Maribeth Dunlap Dressage

Riding Accurate Arena Patterns

By Maribeth Dunlap

September 2007

There are three basis gymnastic tools that a rider can use to train a horse:

1. The seat and aids

2. The movements

3. The arena patterns.

Riding accurate arena patterns is a very important concept to the training of the horse and rider. This is not just a dressage concept either as it is very important to ride corners, turns and straight lines accurately when jumping a course of fences. Riding accurate figures can improve a horse, and conversely, riding willy-nilly, sloppy ring figures can be counter-productive and make the horse worse. Riding a circle accurately, or any figure, for that matter, has great gymnastic value to the horse. It helps to straighten the horse and make him supple and flexible. If you allow the horse to constantly fall out of a circle on a particular spot, you are doing nothing to improve the horse. If you are not able to keep the horse on a particular line, then how are you going to be able to ride a half-pass or shoulder-in? By riding accurate figures you learn to feel what the horse needs and learn to control the shoulders and haunches of the horse. The goal is to be able to ride any transition, any turn, any change of direction anytime and anywhere in the arena that you choose. This way the horse begins to wait and listen more attentively. He expects the unexpected and this actually helps improve his mobility and flexibility.

It is important to discipline yourself to ride accurately. Ride your corners correctly and appropriately for the developmental stage of your horse. Don’t cut your corners as you prepare to change rein across the diagonal. Ride an accurate 20-meter circle and make it round and not oval or pear shaped. Become familiar with the different terminology and different lines and patterns available to you. There really is an endless supply of patterns, which is only limited by your own imagination. Most riders get stuck just using a few and risk getting stuck in the same routine everyday. It is important to keep trying new patterns and even inventing new patterns.

Here is a brief list of some common lines and patterns:

• Half school (E – B line) • Whole school (following the track around the entire arena)

• Center line (from A – C)

• Quarter line • Long diagonal (F-X-H, K-X-M)

• Short diagonals (K0B, H0B, F-E, M-E)

• Circles of various sizes

• Figure 8s

• Reversing into the corner

• Reversing out of the corner

• Changing out of the circle

• Changing through the circle

• Single loops

• Double loops

• Serpentines from long side to long side

• Shallow serpentines

• 3-Stride corner turns

These are just a few examples of the more common lines and arena patterns. Be creative and try combining one pattern into another. Don’t be limited to circle; try riding squares or diamonds. Ride a series alternating different shapes and different sizes and with frequent changes of direction and bend. The important thing is to plan your pattern ahead of time, prepare your horse for the pattern, and most importantly, ride the pattern accurately. The more disciplined you become in riding accurate arena patterns, the more you will improve your horse gymnastically and you will become more aware and better able to feel and to correct the parts of your horse’s body.

This article was written by Maribeth 2007 – All Rights Reserved Used With Permission.

The Mysterious Half-Halt

By Maribeth Dunlap

April 2007

There are as many definitions of how to ride a half-halt as there are definitions of what it actually is. It is no wonder that so much has been written and so many videos have been produced on this single subject and yet it still seems to remain a mystery to some and a controversy to others.

Let’s first consider the FEI definition of a half halt taken from the USEF rulebook:

The half-halt is a hardly visible, almost simultaneous, coordinated action of the seat, the legs and the hand of the rider, with the object of increasing the attention and balance of the horse before the execution of several movements or transitions between gaits or paces. In shifting slightly more weight onto the horse’s quarters, the engagement of the hind legs and the balance on the haunches are facilitated for the benefit of the lightness of the forehand and the horse’s balance as a whole.

And now let’s look at the definition taken from The Principles of Riding, The Official Instruction Handbook of the German National Equestrian Federation:

Half-halts are used:

• When riding a transition from one gait to another

• To shorten or adjust the strides within a gait

• To alert the horse prior to a new exercise or movement

• To improve or maintain the horse’s collection, carriage and balance within a movement.

To perform a half-halt, the rider places more weight on his seat bones by tightening his back muscles, pushes the horse forward with his legs, and uses a carefully measured asking or non-yielding rein aid followed with a minimum delay by a yielding rein.

To sum up, it could be said that half-halts consist of a combination of all the aids and are essential for controlled, accurate riding. A half-halt consists in briefly ‘enclosing’ the horse a little more between the weight, leg and rein aids, and then yielding with the reins again.

At the first signs of success, the rider should become lighter in his hands again. If necessary, the half-halt can be repeated several times. The half-halt is not a ‘one off’ action: it should be repeated as often as necessary, i.e. until is has fulfilled its purpose.

I tend to follow more of the Classical definition of the half-halt:

• To rebalance

• A call to attention or to give notice

• A preparation

• To increase the collection thus changing the weight distribution from the front legs to the hindquarters in which to prepare for a transition

• To engage the hindquarters or, to be more specific, engage a particular hind leg.

As you can see, most definitions of what is a halt-halt and what is the purpose or goal are similar. There are more differences though in how to execute or ride a half-halt. Perhaps one of the reasons for the many definitions of the half-halt is that people have different perceptions of what they actually do to execute an effective half-halt. And perhaps another reason is that horses vary in sensitivity from one individual to the next. Some horses are so sensitive that just a simple inhale from the rider can produce an effective half-halt. And then there are others who are less sensitive and need stronger leg and seat aids. And then there are those who choose to ignore the seat aid altogether and run into an unyielding hand. I refer to this as a Half Nelson and usually not very pleasant.

One thing that is not too often talked about is the criteria that are necessary to perform an effective halt-halt. First of all, the horse needs to be working in relaxation. This means that there should be no blockages or bracing throughout the horse’s body. He should move forward with good energy, impulsion and swing. He should have a softness and relaxation in his jaw and should yield his jaw and poll to the riders soft closing of the fingers. The horse should have some stability at the base of his neck and there should be an open channel through the entire horse from his hind hoof to the hand of the rider allowing the energy or engagement to flow through the horse and be received in the hand. You can think of this as a flow of electricity or energy and if there is a kink in the line then the flow is interrupted. If the horse is truly soft and there are no blockages, you can actually feel the hind leg in the hand on the same side as a little pulse or ebb and flow.

The other important thing that is also not too often discussed is the timing of the half-halt. If the timing is not correct, then this often leads to more bracing and a loss of relaxation. Usually the poorly timed aid is applied again and usually stronger which leads to more bracing and more tension. The rider usually then blames the horse for a lack of responsiveness and thus begins the downward spiral of stronger aids and a duller horse.

In order to understand the timing of the half-halt, it is first important to learn to feel the footfalls of the horse and when each hind leg is coming forward and when it is on the ground.

There are three phases of the hind leg:

• Engaging Phase – moving off the ground and reaching forwards under the belly

• Carrying Phase – on the ground under the belly (in front of the vertical)

• Thrusting Phase – on the ground behind the horse (behind the vertical) and pushing the horse forward.

It is important to learn to feel and recognize this through your seat and to then execute the correct timing of the aid. When the timing is correct, there is harmony and ease between the horse and rider and a wonderful feeling that you will crave during every ride. The correct timing for the half-halt is during the carrying phase, when the hind leg first touches the ground in front of the vertical and is carrying weight and the hindquarters are flexing. The half-halt can only last as long as the hind leg is in the carrying phase, which is only a fraction of a second. If the aid lasts longer then the horse will brace, come against the hand or above the bit, and shorten his stride. The result would be a loss of relaxation, balance and collection, all of which is opposite of the goal of the half-halt. So it is very important to remember that it is not a prolonged tightening of the back, closing of the fingers, crunch of the abdominals or death grip of the legs. And it is most definitely not a dead pull or backwards action of the hands. It is better to think of it as engaging the hindquarters with a soft touch of the calves, a brief tightening of the core, and then receive this energy for a moment in your fingers, followed immediately with a softening of the fingers or a release. So it is a series of brief *send*receive*release*send*receive*release* aids until the horse yields, engages, flexing his hindquarters and becoming more elevated in his shoulders or simply put – more collected.

So as you can see riding an effective half-halt is a bit more technical than simply pulling back on the reins. But don’t give up. Begin by learning to recognize the footfalls of the horse and then go from there. If you take the time right from the start, you will eventually experience harmony, ease of movement and lightness like you’ve never felt before. Only then will you truly dance in harmony with your horse.

This article was written by Maribeth 2007 – All Rights Reserved Used With Permission.

Flexion and Bend/Lateral and Longitudinal

By Maribeth Dunlap

February 2007

I often run into folks who seem to not fully understand the differences and meanings of flexion and bend. Flexion refers only to the joint at the poll. Bend refers to the entire horse from the poll to the tail.

There are two types of flexion and bend, lateral and longitudinal. Lateral has to do with the right and left sides of the horse. Longitudinal has to do with the topline of the horse.

Lateral Flexion is when the horse looks slightly right or left (side to side) and is flexed only in the poll area while the rest of the body is straight. Lateral Bend refers to a continuous bend through the whole horse, either bending right or left, from his poll to his tail.

Longitudinal Flexion refers to the “yes” movement of the horse’s head at the poll area. When a horse flexes longitudinally, his head (or face) comes closer to the vertical line. Longitudinal Bend refers to the “roundness” of the topline through the whole horse from the horse’s poll to his tail. The horse stretches towards the bit while engaging and lowering his haunches creating a rounded topline.

Note: there can be flexion without bend, but there can be no bend without flexion.

Positioning is another term for Lateral Flexion.

This article was written by Maribeth 2007 – All Rights Reserved Used With Permission.

The Aids

By Maribeth Dunlap

January 2007

Aids are what we use to communicate with and influence the horse. An aid should be applied lightly and briefly. The stronger the aids, the duller the horse will become. It is important to teach the horse to respond to the lightest of aids. The lighter the aid, the more subtle and invisible the rider can become, and gives the impression of being in unison and harmony. An aid shouldn’t any longer than a fraction of a second. If it lasts longer, then is works against the sequence of the footfalls and can produce the opposite result, which is bracing and resisting, and a loss of forward energy as the horse sucks back. So it is important that the timing of the aid is correct. (More on the timing of the aids in another article)

The Primary aids are:

• The seat

• The legs

• The hands

The Auxiliary aids are:

• The voice

• The whip

• The spurs

The Primary Aids

The seat aid refers to the parts of the rider’s body from the thighs to the core and abdominal muscles. The seat is the main control center for all the aids and is the most important aid. If the rider does not have an educated seat, one that is effective and independent, then the other aids become less effective. Often when the rider lacks a good seat, then he must rely on stronger hands and legs, which often leads to resistances in the horse and a less than effective communication system. An educated seat transmits and coordinates the aids just as in an orchestra where the conductor coordinates all the musical parts and can perform a beautiful symphony.  The seat coordinates and supports the other aids so that the legs and hands can become more subtle. The best way to achieve an educated seat is to spend time on the lunge line on a safe lunge horse under the eye of an educated instructor.

The legs primary role is to send the horse forward by touching the sides of the horse gently with the calves. The heels do not pull up but stay pressed down. It is really the calves that touch and press and release to indicate the aid. The legs can also indicate to the horse to bend either left or right or to yield as in a leg yield or lateral movement.

The hands indicate direction and bend. The hands can yield to allow the forward energy created by the legs to go forward, receive forward energy, or redirect the forward energy. The hands should never block the forward energy created by the legs and, most definitely, should never pull backwards. The hands should remain close together and in front of the rider’s core with soft bending elbows, which rest close to the rider’s sides. The fingers should be softly closed around the reins as if he were gently holding tiny birds; closed enough to not allow them to fly away, yet soft enough so as not to crush them. It is important to keep the wrists relaxed and not stiff. Stiff wrists will prevent the rider from having an elastic contact with the horse’s mouth. It is also important to not cross the rein over the horse’s neck as it creates an incorrect action on the horse’s mouth. The hands should only be used in conjunction with the seat and legs and never alone and unsupported by the seat and legs.

The Auxiliary Aids

The rider’s voice, the whip and the spurs are used to make the rider’s intentions clearer to the horse and to reinforce the Primary aids; the seat, legs and hands.

The voice is used especially in the early training of young horses. It can also give the horse confidence. The tone is the most important faction the use of the voice. A calm, low-pitched voice has a calming effect, whereas a short, sharp word can indicate a need for a change or to indicate disapproval. A quick cluck can encourage and a reassuring voice is helpful when introducing the horse to a new exercise or to new surroundings or stimuli.

The whip is used to make the horse more alert and responsive. It can improve the activity of the hind legs and bring the horse “to the leg” or help to put the horse “in front of the leg”. The whip helps to support the forward driving aids. It is important to remember that the whip is an aid and should be used in such a manner. It should be used, like all aids, briefly and beginning with a light touch. Remember that you want to train the horse to react to light aids, not ones that are strong and severe. If the horse does not respond to the light touch, then press and then quickly vibrate the whip. Save the strong whip aid as the last resort. Always give the horse the opportunity to respond to the lightest of aids.

The spurs are used to enable the rider to apply his leg aids with more finesse and to reinforce the leg. The spur is mainly used for the lateral movements and for collection. The correct use of the spur helps to engage the hind legs of the horse. As with all the aids, the use of spurs should be kept brief and to the point. Constant nagging or using strong aids will only dull the horse and make him less responsive. Also, it is very important that the rider has an educated seat and independent aids before wearing spurs. The rider should have complete control over his body so as to prevent unnecessary jabbing with the spurs.

I’m going to add feel or equestrian tact as I think this deserves to be noted. The rider needs to learn to feel the horse move underneath him. It is important to learn to feel the footfall sequence of the horse in all three gaits and to feel when the horse is moving straight or when he is crooked.

Feel is important to be able to apply the aids:

• in the correct manner • with the correct timing

• with the correct intensity

• with the correct ratios of seat, leg and rein

Developing feel is essential to refine the aids and make them more subtle and helps to develop a harmonious, confident and effective relationship between the horse and the rider.

Co-ordination of the Aids

The aids serve as signals, communicate and influence the horse, that it should move in a certain direction, carry it’s body in a certain way, and so perform exercises. The rider achieves this by using a combination of all the aids. Any one of the aids used alone cannot be effective. Only when the aids are coordinated can they be effective. Think of the orchestra again, the aids should be used like an orchestra, coordinated and working together to produce beautiful music. The correct coordination of the aids is only possible if the rider has an educated seat. The rider must be in complete control over his body to be able to apply the aids independently of the horse’s movement. To be successful, the rider must become skillful, coordinated and learn tact and finesse and be able to feel and understand how the horse is moving underneath him.

This article was written by Maribeth January 2007 – All Rights Reserved Used With Permission.

The Training Scale - Pyramid or Circle?

By Maribeth Dunlap

January 2007

The Training Scale is a German training system consisting of six building blocks. This is often seen drawn as a pyramid in which the six blocks or training concepts are in ascending order.

The wording along the sides of the pyramid should be noted:

• Physical Development through Progressive Conditioning

• Increasing Throughness and Obedience

The six concepts with their German counterpart are as follows:

• Rhythm (Takt)

• Relaxation (Losgelassenheit)

• Connection (Anlehnung)

• Impulsion (Schwung)

• Straightness (Geraderichtung)

• Collection (Versammlung)

The German words have more encompassing meaning that the vague English words and much of the concepts were lost in translation so in 2005, the USDF put together a joint working group to review and to update the translation of the German words to better extract their true meanings.

Here are the new translations from the USDF:

1. Rhythm (German: Takt) Rhythm (with Energy and Tempo): Rhythm is the term used for the characteristic sequence of footfalls and timing of a pure walk, pure trot, and pure canter. The rhythm should be expressed with energy and ina suitable and consistent tempo, with the horse remaining in the balance and self-carriage appropriate to its level of training.

2. Relaxation (German: Losgelassenheit) Relaxation (with Elasticity and Suppleness): Relaxation refers to the horse’s mental state (calmness without anxiety or nervousness), as well as to his physical state (the absence of negative muscular tension). Usually the mental and physical states go hand in hand. The horse learns to accept the influence of the rider without becoming tense. He acquires positive muscle tone so that he moves with elasticity and a supple, swinging back, allowing the rider to bend him laterally as well as to lengthen and shorten his frame. A horse showing the correct responses when allowed to chew the reins out of the hands is relaxed.

3. Connection (German: Anlehnung) Connection (Acceptance of the Bit Through Acceptance of the Aids): The energy generated in the hindquarters by the driving aids must flow through the whole body of the horse and is received in the rider’s hands. The contact to the bit must be elastic and adjustable, creating fluent interaction between horse and rider with appropriate changes in the horses’ outline. Acceptance of the bit is identified by the horse’s quietly chewing the bit. This activates the salivary glands so that the mouth becomes moist, and production of saliva is evident. The softly moving tongue should remain under the bit. The quality of the connection and balance can be evaluated by uberstreichen – releasing the reins (to demonstrate self-carriage) – or by allowing the horse to chew the reins out of the hands (to demonstrate relaxation).

4. Impulsion (German: Schwung) Impulsion (Increased Energy and Thrust): Impulsion is the term used to describe the transmission of an eager and energetic yet controlled propulsive thrust generated from the hindquarters into the athletic movement of the horse. Impulsion is associated with a phase of suspension, such as exists in trot and canter but not in walk. It is measured by the horse’s desire to carry himself forward, the elasticity of his steps, the suppleness of his back, and the engagement of his hindquarters. Impulsion is necessary to develop medium paces and, later on, with the added ingredient of collection, extended paces.

5. Straightness (German: Geraderichten) Straightness (Improved Alignment and Balance): A horse is said to be straight when the footfalls of the forehand and the hindquarters are appropriately aligned on straight and curved lines and when his longitudinal axis is in line with the straight or curved track on which he is ridden. By nature every horse is crooked – hollow on one side and stiff on the other side – thereby using one side of his body somewhat differently from the other. This also causes uneven contact in the reins. Appropriate gymnastic exercises develop the horses’ symmetry. This allows him to engage both hind legs evenly and prepares him for collection. This process improves the lateral as well as the longitudinal balance of the horse.

6. Collection (German: Versammlung) Collection (Increased Engagement, Lightness of the Forehand, Self-Carriage): The horse shows collection when he lowers and engages his hindquarters, shortening and narrowing his base of support, resulting in lightness and mobility of the forehand. Because the center of mass is shifted backward, the forehand is lightened and elevated; the horse feels more “uphill.” The hors’s neck is raised and arched, and the whole topline is stretched. He shows shorter yet powerful cadenced steps and strides. Elevation must be the result of, and relative to, the lowering of the hindquarters. This is called relative elevation. A training problem is indicated if the horse raised his neck without displacing his center of mass to the rear. This is call absolute elevation and can, if pervasive, adversely affect the horse’s health and his way of going. Collection with relative elevation will enhance the horse’s self-carriage so that he can be ridden almost entirely off the seat, and the aids of the legs and especially those of the hands can become very light.

The problem with the Training Scale viewed as a pyramid or a structure of building blocks is that it suggests to many riders that the concepts can be approached and accomplished one at a time when in reality all the concepts are connected to one another and are mutually dependent upon one another.

Let’s look at another example of a Training System by Phillipe Karl. His system, which is based on the school of “lightness”, is one that is drawn in a circle and clearly shows the relationships between the concepts.

In the very center of the circle is a small circle in which the wording “RESPECT TO THE HORSE” is written and this means that you understand and know what the horse needs at a particular stage of development. In a rectangle around the small circle are 3 arrows pointing in both directions referring to their inter-dependence upon one another. At the top of the triangle is written “RELAXATION” (Legerete or Lightness to the Hand), at the bottom right hand corner of the triangle is written “BALANCE” (Legerete or Lightness to the Seat), and at the bottom left hand corner of the triangle is written “IMPULSION” (Legerete or Lightness to the leg). These three concepts; relaxation, balance and impulsion, all refer to lightness and cannot be separated for they are mutually dependent upon one another. For example, when a horse is relaxed he is listening to the lightest of your aids. When he is relaxed and listening, then he is in a state of mental and physical balance. And when the horse is relaxed and listening and in balance then you can ask for more impulsion. You risk losing the relaxation and the balance if you ask for too much forward energy than he is capable at handling at particular stage of training so it is important to be able to control the balance and the tempo in order to maintain the relaxation. And when the horse is light to the hand, light to the seat, and light to the leg, he is also relaxed and you are able to control his balance and impulsion.

Now moving around the larger outer circle, at the top of the circle at 12 o’clock is the term “LEGERETE” or Lightness and is labeled #1. Moving clockwise around the outer circle you follow an arrow pointing to the 3 o’clock position on the circle and to “FLEXIBILITY” and beside it is labeled “Suppleness”. This is the #2 concept. Beside the arrow is another arrow pointing back to #1 or “Legerete” indicating their relationship and dependence upon one another. The counter-clockwise arrow also refers to receiving feedback from the horse. It allows you to access what the horse knows and what he needs before taking the next step. Flexibility and Suppleness refer to the horse’s ability to bend equally right and left. The more flexible and supple the horse, the lighter he becomes. Flexibility and Suppleness then leads to “MOBILITY” at the 6 o’clock position on the circle. This is the #3 concept. Between Mobility and Flexibility is “Straightness” and once again there is another arrow pointing back to Flexibility referring to its relationship and interdependence. When a horse has the ability to be flexible on both sides of his body equally, then he can be straight. This allows the horse to be more moveable or to have more Mobility. He can maneuver his body more easily, smoothly gliding from one direction to another with ease of changes of bend and increased Flexibility. When a horse is Flexible, Supple, Straight then he has a regular “Rhythm” which is the next concept along our circle line. When the horse is able to work in a regular Rhythm, then he is relaxed, straight, and has flexibility. As we continue around our circle or clock face, we come to the #4 concept at the 9 o’clock position or “COLLECTION”. Beside Collection is the word “Cadence” and once again there are arrow pointing in both directions referring to their interdependent relationships between all the concepts. Increased Mobility creates better Collection as the improved activity and quickness of the hindquarters often has an engaging effect on them. Better Collection can stylize the gaits and create Cadence. And finally, Collection creates more Lightness as we complete and close the circle and follow the arrow to the beginning position #1 or “LEGERETE”.

I prefer the circle concept of the Training System, as I like to be reminded of the relationships and interdependence of all the concepts. You can also approach the German Training Scale in a circle form and draw lines, which intersect and cross each so as to indicate the relationships of the concepts. It is also important to realize that this is a general, simplistic guideline in approaching the training of a horse and that it is important to work with a qualified instructor or trainer. However, the more knowledge you have the better prepared you will be.

The Training Pyramid Diagram was taken from the Sept 2006 issue of the USDF Connection Magazine.

The Training Circle Diagram was taken from Philippe Karl’s Video Series.

This article was written by Maribeth 2007 – All Rights Reserved Used With Permission.

Getting The Most Out of Your Lessons

By Maribeth Dunlap

May 2006 (Revised April 2017)

As dressage riders, many of us spend a great deal of time, energy and money trying to learn dressage. At times it can feel like a daunting task to learn the skills needed to ultimately dance with our horse. Time and time again we head for the barn in cold weather, hot weather, rainy season, mud season, fly season, you name it, to work towards personal goals of some degree of dressage grandeur. Most of us, if you’re a normal struggling dressage rider, look to the aid of an instructor or clinician of some sort. Most of us spend hours riding in front of our instructors, listening and taking in the information that is given to us. We then take this information home with us, and if you’re a good student, you spend many hours practicing trying to improve.

So how can you get the most out of your lessons?

Well, first and foremost, is to show up for your lesson on time. In fact, be a couple minutes early and spend that time walking your horse and preparing mentally for your lesson. That means to leave all of your normal life’s distractions behind. Get focused and ready to listen. A simple technique is to listen to some favorite music in your car on the way to your lesson. Think about the last lesson and what you worked on with your instructor. I recommend keeping a Riding Journal in which you list just a couple key points that you worked on in your last lesson. Keep it simple and positive. Review your journal periodically so that the ideas will remain fresh in your mind. Write down any questions that you might have and want to discuss with your instructor at your next lesson.

Dressage can be very challenging and it is very important to maintain a positive and enthusiastic attitude. It is amazing what can be accomplished if you begin with a positive attitude. Enthusiasm is contagious and will make the lesson fun and productive. It opens your mind to new ideas and information and sets you up for a successful lesson.

With our hectic schedules it can sometimes be difficult to remember every detail. But it is so important to go to your lesson prepared and with all your tools. Is your tack properly adjusted and girth tightened before the lesson has started? Taking the time to make these adjustments during your lesson only takes away valuable time from your lesson. If you normally ride with whip and spurs, make sure that you have these things with you. You want to be certain that you have all your aids and tools at your disposal to make the most of your lesson. Remember that time equals money spent while taking a lesson so make the most out of every second.

It is also very important to be on the same page as your instructor. It is necessary to have a positive relationship and a clear understanding of your instructor’s philosophy. If you don’t want to “go” where your instructor thinks you should “go” then you either need to have a serious discussion with him or her or find a new instructor. You need to be able to trust your instructor and feel comfortable with the information being given. On the other hand, don’t allow your instructor to talk you into doing something that you’re really not comfortable doing. Discuss any serious concerns with your instructor that you may have especially if it concerns a fear of performing a particular task or a concern about the welfare of you or your horse.

One of the most frustrating things for an instructor is a student who does not follow simple instructions during a lesson. It can seem as though the student is working on his own and oblivious to the instruction and ideas being given. If your instructor asks you to work along the wall doing simple transitions, don’t leave the wall and perform complicated figures or movements. There is most often a good reason why the instructor is having you perform certain exercises. He or she usually has a bigger picture in mind so try to keep an open mind and trust your instructor and follow his or her directions and instructions.

A very important thing to remember is that taking a lesson is not a performance. It is not a time to try to impress others with your abilities and your skill. Although it is always nice to feel good about every ride, if things go wrong, the lesson is the best place for this to happen. It is in front of your instructor that you want your weak spots to be shown so that he or she is able to help you. By allowing your self-esteem to be dependent upon your performance, you severely limit your ability to learn. And, unfortunately, with this attitude you will most likely feel frustrated much of the time. So learn to humble yourself, leave your ego at home, and open yourself up to listening and learning.

A good instructor can help point the way but it is ultimately up to us to find and follow our path. We spend far too much time, energy and money in this dressage journey not to make the most of our lessons. So buckle up and listen and make the most of the information that is given. You bet I do. I savor every tidbit given; I plug it in and try it on to see if it fits. I make adjustments and ask questions and eventually make it my own. I love and appreciate my lessons and I make the most out of every one. The information can be thought of as a gift, passed down from one generation to another. After all, this has been the tradition of dressage over the centuries. And it is one to be appreciated and highly regarded.

This article was written by Maribeth Dunlap May 2006 (Revised April 2017) – All Rights Reserved Used With Permission.

Dressage Test Riding Tips

By Maribeth Dunlap

May 2006

Going to a dressage competition can be a lot of fun. On the other hand, it can be a complete and total disaster if you go unprepared. Just like anything new that one undertakes, it makes good plain sense to gather a little knowledge before loading up your horse and heading for the show grounds. Here are just a few tips that might help to make your first showing experience go a little smoother and help to set you up for success:

1. Be Prepared! Give yourself and your horse ample time to prepare for your competition. Don’t expect good results if you just pulled your horse out of the field after a winter lay-up the week before your show. You’ll only be setting yourself up for frustration and likely failure. Prepare by taking the time to properly condition your horse both physically and mentally. And this goes for you, too. Classical dressage is a system of training that supples, balances and strengthens the horse while he gains in confidence. If you take the time to prepare with a good, sound training system, then you will be more likely to have a positive outcome and good success.

2. Set Yourself Up for Success! A good rule of thumb is to ride the level of test that is one level below that which you are training. For example, if you’re training at home around 2nd level, then it is wise to show at 1st level. Most folks get show nerves and the competition atmosphere usually lends many distractions and horses and riders often lose their focus. It has been said that in order to do 75% your best at a show, you need to be doing 150% your best at home. So it only proves well to show a level below that which you are training. It also sets you up for success. This technique allows you and your horse to feel good about your performance and helps you both to gain in confidence.

3. Know Your Test! Memorize it, practice it, walk through it, ride through it in your mind’s eye. Some folks are afraid to ride through the entire test for reasons that they’re afraid that their horse will anticipate the movements. This may happen if you ride through the entire test everyday. What I recommend is to ride through it to feel how it flows and to get a sense of your weak areas. Then take your weak areas and practice only those movements coming in and out of those weak areas until you and your horse are more comfortable with them. Then put the test back together and ride through the entire test again. Analyze it and ask yourself, how did it flow, does it feel more comfortable, is it consistent and steady, etc. And as you get closer to your competition, ride only parts of the test. Ride parts of it one day along with your normal schooling session, ride another part the next day along with your normal schooling session, and so on. Then maybe a day or two out from your competition, ride through the entire test again. I’ve had good success with this method.

4. Know Yourself And Your Horse! How much time do you need to prepare at the show grounds before your tests? If it takes you 30 minutes to get dressed, give yourself an hour. How long does your horse need to warm-up? Sometimes in the beginning it is hard to know just how much time your horse may need to warm-up. Some need a bit of lunging, and then some warm-up under saddle. And then again, others need just a bit of stretching and transitions and then they’re ready to go. It may take a few shows under your belt before you get a good feel for what your horse needs. A good warm-up is essential to riding a good test so take your time and get to know yourself and your horse and what your needs are. It is also helpful to bring a support person along with you. This person would be a valuable asset to you in that she could run errands for you, hold your horse while you’re getting dressed, offer words of encouragement, help groom, etc.

5. Get to the Show On Time! In fact, get there early. You want to get there early enough to not feel rushed. There is nothing worse than rushing about, trying to prepare and rushing through your warm-up. That usually ends with lack of concentration, focus, forgetting something like your bridle number or whip, forgetting your test, and ending in frustration. I have a friend who would get to the show literally minutes before her test and do a mad dash about and then rush through her warm-up and test. She was always frazzled, dazed and confused. If she stood still long enough you could truly feel her stress. I often wondered if she really enjoyed her showing experiences. So get there early. Find out, well in advance of your test, where the warm-up ring is located, in which ring you will be riding, get yourself to the secretary stand and pick up your rider packet, bridle number, etc. Acclimate yourself to the show grounds and get a feel for the atmosphere. Take your time to prepare so that you’ll feel more relaxed and confident. This will help ensure a good success.

6. Get to The Ring On Time! In fact, get there one test early. If it is a good test, watch it. If it is not going so well, visualize your own test. I find that watching a really good test before I ride my own helps to give me a positive image in my head. Know who is riding before you so that when they are finished with their final salute, you can enter the ring and acclimate your horse to the surroundings. Walk past the judge’s box, the letters and flowers, and prepare your horse with what works best for you. I almost always do a few transitions to get my horse listening and in tune with me. You have 45 seconds to enter at ‘A’ once the judge rings her bell or blows her whistle. Use that time wisely and don’t be late!

7. Let The Judge Know You Mean Business! Conduct yourself in a good manner. Present yourself and your horse to the best of your abilities. Be clean and neat about your appearance. Braid your horse, yes, braid even for a schooling show. Wear your show clothes and polish your boots. Make sure your horse’s coat shines with good grooming and the tail is free from tangles. As you enter the ring for your test, look at the judge in the eye. Stare into her eyes as you come down the centerline. Be precise and ride perfect figures. This is a big part of your score. Ride your test to the best of your ability, with consistency and steady rhythm, with clear transitions, and distinction and clarity between the movements.

8. Slow Time Down! An excellent technique while riding your test is to “slow time down”. In other words, in your mind’s eye, ride in slow motion. Beginning test riders have a tendency to rush through their tests. They rush through the movements, the transitions, and often there lacks a clarity or distinction between them. If you learn to “slow time down”, your test should flow more consistently. You’ll feel like you have more time to think and prepare for each movement and transition. This does not mean to go slow and take an hour through your test, but what it means is to take the time to think before each and every movement and transition.

9. Breathe! Breathe, don’t hold your breath! Beginner dressage riders, like beginner jumping riders, will often hold their breath during their test. It can be a little humorous watching these riders as they become redder faced as the test goes along. I even witnessed a rider almost passing out at the end of her test as she held her breath. So breathe! A good technique is to hum. Not loud, mind you, or you will get penalized for the use of your voice. My own personal technique is to giggle a little, very quietly so that it can’t really be heard, but it really helps to keep me breathing. In fact, when things get a little sticky in my test, the more I giggle. It keeps me breathing and also helps to keep things in perspective, to not be too serious and to have fun!

10. Thank The Judge! After your final salute, smile and pat your horse. Walk towards the Judge and say thank you! It is not appropriate to strike up a conversation but it is polite to say thank you! Usually at schooling shows, the Judge may want to offer you some constructive criticism. Sit on your horse at ‘C’ and politely listen to what the Judge is offering you. Most Judges truly want the best for you and your horse and give good, positive suggestions. Remember that the Judge only knows of you and your horse for that short time in the ring. She has no idea of what you do or how you usually ride at home. Her criticism is based on what she sees at that moment. Thank her again and graciously exit the ring at a walk.

11. Be A Good Competitor! Conduct yourself on the show grounds in a professional manner. Be respectful and kind to others. There is nothing worse than leaving your test with a sour attitude and even worse yet, blaming your horse. Maintain a positive attitude and be enthusiastic! This type of behavior is contagious. Congratulate those who have had successes in the show ring. It really shows that you are a good sport and this attitude will leave you feeling good about yourself.

12. Learn From Your Experience! Ask yourself how you can improve upon your performance, how you can make the day flow better, etc. Observe other more experienced competitors to see how they did things and what techniques they might have used. Talk with others to see what they do differently and to get ideas as to how to prepare or to make the day flow better. Little things, small adjustments can make a big difference in your show experience.

13. Have Fun! Finally, have fun! Horse showing is not really very glamorous. It is usually a lot of hard work and long hours. One spends too much time, energy and money not to have fun. So by putting in a little extra effort to prepare, you will have a better chance of having a successful day and have fun in the process.

Dressage Tests

By Maribeth Dunlap

May 2006

What is dressage?

Dressage is what many people think of as ballet of the horse. Watching dressage can be very beautiful, inspiring and breath-taking. When ridden correctly, the horse and rider appear to be as one unit, dancing a pas de deux together in perfect harmony and precision. But what appears invisible and effortless to the on-looker is in fact a fantastic achievement in art and athleticism that has taken many years of development and dedication for the horse and rider.

The object of dressage is the correct physical and mental development of the horse. Dressage should improve the horse; make him calm, supple, loose, and elastic. It should make the horse more confident and attentive, and it should help him to carry himself in better balance and thus, help him to stay sound longer. Dressage is a French word meaning to train. It is a system of training that develops the horse over time. This system incorporates the Training Scale or Training Pyramid and consists of rhythm, suppleness, contact, impulsion, straightness and collection.

What are dressage tests?

The purpose of the dressage tests is to show the steady, consistent development of the horse. Dressage tests are ridden in shows and are used to measure the correctness of the horse’s schooling. The tests are arranged in specific levels, which build upon each other to show the progression of the horse’s development. Each test level shows a particular stage or level of development, beginning with the basic levels and ending with the Grand Prix. The tests are a series of movements in which the horse and rider perform. As the horse and rider move up the levels, the tests become more challenging and the degree of the six main elements of the Training Scale, rhythm, suppleness, contact, impulsion, straightness and collection, increase.

Dressage tests are prepared and distributed by three governing bodies. The United States Dressage Federation (USDF) prepares the USDF Introductory Level Tests, and tests for the pas de deux, quadrille, freestyle, and sport horse tests. The United Stated Equestrian Federation (USEF) prepares the tests for Training Level, First Level, Second Level, Third Level, and Fourth Level. The Federation Equestrian Internationale (FEI) is an international governing body on equestrian competition and creates the tests for Prix St George, Intermediaire I and II, and Grand Prix. The FEI also creates the tests for the Young Riders competitions, tests for Ponys, and the Preliminary Dressage Tests for 5 and 6 year old horses. These tests are rewritten every few years.

Where is dressage performed?

Dressage is performed in a standard 20 x 60 meter arena. There are 17 letters placed in specific places around the ring in which the rider executes the movements. First Level Tests and below can also be performed in a short arena, which is a 20 x 40 meters and has only 11 out of the 17 letters. Quadrille is always performed in a short arena.

The following diagram shows the standard dressage arena and the placement of the letters. The letters in the center of the arena are not marked by any visible marker but are assumed. The outside letters, however, are always visibly marked. The arena is typically formed by a low white fence or chain and may be beautifully decorated with flower boxes or small shrubs. The three red circles represent 20-meter circles and the red line from A to C is called the centerline. The rider enters the arena at the letter A and rides down the centerline to a predetermined point where he or she will halt and salute the judge who sits at the letter C. There can be additional judges placed at other key points around the arena depending upon the level or type of competition.

What are the training directives?

Each level of dressage has a specific purpose that is stated on the test form. This is called the training directive. The following are the training directives for each level:

• Training Level: Purpose: To confirm that the horse’s muscles are supple and loose and that it moves freely forward in a clear and steady rhythm, accepting contact with the bit.

• First Level: Purpose: To confirm that the horse, in addition to the requirements of Training Level, has developed thrust (pushing power) and achieved a degree of balance and throughness.

• Second Level: Purpose: To confirm that the horse, having demonstrated that it has achieved the thrust (pushing power) required in First Level, now shows that through additional training it accepts more weight on the hindquarters (collection), shows the thrust required at the medium paces and is reliably on the bit. A greater degree of straightness, bending, suppleness, throughness and self-carriage is required than at First Level.

• Third Level: Purpose: To confirm that the horse having demonstrated that it has achieved the thrust (pushing power) required in Second Level, now demonstrated in each movement – especially in medium and extended paces and in the transitions to/from collected movements – rhythm, suppleness, acceptance of the bit, throughness, impulsion, straightness and collection. There must be a clear distinction between the paces.

• Fourth Level: Purpose: To confirm that the horse has achieved the requirements of Third Level. These are the tests of medium difficulty designed to confirm that the horse has acquired a high degree of suppleness, impulsion, throughness, balance and lightness while always remaining reliably on the bit and that it’s movements are straight, energetic and cadenced with the transition precise and smooth. (Cadence is shown in the trot and canter. It is a marked accentuation of the rhythm and beat that is the result of a steady and suitable tempo harmonizing with springy impulsion.)

• Prix St George and Intermediare I: Demonstrates that the horse is able to submit to all of the demands of classical equitation and is developing the ability to achieve the more demanding requirements of Intermediare II and Grand Prix.

• Grand Prix: The horse should have achieved perfect lightness as characterized by the total absence of resistance and the complete development of impulsion.

How is dressage scored?

In addition to the training directives, each movement in the test has a description for that particular movement. Dressage tests are scored on the individual movements that are called for in each test and by the collective marks. Certain movements also have a coefficient, which means if a movement has a coefficient of 2 then the score for that particular movement is doubled. This is done to stress the importance of achieving that particular skill at that level.

Individual dressage tests are scored using a numerical scale from 0 to 10. Each movement is given a score and the judge also usually writes a brief explanation of why she gave that particular score. The numerical scale is as follows:

10-Excellent: Absolute precision, movement is performed exactly on the correct lines from marker to marker. All the requirements of the training scale have been fulfilled to their utmost.

9-Very good: Absolute precision, movement is performed exactly on the correct lines from marker to marker. All of the requirements of the training scale have been fulfilled.

8-Good: Accurately performed movements that follow the correct lines. All the requirements of the training scale will be regarded as good.

7-Fairly good: Fairly accurate movements that are performed following the correct lines. All of the requirements of the training scale will be regarded as fairly good.

6-Satisfactory: Either the movements will be performed with accuracy and precision but there will be some weaknesses within the training scale, or movements may be lacking accuracy and precision but still demonstrate good qualities of the training scale.

5-Sufficient: Either the movements will be performed fairly accurately but there may be some clear weaknesses within the training scale or some fairly serious mistakes. Or, movements may be inaccurate but still demonstrate satisfactory qualities of the training scale.

4-Insufficient: Either, the movements will be performed fairly accurately but there may or will be some serious weaknesses within the training scale or some obvious error within the movements. Or, movements may be very inaccurate but will demonstrate sufficient qualities of the training scale.

3- Fairly bad: Inaccurately performed movements with serious problems within the training scale.

2-Bad: Inaccurately performed movements with severe problems within the training scale.

1-Very bad: Movements performed are barely recognizable. Showing severe resistance throughout, i.e. rearing, running backwards.

0-Not performed: Not performed. There is no fragment of the movement performed.

What are the collective marks?

At the end of a dressage test sheet is a section called Collective Marks. This section contains the judge’s over-all impressions of the test ridden.

The collective marks are based on:

• Gaits: the freedom and regularity of the horse’s three natural gaits, walk, trot and canter. All three gaits should be pure and be performed well. They should be fluent with a true, clean rhythm, moving freely and without mistakes or constraint. They should be regular and efficient, showing signs of soundness and correct training. A horse with pure gaits moves in balance, both longitudinal (back to front) and lateral (left to right). He should track straight and not interfere.

• Impulsion: the horse’s desire to move forward, the elasticity of his steps, and the suppleness of his back. Impulsion does not mean speed for speed has no value in dressage. Impulsion is a term used to describe the horse’s willingness to move forward with thrust from the hindquarters. A horse that is moving with good impulsion has more expression of the gaits, more suspension and active, well-engaged hindquarters.

• Submission: the horse’s attention and confidence, harmony with the rider, lightness and ease of the movements, the horse’s acceptance of the bridle, and lightness of his forehand. The horse should travel with a steady, consistent outline. He should be “on the bit” and consistently remain so throughout the entire test. He should be free from any resistances and willingly respond without hesitation to the rider’s aids.

• Rider: the rider’s position and seat, correctness and effect of the aids. The rider should give the impression of an effortless performance and should sit on the horse with good position. The rider’s aids should be invisible and should give the over-all impression of being in complete harmony and balance with the horse.

Once the rider has completed his or her test, the judge completes the scoring and writes any further remarks or impressions. The test is then sent to the scorer who then calculates the final score. The number of points given by the judge is added to give a total. This total is then divided by the number points possible for the test to give a percentage that is use to rank the horse and rider combinations for a particular class.

In Summary:

In summary, dressage tests are only a small part of dressage. It is not even necessary to compete at a dressage show or to ever ride a dressage test. But what it does do is to add another element to dressage. It can give a rider a measure of their accomplishments on a particular day. Riding dressage tests gives additional challenges to the horse and rider by riding specific tests in front of peers, with distractions and sometimes show nerves. It can also be a social outlet, providing a fun venue in which to get dressed up and enjoy a day with your horse and friends. So good luck and most importantly, have fun!

This article was written by Maribeth May 2006 – All Rights Reserved Used With Permission.

Traveling the Road Less Traveled

By Maribeth Dunlap

April 2006

There have been times in my journey with my horses that I seem to be on a different path than most others. Their way just never seemed to fit. Although I would try to put the wardrobe on it never felt right, never quite fit, was never very comfortable. I would struggle and try to convince myself that this “should be right for me”. After all, this is what “everyone else” is doing. I would usually end up asking myself, “why doesn’t this seem to work for me, why am I still searching”, and ultimately when I’m feeling most distressed about it “why must I always be different”? So off I would go again in search of what worked for my horses and me.

I grew up in an area full of hunter barns and Quarter Horse people. I myself even started out as a western rider in 4-H riding the pleasure classes and games. Then I moved onto hunters and then to jumpers. I loved what I learned in these disciplines and still do include jumping fences as a key part of my training program but I always felt that I was looking for more or for something a little different. My searching led me to dressage and I set off for what ended up becoming an extraordinary journey.

My searching has led me down many interesting paths. Some paths were more interesting than others, some bordering upon the humorous, but always ending in a valuable lesson of some sort. Among some of the most important lessons I’ve learned is patience. To be patient in my searching has reaped big rewards. In other words, I searched and searched patiently until I found the path that was right for me. I didn’t give up searching and settle for another’s path. I didn’t compromise my convictions but waited and continued until I found the solution. I persevered and was rewarded when I finally found what I was looking for.

Another lesson learned was to be open to new ideas. If I hadn’t continued to search I wouldn’t have learned as much as I have. I have a fair to good understanding of other techniques and styles. I have an appreciation for other paths and accept the differences and the similarities within them. My knowledge and skills have increased due to my exploring. If you think of a skill as another tool in your toolbox, then I have many good tools in my toolbox and I am grateful to have had the opportunity to acquire them. Although I stay true to my current path, the one that is right for me, I remain open to new and good ideas. I’m always looking to pick up another good tool.

I also learned to be brave and to have courage in my convictions. It takes courage to be different and to travel a road less traveled. It can be scary to be out there on your own and to be different from those around you. For a few short months I was the only dressage rider in a large hunter barn. I stuck out like a sore thumb or a shining star, depending upon how you choose to look at it. I was different. I used a different saddle, I sat upon my horse differently and I did different things with my horse. I didn’t stay on the track like the others, I would go off the rail and ride circles of different sizes, I would ask my horse to do lateral movements and counter canter. The others in the barn would watch and study me. In the beginning they would even giggle and criticize. But I stayed true to my course with a friendly and positive attitude and soon they began to get more curious and to ask questions. I like to think that I may have planted a few dressage seeds in that hunter barn. So you have to be prepared to be brave and to be able to take a little criticism if you’re going to be different.

My searching has ultimately taken me to a place where I finally feel at home. It is a place where my passion has bloomed and continues to flourish and grow. My journey is certainly not over, but perhaps really just beginning. And, oh! How extraordinary it is going to be! Everyone’s path is a little different. Mine is certainly not the same as yours. Be patient and have courage to find the right path for you. And keep your mind open to new ideas and make yours extraordinary, too!

This article was written by Maribeth April 2006 – All Rights Reserved Used With Permission.

Navigating the Terrain of Dressage

By Maribeth Dunlap

April 2006

I don’t know about you, but there have been times along my dressage journey when everything just clicked. I was high flying and having fun and thinking this is cool and not so bad. Then all of a sudden and out of nowhere, it seemed like someone pulled the rug out from under my feet. As always, I pick myself back up, brush myself off, and usually say something silly like, gee, they didn’t mention this in any of the books. At least, not the ones I’ve read.

The first thing I learned was that you can’t learn to ride by just reading books. You have to get out there and do it; you must be an active participant. Oh sure, books offer excellent advice and will help you to learn the terminology and technical aspects of riding. They’re indispensable at supplementing your knowledge and understanding and I would be lost without some of the excellent resources in my library. The fact still remains that in order to become a good rider you have to ride, just as the ballerina practices her craft for hours on end, as nobody has ever become a ballerina by reading books about the ballet. And a pilot could not be a pilot by simply reading the manual. At least, not a pilot I would want to fly with.

The second thing that I learned was that I needed good instruction. And that can sometimes be tough to find. Dressage is currently the fastest growing discipline in the equestrian world and hopefully, as the sport continues to grow, there will be more instruction available. Good instruction will help you to make steady progress and avoid major setbacks. Dressage can be very technical and at times very frustrating and it is so important to have a good instructor to help you better understand the technical aspects of the discipline and encourage you through times of frustration.

The next thing that I learned was that learning dressage was like navigating through unknown terrain. And I think that this is similar to learning any new thing. There are areas of terrain that are steep ascents and then there are areas that are more like plateaus. And don’t forget there is sometimes an occasional pothole or bump in the road.

I like to think of the steep ascents as those periods of time when you’re learning and progressing. You’re on a roll, feeling good, raising your standards and goals. You really feel like you’re getting it and you’re happy, you love your horse, you love your instructor and life is good.

The plateaus are the areas where you don’t really feel like you’re making much progress. Many riders feel like they’re “stuck” during this time. They become steep ascent junkies and love that feeling of steady, rapid progress and constantly learning new things. I’ve learned, however, to feel differently about these plateaus. I think of them as a time to practice and solidify what I’ve learned during the steep ascents. This is a “study” period and I’m perfecting what I’ve learned, honing my skills, and getting ready for the next steep ascent when it comes. I’ve learned to really appreciate these periods as it gives me a chance to take the time that is necessary to truly study and grow. It is especially important to trust your instructor during this time. He or she has the experience to guide you along your way and to know what you and your horse need in order to make steady progress.

So what about those potholes or bumps in the road?  I refer to these as taking two steps back. And sometimes this is exactly what is necessary. Sometimes while learning new things, we lose the quality of the things that were learned shortly before these new things. So we need to go back and recapture the quality and then move forward again.

I like to think of dressage as a process or a journey. You’re navigating through unknown terrain, and a key element that is needed to make a safe journey is patience and an understanding and acceptance that this is a process. This journey also offers you opportunities to learn about yourself and to grow and mature. And it is most often a humbling experience. It is a lifetime journey well worth taking. Embrace it, enjoy it and have fun along the way!

This article was written by Maribeth April 2006 – All Rights Reserved Used With Permission.