Sometimes dressage riders think it is enough to teach their horses the movements, but they don’t take into account that a young dressage horse needs more than just movements to excel in competition and move up the training scale. Respect and self-assurance are the indispensable preconditions for building a harmonious partnership.

There is no question that horses are stronger than we are. Because they are flight animals, trouble can happen in the daily handling and work as well as at the more intense atmosphere of a show. All too often we observe bad behavior: Horses pull their riders around, do not stand still while they are mounted and use the rider to scratch their itchy heads. While all this is tiresome, it more importantly shows that the horse has never learnt to respect the rider as the herd leader. This is the position in which the rider needs to be, and so respect needs to be established early on. This includes fairness, which is key to a horse’s contentment and happiness.

The harmonious partnership we aim for begins with groundwork even before we have the young dressage horse under saddle. Securing a form of general obedience from the ground allows us to work in a relaxed way with our equine partner and helps a lot when it comes to riding because the horse has learnt to trust and follow us as he would in nature, following the lead mare in a herd. In this article, we show how we establish respect from the ground and how this leads to strengthening a horse’s self-assurance, which is necessary preparation for his first shows.

Step 1: Establish Respect
There is no magic. Rather, systematic training and consequence are indispensable in gaining a horse’s respect. And it must be done in a way that lacks any force, violence and injustice. Your uppermost aim has to be to become the herd leader, because in doing that you give your horse the security he needs when being worked, thereby increasing his faith in you and in the environment in which you work. The horse learns that you are the one determining the speed and direction in which he moves.

You do this by using specific body language and repeating short voice commands. Horses are usually quick learners. After showing them something new, given the right timing and praise, you only need about three repetitions to secure the behavior you want. One general remark on the use of the voice: In nature, horses communicate soundlessly. Voice aids are still useful, but we are not allowed to completely rely on them because in stressful situations the horse will pay less attention to them than to our body language. So the latter is of greater importance.

The basic needs: Groundwork begins by teaching the horse to halt, go forward and back up. With a young, unbroken horse, we most often use the Dually Training Halter designed by Monty Roberts. It works with pressure on the nose that can be quickly applied or loosened as needed.

Attached to the halter is a heavy lead rope that lies comfortably in the hand. Gloves protect the rider’s palms in case the lead rope slips through them when the horse jumps. We prefer a length of three meters (9 feet, 9 inches) in contrast to the usual two, because we have a better chance of holding on to the horse if he tries to break away.

With some horses it is useful to additionally use a stick/dressage whip to give signals, but you must first teach him to accept the touch of it on his body without fear. If a horse is not well-behaved on the ground when you begin with him, take a whip along with you, as it can be useful whether he pulls and rushes ahead of you or wants to trundle behind.

We start with the first exercises in the security and reduced space of our round pen, but later it should be possible to do the basics in every environment. For us, it is important to establish a “relaxing zone” in the middle of the round pen, where we allow the horse to rest after an exercise. Here, he gets praised and stroked and soon knows that this is a place where he can relax.

Lead forward. Lightly pull at the rope and combine it with a voice command. I use a “kissing” noise. Usually horses understand this very quickly and soon the noise is all you need to ask them to step forward. There are several positions the leader can be in: We prefer, particularly with stallions, to have the horse’s head at shoulder height. We walk relaxed at that position while keeping a certain personal space between us. The horse is not allowed to touch us, let alone push.

If a horse tends to pull, the typical reaction is to pull back. To stop this cycle, put either the Dually halter on or attach a lead chain running from the right cheek down over the nose and into your hands. It is not about using force but about refining the signals you give. Each time the horse tries to pull forward, give a short but firm signal with the lead rope and put the end of the whip in front of his nose. Praise him when he reacts promptly.

If the horse trundles behind you, carry the whip in your left hand and point its end at the hindquarters of the horse. Usually this is already enough, and the horse will catch up with you. If not, you can slightly tap the hindquarters to get the desired effect. Repeat until the horse has learned you will not tolerate him staying too far behind you.

Halt. A much-needed basic the young horse has to learn is to react to pressure applied by the rope running over his nose. The horse should learn to give to the pressure. If we want the horse to halt, we give a short impulse with the rope and combine it with a short but clear voice command. I use “whoa.” As soon as the horse reacts to this combined command, the pressure applied by the halter has to stop and he has to be praised accordingly. Some horses—in particular, sensitive, “electric” ones—understand the signals promptly, and you soon can give very fine impulses. Others will only react to your voice command. But some more phlegmatic types don’t react immediately to the impulse given by the rope over the nose, and you have to give several small but firm impulses in succession. If he continues to ignore me, I increase the impulse by putting the end of a whip in front of his nose.

Go backward. Once the horse learns to halt obediently and reliably, start teaching him to go backward. For that you need a rail on one side of the horse so he cannot evade you. Stand in front of him and take the rope with your left hand about where the snap attaches to the halter. The shorter the rope is held, the more directly the impulses are transferred to the horse’s nose.

With your right hand, hold the rope in a loop. The horse already knows that the pressure on the nose means to yield. It is important that the impulses you give via the rope are short but repetitive. If the horse does not react, use the end of a whip or bamboo stick to apply short taps on the shoulder. Eventually, it should be sufficient to give slight impulses on the nose for the horse to walk backward in a quiet rhythm.

Directly after the last step backward, you must establish the forward impulse in your horse again and ask him to step forward. With some horses, you may need to pause and relax for a moment at the end of the rein-back, but the horse must always be willing to step forward out of the rein-back at any time.

Step 2: Increase Self-Assurance with Long Reins
Once the young horse becomes familiar with the voice commands to go forward and he can halt, we begin longeing him in a round pen. We start with a single longe line, then add a second line so he gets used to them running behind his hindquarters. This is good and necessary preparation for the work in long reins.

Cautionary note: Find someone to help you. Remember that we have a lot of experience longeing and using long reins, and you need to be experienced too if you are going to try it.

Longeing and long-rein work releases the horse from the immediate proximity of his herd leader and asks him to discover his environment almost on his own. Going out in long reins develops and strengthens a young horse’s self-assurance and consolidates his faith in his rider, who now walks behind him. With more advanced horses, this work is a way of keeping them entertained between training sessions in the dressage arena.

What you need: We use a snaffle bridle with an egg-butt or full-cheek snaffle bit in combination with a flash noseband. The cheekpieces and noseband help keep the bit quiet and straight in the horse’s mouth.

We prefer soft, round long lines to flat, webbed ones. We attach them to the bit rings and always wear gloves.

We use the same voice commands we’ve been using. In general, the long reins replace the rider’s calves and together with the voice commands take care that the horse moves in the direction and speed we intend to go.

We don’t use a surcingle when long-reining so the reins can have more freedom of movement. We can touch the horses where we need to and can work them in a more sensitive way than when the reins are fixed on a surcingle.

First exercises. The first time we use long lines on young horses, we stay in our longeing circle or round pen, but you can also use a normal arena or indoor. We use all the commands the horse already knows from his weeks of groundwork.

Day by day, we explore the yard a bit more. For example, we might go to a nearby field or to the edge of the forest. If you observe that the horse is more and more comfortable in his new position ahead of you, show him some new tasks to deal with, such as walking into puddles or over logs, walking, trotting or even jumping over poles on the ground. Never forget to promptly praise him after he has mastered a new task.

The more faith he develops in you and himself, the more you can look for new challenges. We may ask our youngsters to pass by a grazing herd or work in long reins next to others. Or we might ask them to go through the creek running through our property. After extensive rainfall, we sometimes have a kind of lake in our courtyard, and we like to ask the horses to walk and trot in there to get used to water splashing their legs and belly. Be sure to do everything slowly, never asking for a second step before the first one. Then your horse will develop positive self-assurance, helping him to deal with the same things more easily when being ridden.

Step 3: Desensitization—Prepare Your Horse for the Unknown
Sometimes there are dressage riders who think that working their horses in a focused manner is only possible by excluding them as much as possible from any outside influences. A horse might be oversensitive for whatever reason and so needs to be worked in quieter surroundings in the beginning. But, in general, we are strong believers that it is no good hiding horses behind the walls of an indoor arena with the atmosphere of a monastery. Dressage horses are destined to be competed at shows and there they will find a whole lot of stimulation and noises that could easily distract them if they have not already seen and heard as much as possible at home. This is particularly necessary for stallions.

So part of our dressage training at home is to desensitize the horses to a lot of different noises and visual impressions that could come at them when it counts the most—at the showgrounds. Of course, we will never be able to simulate the special atmosphere at a show, in particular the ones held in a big stadium. And we will never know for sure what we will find there. But the more we show the horses, the more we know how they might react, and that gives us, the riders, the chance for prompt reactions. For example, we accustom stallions to working in the presence of mares step by step.

Cautionary note: Get help to do this, and remember that beforehand the horse needs to have learned respect for and faith in his rider.

The easiest form of desensitization is to keep horses outside as much as possible where they can see and hear a lot more than they do just standing in stalls. It helps to include regular trail rides in your training program so that your horse is not panicking if a bird flies out from a bush. Training outside in all types of weather helps horses when they have to compete in rain or worse.

The most decisive factor is that you have a firm impact on your horse if he spooks. “Firm” doesn’t mean to bore spurs into his flanks and holler loudly for him to pass the frightening object. Such a reaction, often seen, only strengthens the horse’s flight instinct and lets the “monsters” appear even more dreadful. Horses think in pictures and next time will associate the monster with the pain of the spurs or whip. Instead, when your horse meets a frightening object, react in the following way:

• Take the reins a bit shorter and halt in front of it. Allow your horse time to look or sniff at it quietly while you talk calmly and pat or stroke him. This also calms you down as the spook of your horse usually also makes your heart beat faster.

• Then pass the object a few times on each lead in walk, preferably in the shoulder-fore position.

• Now divert your horse’s attention from the object that frightened him by starting to trot and going on with focused work. Very effective, for example, is riding lots of different transitions so that the horse soon puts his thoughts in another direction and forgets about the fear.

Often it is typical objects like flags rattling in the wind, umbrellas being opened, running and barkings dogs, loudly clapping crowds or music that frighten young, inexperienced dressage horses at shows. Luckily, these are things that can quite easily include in desensitization training at home. All you need are some helping hands confronting the horse while you sit in the saddle. The advantage is that, in this case, you are aware of the fact that your horse might spook, jump sideways or show a little rear as a first reaction. Go slowly, step by step.

Don’t confront your horse with more than one frightening object in a lesson. Switch to another one the next time. Then, on another day, go back to the first object to confirm the horse’s positive reaction. If he ignores the once-disturbing object, great, but try once more on another day until there’s no significant reaction to it anymore.

There are horses that have to repeat this training several times over a longer period and only a very few never become bombproofed. The decisive factor is that you and your horse have built faith in and respect for each other. Then the horse will not bolt away panic-stricken.

Desensitization is just a way to strengthen this respect and faith and see if it is already strong enough or has to be deepened even more. When your horse is familiar with several different objects and doesn’t panic or spook at them, you can try an obstacle parcours, or obstacle course, including several of the objects following one another. You can ride this parcours or lead the horse, however, the motto has to be “make it more difficult.” This kind of overstimulation will harden your horse and done step by step, it will help enormously at a show.

It is also useful to take the horse to a show just to work in that atmosphere. There, you can see how he reacts to different objects and determine whether he still needs training at home or if you can start him with a quiet conscience.

Knowing that the young horse’s future is destined to be in the dressage arena, we set a good foundation from the ground. This kind of work helps you and your horse master the first starts outside the secure surroundings of your home turf. The horse knows that whatever comes his way does not have to be frightening because you, as his herd leader, are at his side.

Stefan Schneider and Uta Gräf are headquartered at Gut Rothenkircher Hof in Germany. Schneider, a veterinarian specializing in equine dentistry, has competed in jumping, reining and working equitation at the highest levels. Gräf is one of Germany’s most successful competitive and classical dressage riders. Both are well known for combining top sport with natural horsekeeping. At home, Schneider works the horses from the ground while Gräf does the riding. Gräf’s DVD series, “Joy of Dressage,” comes out in English in April 2013. Schneider has co-authored the book Stallions Care and Management. Look for reviews of both in future issues (gutrothenkircherhof.de).

Horses come in many shapes and sizes, and while all can benefit from basic dressage training, not all are physically capable of performing at the higher levels. One of the factors that can limit performance potential is conformation—the geometry of the skeletal framework in terms of the lengths and angulations of the bones and joints.

Ideally, the pelvis of a dressage horse should be long to give a large area for attachment of the propulsive muscles, and it should have a moderate slope to facilitate tilting the pelvis, lowering the haunches and moving the hind legs forward under the horse’s body.

Given the relationship between form (conformation) and function (performance), it is definitely helpful for the dressage rider to develop an eye for conformational features that affect a horse’s potential for dressage. The purpose of this article is to describe key features of the anatomy and conformation of the hindquarters with the goal of helping readers to evaluate important conformational features in this area.

Figure 1: Difference in shape of the sacrum. The bones are positioned so that the head of the horse would be to the right and the tail to the left. The sacral spines are labeled S1 to S5 and the green line shows the croup angle. These specimens illustrate how the size and shape of the bones vary between horses. In the top sacrum, the first sacral spine (S1) is short and poorly developed and the croup angle is 24 degrees. In the bottom sacrum, there is a more marked difference in length between the second (S2) and last (S5) spines and the individual spines have more of a backward slope. The croup angle is 30 degrees. These are examples of the diversity seen among normal horses.

Identifying Conformation
One of the secrets to being a good evaluator of conformation is to develop the skill to see beyond the outer layers of skin, fat and muscle in order to visualize the lengths and angles of the bones that lie beneath. Visualization of the bone structure is easier in some parts of the body than others. For example, below the elbows and stifles it is easy to see the outlines of the bones and to assess their conformation. In the shoulder and hip regions, however, the bones are concealed beneath the large, powerful muscles that attach the limbs to the trunk, making the bone structure more difficult to evaluate.

With that in mind, let us focus on the horse’s hindquarters and the differences between the shape of the croup versus the dimensions of the pelvis. The external contours of the croup are easy to see, but they give little information about the underlying pelvic structure, which is more relevant in our conformational evaluation.

Let’s start by taking a look at the bones that underpin the structure of the hindquarters: the sacrum and the pelvis (see Figure 3). The sacrum is part of the vertebral column located between the lumbar region and the tail. Although there are five sacral vertebrae, they are fused together into a single bone, the sacrum, which means that there cannot be any movement between them. The joint between the front of the sacrum and the last lumbar vertebra—the lumbosacral joint—is quite mobile. Its movements can tilt the sacrum and pelvis forward (flexion or rounding), flatten the croup (extension or hollowing) or turn the haunches to the side (bending).

Figure 1 shows the anatomy of the sacrum from the side view. The underside is formed by the fused bodies of the five sacral vertebrae with their five spinous processes protruding upward. The spines on the sacrum get shorter from front to back. The tips of these spines form the topline in the middle of the horse’s croup.

Figure 2: Horse pelvis articulated with the lumbar vertebrae. The horse’s head would be to the right and the tail to the left. The three bony prominences have been labeled: point of croup, point of hip and point of buttock (see Figure 3, p. 52). The acetabulum is also labeled; it forms the articulation of the hip joint. A lower position of the acetabulum favors the ability to perform highly collected movements.

The orientation (slope) of the sacrum varies with the horse’s posture. Horses with good strength and tone in their core musculature hold the lumbosacral joint in a slightly flexed position and keep the croup slightly tucked. Loss of tone in the core musculature may be reflected in poor posture even to the extent that the pelvis slopes upward toward the tail head.

As you can see in Figure 1, the amount of shortening of the sacral spines varies between horses, and this also affects how much the croup slopes downward toward the tail head. Note that in the live horse, the gluteal muscles may bulge on either side of the sacral spines giving a rounded profile, so it is important to assess the slope of the croup (sacrum) on the midline between the gluteal muscles.

Immediately behind the sacrum are the vertebrae of the tail. The length and angulation of the sacrum affect the position and carriage of the tail. A flat (horizontal) croup is associated with a high tail set and a high tail carriage as shown by the Arabian in the top photo in Figure 5. A sloping croup gives a lower tail set and a lower tail carriage as shown by the Friesian in the top photo in Figure 6.

Figure 3: The position of the sacrum and pelvis relative to the contours of the hindquarters. The three prominences on the pelvis are marked by red circles: 1. point of croup; 2. point of hip; 3. point of buttock. The red line running from the point of hip to point of buttock indicates the slope of the pelvis. The green line indicates the slope of the croup. In this diagram the two slopes are approximately the same. This horse has a rather flat (horizontal) croup and pelvic angles, and the acetabulum is placed relatively high.

Courtesy Hilary Clayton

The pelvis connects the bones of the hind limb to the vertebral column via the hip joint and the sacroiliac joint. When seen from behind, the pelvis is somewhat U-shaped with a narrow separation in front where it curves around and above the sacrum (see Figure 2). The union between pelvis and sacrum at the left and right sacroiliac joints suspends the sacrum beneath the pelvis and anchors it in place with strong ligaments. The sacroiliac joints, which are located on either side between the high points of the croup, do not allow a significant amount of movement; their function is to transmit propulsive forces generated by the hind limbs.

The hip joints are on either side of the lower part of the pelvis, where the acetabulum forms a rounded socket that receives the head of the femur. The hip is a highly mobile joint that allows the entire hind limb to swing back and forth and to move sideways in abduction (swinging outward) and adduction (swinging inward). A low-set hip joint facilitates compression of the hip angle and is advantageous for allowing the horse to perform highly collected movements.

Figure 4: The Warmblood. The warmblood is often considered the standard for ideal dressage conformation. The photo below illustrates how the hindquarters of successful dressage horses often have pelvises that tend toward the longer end of the spectrum and have a moderate slope.

Photo by Arnd Bronkhorst

Pelvic Length & Angulation
The pelvis is surrounded by the large muscles of the hindquarters, making it difficult to distinguish the contours. But, fortunately, there are three bony prominences on each side that are easy to see and feel and that we can use as landmarks to assess pelvic conformation. These are the point of the hip (tuber coxae), the point of the buttock (tuber ischii) and the point of the croup (tuber sacrale). Pelvic length and slope are measured by drawing a line from the upper part of the point of the hip to the point of the buttock, which is a few inches below the tail head (Figures 2 and 3).

Both the length and angulation of the pelvis are key conformational measurements that affect the horse’s strength, power, speed and agility. A larger (longer and broader) pelvis has more room for attachment of the powerful gluteal and hamstring muscles that provide propulsion during locomotion.

Figure 5: The Arabian. These two Arabians are of very different types. The top horse is a successful halter horse and is posed with the hind limbs camped out and the lumbosacral joint extended to make the croup appear as flat as possible. In this horse the croup angle is horizontal and the pelvic angle is 10 degrees. The high tail set and high tail carriage are also exaggerated in this pose. If this horse were not standing camped out, both the croup and pelvic angles would be a little more sloped. Neither the excessively flat croup nor the tendency to stand and move with the lumbosacral joint extended are desirable characteristics in a dressage horse. The lower photo is of a successful Arabian Grand Prix competitor. The angles of the croup and pelvis are parallel and measure 20 degrees. Perhaps unusually for an Arabian, this horse has a good ability to tilt the pelvis forward and engage the hind limb.

Top photo by Arnd Bronkhorst, Bottom photo courtesy Hilary Clayton

Horses that race over short to middle distances, such as racing Quarter Horses and Thoroughbreds, have the longest pelvises, measuring up to one third of the total body length. A short pelvis offers less area for attachment of the propulsive muscles, but this is compensated by greater agility. Dressage horses have pelvises that tend toward the longer end of the spectrum, though not as long as racehorses.

The angle of the pelvis is measured relative to the horizontal with the horse standing square. Using these landmarks, an average angle for a dressage horse’s pelvis would be around 20 degrees. In his doctoral research, Swedish equine biomechanics expert Dr. Mikael Holmström found that the average pelvic angle in elite Swedish Warmblood dressage horses was 30 degrees. However, it should be noted that Dr. Holmström measured pelvic angle from the upper part of the point of hip to the hip joint.

These landmarks will always give a steeper pelvic angle than if it had been measured from the point of the hip to the point of the buttock. It’s not a matter of one method being right or wrong; it’s just two slightly different measurement techniques. However, you need to know which landmarks were used in order to evaluate and compare the results.

When the lumbosacral joint is flexed, the rear part of the pelvis tilts forward, bringing the hip joint and hind leg farther forward under the horse’s body. Equine conformation analysis expert Dr. Deb Bennett refers to this as “coiling the loins,” which helps us to visualize the effect. With the pelvis tilted forward, the frame is compressed and the hind limbs act closer to the center of gravity, providing more upward (rather than forward) propulsion. A significant amount of pelvic tilting (and untilting) occurs during each stride of canter when the lumbosacral joint flexes as the hind limbs are pulled forward and extends as they are retracted.

In piaffe and canter pirouettes, the horse can maintain lumbosacral flexion and keep the pelvis tilted forward throughout the stride because in these movements the hind limbs are not retracted. In horses with a flat pelvic conformation, the sublumbar muscles that are responsible for lumbosacral flexion exert less leverage than in horses with a more sloping pelvic conformation. Thus, it requires greater force to flex the lumbosacral joint with a flatter pelvic angle, and lumbosacral flexion compresses the hip downward, rather than tilting it forward. On the other hand, an overly steep pelvis may restrict the rearward swing of the hind limb and interfere with the ability to extend the stride. As with many conformational variables, extreme pelvic angulations in either direction are not ideal; and an intermediate angle is preferred.

Figure 6: The Friesian. Friesians were originally bred for use in warfare and agriculture. The breed is still popular as a light carriage horse, and the top Friesian photo is an example of the Baroque type used for driving. Note the steeply sloped croup and pelvis (both 20 degrees) and the consequent low-set tail. The Friesian sport-horse bloodlines, as illustrated by the horse in the bottom photo, are becoming increasingly popular for dressage. This Friesian sport horse has greater length and less slope in the hindquarters compared with the horse above.

Photos by Arnd Bronkhorst

In recent years, selective breeding for specific performance criteria has produced horses that excel in dressage, though these superstars are out of the reach of most riders. It is possible, however, to find horses of a variety of breeds that have conformation favorable for dressage. The key is to learn how to distinguish between horses that have the physical attributes needed for dressage versus those that are better suited to another occupation.

The breed photographs in this article compare the conformation of the croup and pelvis of an outstanding warmblood dressage competitor (Figure 4) with two representatives each of the Arabian and Friesian breeds to show the diversity of croup conformation within these breeds (Figures 5 and 6). The photos show that there are horses in each of these nonwarmblood breeds that have suitable conformation to become good dressage performers.

Introducing In-Hand Equipment
No matter how advanced your horse is, the following steps will walk you through correct in-hand work. Begin by wrapping your horse’s tail so you will be able to touch his whole hindquarters with the whip during work. Put the saddle or bridle on in the same order you tack up for mounted work.

If you are beginning with the saddle, place a well-fitting surcingle around it after you have placed the pad and saddle on your horse’s back and attached the girth. You will know the surcingle is a good fit when you are able to tighten it enough that it does not slip during work. If you only use a saddle, the side reins you will be using might move during work or be incorrectly placed on the girth. The key to an appropriate surcingle is that there are enough rings for attaching side reins at varying and appropriate heights. The side reins can attach to the bit or the cavesson, depending on your preference and your horse’s reaction to the varying contact.

Use your horse’s snaffle bridle so you have use of the bit. Over that, put on a well-fitting longeing cavesson. Make sure to remove the noseband of the bridle so that it does not get in the way or pinch the horse on the chance that it comes into contact with the cavesson during work.

When I work in-hand, I carry two whips that are an appropriate length for this type of training—one is stiffer and the other is softer. Before you know which in-hand whip you will need, you have to test to see which the horse prefers.

As you progress in your in-hand work, if your horse has an overreaction and seems unsure about coming under with his hind, consider your whip aid. Some horses react better when you touch them with the whip over the croup or on the hock, but you have to figure out where they prefer to be touched. Always look for the point on your horse to touch that makes him think, forward and come under.

Introducing In-Hand Work
With a pocket of sugar, a pair of riding gloves and a longe line, you are ready to work in the arena. Begin by attaching the side reins from the surcingle to the bit rings. Make sure that their placement is parallel to the ground so they do not pull down on your horse. Instead, their height and length should encourage him to be on the bit. Remember that the goal is to build correct neck muscle, and we cannot do this without correct side-rein placement. Make sure the side reins are an even height and length on both sides before beginning so that when you hold your horse’s head with his poll at the highest point and his face on the vertical, your side reins offer a steady, unrestricting connection.

It is also worth pointing out that a more advanced horse will carry more weight behind, which will make him go up in the wither. We want to account for that by choosing a slightly higher surcingle ring to attach the side reins to.

The horse should not get excited when he is doing in-hand work. Our primary goal is that he is relaxed in his work. It is also our job to remember that we get to choose our horse. He does not get to choose his owner/trainer/discipline. As a result, we have the responsibility of checking in and confirming that we are making fair requests of our horses when pushing them to do something new. If, at any point, they get excited, reassure them with a pat or sugar.

Exercise One—Forward and Backward: The first thing I do when introducing in-hand work is to invite the horse to pick his legs up and achieve a square halt and rein-back correctly. As you are doing this exercise, make sure to watch your whole horse. If you stand too close, you are at risk of getting in his line of travel and you can’t see what he is doing with his body language. If you are too far away, you cannot use your aids effectively. Have the horse between your left hand and right whip on the left rein.
1. Touch your horse’s inside hind leg, just above the hock with your in-hand whip to ask that leg to come under. Cluck to reinforce the aid.
2. When he steps under with that leg, stop your whip aid and reward him.
3. Ask your horse to step forward and under with his legs until you have achieved a square halt.
4. With a soft half halt on the longe line, ask your horse to rein-back. Make sure he steps back in diagonal pairs. If your horse does not step back with
diagonal pairs, repeat the rein-back until it is correct.
5. If he needs a stronger aid for the rein-back, touch his shoulder with the whip to show him you want him to step away from the aid (as he did in steps one and two).
6. Touch his inside hind leg with the whip, asking him to step under again.
7. Touch his outside hind leg above the hock to ask that leg to step under.
8. Repeat the square halt and rein-back again.
This rein-back exercise is helpful in teaching your horse to move from his hindquarters, through his body and onto the bit.

Exercise Two—Turn On the Forehand: Now you can practice something a bit more advanced. The turn on the forehand is a great next step because
it teaches your horse to stretch by
asking him to step his hind legs in a semi-circle around his stationary inside fore while the outside fore moves forward only slightly. It encourages your horse to bend opposite his direction
of movement.
1. Off the rail, stand to the side of your horse near his head.
2. With your whip, touch your horse on his haunches to ask him to move away from the aid.

With this movement, you should achieve an easy turn on the forehand. This type of lateral stretching is helpful for warming up your horse as well as relaxing him and building his muscles. Remember that dressage exercises the whole body, so make sure to do the turn on the forehand on the other rein. Everything has to be done as if you are playing, and you must always check that your horse is relaxed and happy in his work, not nervously moving away from your every move.

Advancing the Work
As your horse develops in his training, you are ready to start half-steps.
Exercise Three—Half-Steps: Using the same equipment as you did in the previous exercises, follow these steps to introduce half-steps to your horse:
1. Confirm that you can move him forward with a cluck and whip tap.
2. Ask your horse to move straight and forward with diagonal pairs (the two-beat trot rhythm) as you continue next to him.
3. With your whip, ask your horse to step under with his inside hind as you asked before with a touch on the hind. When you have achieved a few half-steps, stop your whip cue.

Pay attention that he is trying to carry extra weight on his hindquarters. Once you have developed half-steps, you are ready to start thinking about piaffe with your horse. It is the most collected exercise in dressage, so sometimes introducing the work from the ground is easier than under saddle. This is an exciting time in your horse’s training, as he will completely change in balance and strength from this collection—from his withers to his hips to his hind legs.

Exercise Four—Piaffe: To prepare for piaffe, ask your horse to walk into a square halt, with his nose in front of the vertical. Remember that the side reins should not be pulling your horse down. When you first start this exercise, it is important to allow him to move forward when he is learning piaffe.

To begin, start from the halt and follow these steps:
1. Ask for walk on a straight line.
2. Shorten his steps by softly touching his croup with the whip (to cue his whole hindquarters) and adding a cluck.
3. Piaffe starts in diagonal steps and the hind should come up only one hoof in height. He should stay uphill.
4. If he is lazy, ask for more forward.
5. If he does not take weight back, insert your rein-back exercise and then move forward to piaffe again.
6. When he responds correctly, praise your horse for a job well done.

Just play when you are doing these exercises and don’t be afraid to combine your rein-back exercise with your forward and back exercise to take a break from the more collected work. What is important is that you remember to take a break, because a horse cannot concentrate for too long. This variety will keep him motivated in his work. As he develops skill and collection, only then can you work the piaffe without moving forward, so he performs the movement in place.

In-hand work builds the muscles because it is like bodybuilding, so repeat the exercises on the other rein.

The Double Longe
When you and your horse are comfortable with in-hand work, you can have two people work together with the double longe. The first person’s entire job is to watch and control the amount of forward movement with a lead line attached to the cavesson. She stays at the horse’s head during in-hand work.

The second person’s job is to continue with the other elements described in this article’s in-hand exercises, but with two lines connected to the cavesson and running through the surcingle instead of the single line connected only to the horse’s head. This second person is the one who can tap with the whip and cluck to ask for collection while holding the double-longe lines. Again, this second person’s whip and voice aids ask the horse to collect or “come from behind.” The person does this by standing a safe distance from the horse, near his hind, to tap with the long whip on the hindquarters.

When you have the double lines, the surcingle should have rings toward the top so that when he is ready and more uphill, your horse can have a higher topline. You know he is ready (in this stage of bodybuilding) when you can ask for piaffe and the degree of collection needed for Prix St. Georges.

When you are comfortable with the double longe, you can ask your horse to perform all of the exercises you did on the single line: ask for straight, forward, back and collected. Don’t forget to reward your horse with a piece of sugar—it is always important to keep him as your friend.

When you are ready to develop your horse’s piaffe in the double longe, the first person asks for the forward movement. The second person, holding the two reins and the whip, asks for walk and then collects the horse into piaffe. As you develop this, you can continue asking your horse to move closer to piaffe in place.

During the piaffe exercise, the first person must remember to watch that the topline stays correct while this is happening. The key is for the handlers to communicate to each other. Correct the topline by making sure the horse does not hang on the side reins. Gently bring the horse up with an upward aid of the lead line.

Once a horse is comfortable with the double longe, the first person can remove the lead line and step away. At that point, the second person can connect the lines to the snaffle bit to facilitate increased communication. He can then stand as the second person and ask for the same collection and piaffe with his whip and voice aids. Always praise a horse when it is a job well done. Remember to stay quiet, so there is respect but not fear.

The Mounted Translation
Once your horse is under saddle, you can ride shorten and lengthen the walk steps, making sure that the highest point of the poll is right behind your horse’s ears. Play around by riding forward and back. We have to see that our horse learns to carry the weight.

Exercise Five—Collect Under Saddle: Thanks to the in-hand work you have done, you can have a groundperson help you collect under saddle using the whip and voice aids.
1. The groundperson asks for piaffe forward, while the rider sits quietly.
2. The rider has a light rein contact.
3. Walk out of the piaffe.

Always avoid fear in your horse. The work in-hand will allow him to sit behind and go up in front, helping the shoulder to improve. Now you are dancing!

A key to success is to gain control over the elements that are within your reach regardless of the type of horse you ride or at what level you are competing. One paramount element that you can focus on is the accuracy with which you ride. Riding accurately can win the class and prove your talent as a rider. Many people feel that the quality of horse is the most important element, but that is not always the case. Up to and including Prix St. Georges, the marks are weighted to the technical side. This need for technical precision affects your coefficients and resulting score. Therefore, accuracy is an element in your control for a competitive edge. Here are three tactics within your control to help you grasp that competitive advantage.

Learn from Showing Last Year
Your coach helped to get you to the ring last summer, and the judges have evaluated your performance. The judges' job was to determine why the movement was not a 10. But, it's not over. Now it is your job to gather up your test sheets and sit down at your desk. You and your coach already know where your trouble areas are, however, you now need to be looking for marks that you have given away. For example, the Prix St. Georges test has a total of 400 possible marks and 27 movements. Therefore, each mark represents one-fourth of a percentage point; in other words, four marks equals one percent. Thereby, you could win or lose the class with just the size of your voltes alone! Try to develop the skill of reviewing your test in this light at your desk, and then you will see how you should ride fighting to hold on to marks instead of throwing them away. This is a winner's strategy.

Ride Daily with a Show Training-Purpose in Mind
At home, after warm-up, your riding should have a show-training purpose, working toward technical correctness in all shapes, movements and transitions. This means, for instance, square halts, hitting four points of a circle, setting a predetermined point of transitions, correct number of steps in the rein back, simple changes or pirouettes. Pay close attention to these details. This is not about repeating tricks or mistakes until you get them right, but rather it's the same methodical mindset that is required when reviewing your tests. As you run through tiny portions of your test, as soon as you lose any qualities, circle and reestablish the correct way of going, then from that same circle resume the same line that you were working on. Repeat this method to avoid tension and anticipation.

Know and Strategize Your Test
A further aspect of the test-riding situation that you have complete control over is the memorization of the test itself and the resulting strategy. Even if you are able to have the test read to you, the movements should just happen. It has been proven that active involvement in the learning process leads to better retention of the material at hand. So try walking out the test and diagramming it on paper. Strategizing the test involves anticipating what to expect from the judges by knowing the directives for the level. It may also involve being systematically assertive or conservative during your test.

Thus plan ahead; if you know your horse falls on his forehand while going for too much medium trot, it could cause you to lose marks on your next movement trying to get the horse back. For example, if you go for a 7 in the medium trot and fall on the forehand, ending up with a 5, then you probably get, at best, a 5 on the next movement while trying to get your horse back. Ridden with a plan, such as a more conservative medium trot and perhaps a stronger next movement, you could get at least three more marks resulting in more than 0.5 percent on your final score. Consider the entire test in this light, and your final score will be higher.

The ability to create this accurate test will not only raise the individual marks of the test, but also the overall collective marks will be affected in your favor.

Submission and rider's position both will be positively correlated because of an improved level of technical riding that has been quietly perfected at home under the discipline of accuracy. Just like the training stages give your horse a foundation, this type of control will give you confidence that you can start building on to ask more of your horse, such as position and engagement. This then becomes your personal competitive edge.

The four exercises that comprise Gymnastic 1 will fit comfortably in a 75 x 150-foot (22.8 m x 45.7 m) arena.

After you have warmed your horse up at the walk, trot and canter, then trot into the exercise marked A in the diagram on page 19. Cavalletti set at this distance will produce a working trot for most horses. These exercises are all designed for horses with some jumping experience. If your horse is extremely green, he probably should not be attempting this exercise yet. However, if he is slightly inexperienced or is an experienced jumper but has not done much work over cavalletti, you can pull the first and third poles in towards the centerline of the arena. This will produce a 9-foot (2.7 m) distance between two poles. Horses find this exercise easier and will soon become stable and regular at the trot, which is always your goal. You can then put the four poles together as shown in the diagram and work in both directions over four of them on the ground. After you have established your horse’s balance and rhythm here, you can proceed to the curved poles in Exercise B.

At the posting trot, proceed on a circle in either direction though B. Keep your horse’s direction adjusted so that the length of his step on the curve feels the same as it did over A.

Once you and your horse have become adept at this, you can then start to enter, for example, closer to the 3-foot (90 cm) end of the poles where the distance is shorter, and then let your horse angle away from the center of the circle. This will cause him to go from a working trot to a medium trot or possibly, if your angle becomes too great, even take a couple of steps of extended trot. If your horse takes two steps between the poles or breaks into a canter, you have probably asked too much flexibility from him. Aim closer to the 3-foot (90 cm) end of the curve, and enter B again at the posting trot.

Alternatively, you can enter from the outside of B, where the rails are farther apart. This will cause your horse to take quite a large step at first. Guide your horse toward the 3-foot (90 cm) distance between the last two poles. This will bring your horse back to a working, or even a slightly collected, trot. Having worked in both directions over B, including being able to angle both ways, you can then proceed to Exercise C.

The poles positioned at C will produce the sensation of an extended trot and you may find that your horse cannot reach enough in his fourth step to get out over the last pole without “chipping in” an additional step. Simply remove the last pole and continue. You will find that, after a couple of days’ work over cavalletti, your horse gets the message and you can replace the fourth pole. You should work in both directions over the 5-foot (1.5 m) poles at C until your horse can maintain his regularity and length of step.

After a short break, proceed to Exercise D.

These four rails on the ground, set at 4 feet (1.2 m) apart, will produce a collected trot. Although this exercise can be ridden either posting or sitting, you should definitely use a rising trot until your horse becomes adjusted to them. Using rising, rather than sitting, trot encourages your horse to lift his back while he elevates his step. In addition, it will be less complicated and will allow you to work on his cadence, rather than worrying about your position. Again, work both ways through D until your horse is relaxed and steady in his balance and rhythm. He should be able to deal with the rails without any interruption in the flow of his movement, changing only the length of his step to adapt to the various distances that you have put in his path.

After another break, you can now link these four elements together in order to produce various transitions that will be of great benefit in teaching your horse to be flexible. For example, enter A on the right hand in a working trot, where the rails are 4-foot-six (1.35m) apart. As you leave A, turn right in such a fashion that you produce an arc through B that causes your horse to change the length of his step from working to collected trot. In other words, start exercise B from the outside in. This will put your horse into a slightly collected frame. Proceed directly then to C, which will produce an extended trot. After the extended trot at C, turn right and enter the shorter cavalletti at D.

If your horse has difficulty with this, you can do A, B and C as I have described and then, in a posting trot, circle (or repeat a circle until your horse has settled down to a working trot), turn and enter D, thus producing a collected trot. If you have successfully done this, walk, reward your horse and let him relax and consider his effort while you plan your next series of repetitions through these exercises. When you resume the posting trot, work in both directions and vary the relationship between the exercises to improve and confirm your horse’s flexibility.

Take a moment to remind yourself of your horse’s bad habits. If he tends to rush at the trot, he will not need too many applications of C. He should come from outside in rather from inside out at B, as this will cause him to continually rebalance and collect his step rather than rushing forward. If, on the other hand, your horse is choppy-strided or lazy, a bit more emphasis on and a few more repetitions at B, going from inside out, will teach him to lengthen his step. The total amount of exercise over these rails in any one period should not exceed 45 minutes, including the periods of rest between exercises.

Excerpted from Modern Gymnastics: Systematic Training for Jumping Horses by Jim Wofford. $24.95

And that’s too bad, because the quality of gaits is so important in our sport that Gaits is the first Collective Mark on every dressage test. There is an emphasis on “freedom,” which is manifested by the reach and scope of your horse’s limbs, and “regularity.” This involves his ability to maintain an even rhythm—the recurring sequence and timing of his footfalls at a suitable and consistent tempo.

What We’ll Do
In this article, I’ll explain the differences between the types of gaits, and when and why, in the course of your horse’s training and competing, they appear.

I’ll also demonstrate the types of gaits in photos, so you can contrast, compare and, I hope, sharpen your eye. As you do, please note: The difference between an extended and collected gait isn’t merely about the length of a horse’s steps. I always tell my students, “Don’t only follow your horse with a ruler and measure the distance between his footprints. The lengthening or shortening of his step is important, but only as it relates to his overall outline, the elevation of his steps, the raising of his forehand and neck relative to the lowering of his croup and even the lengthening or shortening of his neck.”

Another point to remember is that dressage training is a slow, logical, step-by-step progression. It builds the strength, muscle, balance, animation, activity and ­cadence (the sum of rhythm plus impulsion, which is expressed by an ­energetic lifting of the feet from the ground and gives any gait an extra quality).

The test levels at which the different types of gaits appear mirror the “building blocks” of the Training Scale: rhythm, relaxation, connection, impulsion, straightness and collection. (In fact, the tests are sometimes referred to as a “blueprint” for your training.) I’m sure that if you pushed your green 4-year-old, you probably could get a nice extended canter, no problem! But when you got to the severe down transition, he wouldn’t be physically strong or balanced enough to carry it off.

That’s why, at Introductory Level, you simply want to show that your horse can be ridden on a light but steady contact (or allowed complete freedom to lower and stretch out his head and neck in the free walk).

At Training Level you want to ­additionally confirm that his muscles are supple and loose and that he moves freely forward in a clear and steady rhythm, ­accepting contact with the bit.

At First Level, he has additionally developed thrust (pushing power) and achieved a degree of balance and throughness (the state in which your aids/influence go freely through all parts of him, from back to front and front to back).

At Second Level, he accepts more weight on his hindquarters, has an uphill tendency and stays reliably on the bit. He does this with a greater degree of straightness, bending, suppleness, throughness, balance and self-carriage.

At Third Level he shows increased engagement with rhythm, suppleness, ­acceptance of the bit, throughness, balance, impulsion, straightness and collection.

At Fourth Level and above, he has a high degree of suppleness, impulsion and throughness, plus a clear uphill balance and lightness. He remains reliably on the bit. His movements are straight, energetic and cadenced, and his transitions are precise and smooth.

Now, how do these requirements ­determine when and where the various types of gaits appear? Keep them in mind as you read on.

Trainers often introduce canter pirouettes by spiraling in from a large circle. It’s a common mistake, in my opinion, because horses started this way don’t really know what you want. Often the rider starts to kick and pull and the horse doesn’t understand. The horse gets a lot of pressure but he doesn’t see the purpose.

I begin thinking about training canter pirouettes when my horse can do a walk–canter transition with ease. At that point, I know he’s ready for a little collection in the canter because he is able to bend his hind legs, lower the quarters and sit. I first ask for collection on a large circle, and the moment that he sits a little, I walk. You can feel when the horse sits because his rhythm slows. This teaches the horse that if he sits, he will get the reward of walking. As a result, he will try to sit quickly in order to be rewarded.

Of course, the situation can happen that we go on a circle and I feel that I can’t get the horse’s hind legs to bend. Sometimes horses just thrust themselves forward with the hind legs. In this situation, it’s impossible for the horse to sit, so I start in walk. In any case, it’s easiest for the horse to learn and understand the fundamentals of pirouette in walk, and then the basics are the same for canter. When I can make a large pirouette in walk, my horse will close his frame and sit. It’s difficult to sit in canter, but in walk, the horse will achieve it from the work you’ve done. At this point, my horse already knows everything he needs to learn about canter pirouette. I teach my horse all these things before we start it in canter.