestingly, when the pony was asked to turn left correctly, his evasion technique was to slow down, so my rider had to keep her foot on the accelerator whilst turning and ensure her hands were positive aids.The aids she was giving, or was aiming to give, was a bit of weight into the left stirrup to keep left canter, opening the left rein wide (but not backwards), using the right leg to turn him, whilst keeping her right hand near the base of his neck to provide a wall to support his right shoulder. The trick is for the outside rein to be reactive: not pulling back and causing him to slow, and not slipping forward as he starts to drift, but rather being “there” until he starts to lean on the right shoulder, and then firming the contact to prevent the drift. She’s reacting to his body rather than blocking him with an immobile rein.Next, I built the fences up to crosses. This was to guide both of them to the centre, and to ensure they were totally accurate. This was when the pony started putting in four strides. They were getting the line, but he was becoming sticky in the canter. A check that the reins weren’t restricting him, and then she could apply more leg to keep the power.Once they’d mastered the line, the aids, and planning the turn, I removed the white boards. This made it a bit trickier, as we realised how much the visual line was helping them. So I popped one board in the middle to help them, and once they’d negotiated it successfully then I removed it, and they managed to ride the dog leg line. There was an element of my rider needing to start riding her turn earlier in the exercise; because the pony found it harder that turning right, he needed more setting up and more time to find his line.We ended the session with two steep crosses, getting the dog leg line perfectly and maintaining the canter rhythm to get three strides between the jumps. Hopefully we can build on this in the next few weeks with different exercises.