Posts Tagged ‘gaits’

Dressage has ancient roots and is became an important equestrian event in the West during the Renaissance in Europe. It was at this time that the great European riding masters of the world created a sequential training system, which is known today as Classical dressage. This training system is still the basis of modern dressage training today.

Often referred to as “horse ballet,” dressage tests the athletic ability of the horse as well as its disposition and willingness. Due to the dressage being a French term, the maneuvers completed in the various dressage tests are also French. However, before you can completely understand the maneuvers, you must first have a good understanding of the arena that dressage takes place in.

A dressage arena has letters assigned at specific positions. Each dressage test dictates which gait or maneuver is to be performed and at which letter. There are two sizes of dressage arenas, but the arena used at the FEI World Equestrian Games will utilize the standard arena. The standard arena is 66 feet by 197 feet, creating a long rectangle. Around the outside edge of the arena, moving clockwise, you will see the letters A-K-V-E-S-H-C-M-R-B-P-F. Down the middle of the arena, you will not see any letters marked, but the riders know that the letters G-I-X-L-D correspond to the letters marking the outside edge with the letter “X” marking the center of the arena.

A dressage test always begins at marker A and the judge is always sitting at marker C on the far end of the arena from the rider. At a world level competition, such as the Alltech FEI World Equestrian Games, four other judges will be placed at the markers E, B, M and H. This ensures the horse can be judged from all angles.

The tests performed at the FEI World Equestrian Games are of the highest level, which is Grand Prix. The gaits and maneuvers performed at this level include:

• Collected and extended walk, trot and canter
• Trot and Canter Half-pass – This is when the horse travels diagonally across the arena with its body parallel to the arena railing.
• Passage – This is a slow, suspended trot.
• Piaffe – This is a slow, extremely collected trot and should appear as though the horse is trotting in place.
• One, two and three tempi changes – These are flying lead changes at the canter that take place at specific beats in the gait depending on the required tempi change.
• Canter pirouettes – This maneuver is a 360 degree circle that appears to take place on the spot.

For the freestyle dressage test, the horse and rider are able to perform these maneuvers and more to show the ability of their horses. Many riders will include more complicated movements such as pirouettes in a piaffe, a half pass in passage or a double canter pirouette.

If you want to see some of the most talented horses from around the world perform at the highest level of dressage, then you won’t want to miss the 2010 Alltech FEI World Equestrian Games.

For more information about the world equestrian games and to find the best world equestrian games housing visit http://weg2010housing.net.

Author: Abbey Dale
Article Source: EzineArticles.com
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Dressage has long been seen as the most graceful of equestrian events and for good reason. The FEI dressage horses that compete at this level are trained to move gracefully across the arena performing complex maneuvers while the rider appears to give no cues and interferes very little in the actions of the horse.

The FEI rules describe dressage as “the development of the horse into a happy athlete through harmonious education. As a result, it makes the horse calm, supple, loose and flexible, but also confident, attentive and keen, thus achieving perfect understanding with his rider.” Dressage also means “training” in French and when properly trained, the dressage horse is capable of performing a variety of maneuvers while it appears that the rider is really just along for the ride. This level of harmony is best witnessed during the dressage competition at the FEI World Equestrian Games.

There are two types of dressage competitions at the World Equestrian Games. These are the Grand Prix and Grand Prix Special. During the competition, each horse and rider will perform the same test that consists of specific movements and gaits to be performed at specific points around the arena. The FEI dressage horse will be capable of demonstrating a very high level of achievement and the performance of the horse will match the description of the FEI dressage rules.

Each horse is tested independently before a panel of five judges. Each movement of the test is judged independently as well. The horse and rider team with the highest overall score wins the competition. However, if you really want to see an amazing dressage performance while visiting the FEI World Equestrian Games, then you won’t want to miss the Freestyle competition.

The Freestyle competition allows the rider to create their own pattern and choreograph it to music. There are specific movements that must be completed in the test, but the rider is able to determine when those movements will be performed and they can ride to the music of their choice.

You can witness dressage at nearly every equestrian horse show across the globe, but rarely do you have the opportunity to witness the best dressage horses at work. If you want to see what a truly professional dressage horse looks like, there’s no better place than the FEI World Equestrian Games when riders and horses from around the world come to compete for FEI World Cup in dressage.

The dressage portion of the Alltech 2010 World Equestrian Games will take place September 27th-29th and October 1st, 2010.

For more information about the world equestrian games and to find the best world equestrian games housing visit http://weg2010housing.net.

Author: Abbey Dale
Article Source: EzineArticles.com
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When the judges are listening to your music, what are they listening for? One of the most frequently asked questions I get is, “How do the judges evaluate my music?” I’m going to go over the guidelines that are given to the judges so you can be on the same page as they are. There are four categories that the judges must consider when listening to and watching your freestyle. They are:

1. Suitability
2. Cohesiveness
3. Editing
4. Phrasing and dynamics

Let’s go over them one by one.

1. Suitability – The actual definition in the USDF rulebook says, “The music matches and expresses the horse and the gaits.”

What does this mean? “Matching the gaits” means that the music tempo or beats per minute (BPM) is the same as your horse’s down beat in the foot fall pattern of the walk, trot, and canter. (For the upper levels, it must also match piaffe and passage.)

The downbeat of the measure (the one you tap your toe to) should match the down beat of your horse’s gait. For example, in the canter the main down beat of the right lead would be the third beat, when the right front hits the ground. If the judge can tap his toe to the music and it matches when the right front foot is hitting the ground in the right lead, then the tempo matches your horse’s gait.

Matching your horse’s “expression” can be a bit more subjective although it’s very obvious when it does NOT match. If you’re riding a big springy warmblood, then cute circus music is not appropriate. On the flip side, a smaller, more average mover would look even more average if he had a large piece of music. Large music may draw wrong expectations from the judges because of the depth of the music. Bigger music is not always better.

2. Cohesiveness is defined in the rulebook as, “Music that is linked by genre, theme or orchestration.” This means that the judges should easily be able to hear the connection between the pieces of music.

The music should sound as if it were one piece for all the selected gaits. The link could be music of the same genre, like jazz or rock and roll, or the same instrument could be featured throughout the piece.

The link could also be music from TV shows, or a movie series. In any case, the connection of the music should be obvious to more than just you. You may think that the connection is apparent, but ask a few friends if they “get it” before you finalize your selection of music.

3. Editing is defined as “Music that has a smooth flow; there are no abrasive cuts, transition or fades.” If you can hear a cut or clip in a piece of music, it’s not a good edit.

Remember that music has phrases. You should never cut or edit a piece of music in the middle of a phrase. It would be like leaving off the end of a sentence. You’d leave the judges hanging.

Imperceptible edits are seamless. Elements that play an important role in a good edit are pitch, key, and where the beats are in the measure.

4. Phrasing and dynamics-Phrasing is defined as “The way sequences of notes are grouped together to form units of melody; the expression of musical sentences.”

This means that a line of notes or measures are grouped together with a clear beginning and end, like a sentence. You should almost feel like taking a breath at the end of a musical phrase much like you would at the end of a sentence.

Dynamics are the variations of the intensity of sound such as the changes in volume and intensity that would help define a change in a movement. For example, going from working trot to a lengthening, or a collected trot to half pass would be more enhanced with a clear, dynamic musical change.

The judges don’t want to guess when your lengthening was supposed to start. They want to hear a clear change in the music, volume, or intensity.

Hope this helps get you on the same “page” as the judges!

Ruth Hogan Poulsen

http://www.Ruthhoganpoulsen.com

Ruth@Ruthhoganpoulsen.com

Author: Ruth Hogan Poulsen
Article Source: EzineArticles.com
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Part 2 – Relaxation with Elasticity & Suppleness

In part 1, I described rhythm as the first step in the Training Pyramid of Dressage. I explained the hoof fall in the different gaits and how important rhythm is as the basis of the training of your horse.

The next building block is Suppleness & Relaxation. The same rule applies here; Practice Makes Perfect and a good coach on the ground will help you hind your shortcomings and work through them.

It is important to continually and gradually put a horse through a series of gymnastic exercises in his flatwork. This will not only quietly and gently supple the horse, but will increasingly engage the hind quarters as they build muscle, strength, and energy. This will result in bringing the horse more and more on the bit and ultimately result in collection.

This is not done overnight. A horse is an athlete. Just like you, when you start a sport or an exercise regime, you start slow. You jog 1 mile at first and work it up till you can run the marathon.  You stretch, a little at first, and become more limber when you keep it up. That is the same for the horse.

There are two types or suppleness for the horse: longitudinal and lateral.

1. Longitudinal suppleness is the looseness of the horse’s haunches, back, neck, poll, and jaw. The suppler a horse is longitudinal, the more adjustable he becomes in his length of stride while maintaining rhythm. We accomplish this through repeated changes in length of stride, forward and back while maintaining forward motion and rhythm.
2. Lateral suppleness is the degree to which a horse can ‘bend’ his body and neck around the circle. It really has more to do with balance than actual bend. A balanced horse learns to stay on a 20m circle without leaning his shoulder to the inside of the circle or swinging his haunches out. It is accomplished by lateral exercises including leg yields and shoulder-in. These types of exercises increase the flexibility and movement of the hocks, stifle, shoulder, back and neck.

There are many other exercises you can do to accomplish basic suppleness and balance. When done right, a rider can through repeated, appropriate work–accompanied by reward, never harshness and force–turn a stiff and uncooperative horse into a supple and obedient horse.

These exercises are simple, based on circles, turns, up- and down transitions, and lateral work. The more up- and down transitions you do, the more responsive your horse becomes, making him softer, more balanced on the hind quarters, obedient and energetic.

Ultimately we are looking for the horse to start using the big muscles that go over his back and through his neck so he can start engaging his hind legs more and carry the energy from his hind legs over his back and into your hands.

Most of the work and training in this stage is still done in the trot. The better the trot work – (1.) rhythm, (2.) suppleness & relaxation with balance-the better the canter will be. The trot can help you lay the foundation for the next levels in the Training Pyramid of Dressage.

And now I would like to invite you to find out more about Dressage and get your FREE eBook “What to Do In Time of Emergency – A Guide & Workbook for Families with Horses” at http://www.PerformingHorse.com.

Now Go Out And Ride!

Monique Myers for http://www.PerformingHorse.com.

Author: Monique Myers
Article Source: EzineArticles.com
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RHYTHM AND TEMPO

Before you can pick the perfect freestyle music for your horse, you need to understand the difference between rhythm and tempo.

Many people use the words rhythm and tempo interchangeably, but they don’t mean the same thing. This month, I’ll go over the meaning of each–both in musical terminology and in riding terminology. It doesn’t matter if you ride DRESSAGE, HUNTERS, or you are an EVENT RIDER. Every equestrian needs RHYTHM!!!

Rhythm – When riding, regularity of the rhythm refers to the even spacing between each step in a stride of walk, trot, or canter. In music, rhythm is made up of sounds and silences. These sounds and silences are put together to form patterns of sound which are repeated to create rhythm.

Look at the two descriptions of rhythm and put them together. Think of the sounds and silences of the musical terminology and the even spacing between each step of your horse’s gaits as the same thing. When the horse’s foot is down it is a sound. When your horse’s foot is up, it is silent. This is how we can relate the rhythm of music to the rhythm of your horse’s gaits.

Tempo -Tempo is the speed of the music or the speed of your horse. Depending on how fast you want to go, you can adjust the rate of repetition of the rhythm.

Tempo in music can be fast, slow, or in-between. Music sounds and feels different depending on how fast it’s played. The same piece of music will have a different effect or mood depending on whether it’s played fast or slow.

Hopefully, this description clarifies the difference between rhythm and tempo as it applies to music and to your horse.

Next month, we’ll talk about choosing the particular kind of music that will accentuate your horse’s strengths. Stay tuned for a whole lot of fun!

Ruth Hogan Poulsen

http://www.Ruthhoganpoulsen.com

Ruth@Ruthhoganpoulsen.com

Author: Ruth Hogan Poulsen
Article Source: EzineArticles.com
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Are you confused about whether or not your First Level Dressage Horse is ready to move up to Second Level or your Second Level horse is ready for Third Level? Here are some guidelines.

Let’s say your dressage horse is solid at First Level. Look ahead to the Second Level movements. Check out the dressage tests. You’ll see that you need to work on shoulder-in, haunches-in, renvers, simple changes of lead, reinback, and turns on the haunches.

You’ll also notice that the big difference between First and Second Level is rather than schooling at the working gaits like you do at the Training Level and First Level, you’re now asked to show modest collection. That means the balance of your horse is more uphill. And from that modest collection, you’re asked to show medium gaits. Medium gaits are basically the lengthenings that you showed at First Level but in a more uphill balance.

By doing the lateral work with bend like shoulder-in, haunches-in and renvers, you automatically develop that slight shift of center of gravity back toward the hind legs. The shift in the center of gravity creates the degree of modest collection that you need at Second Level.

Then if you’re schooling your horse at Second Level, look ahead to Third Level. You see that you need to learn the aids and the preparation for movements like half passes and flying changes. But now, the big difference between Second Level and Third Level is that your horse needs to show the difference between collected, medium and extended gaits. In other words, he needs to show three gears within each gait.

Keep in mind that medium and extended gears grow out of collection. That is, the degree to which your horse bends the joints of the hind legs and lowers his croup is the degree that his forehand comes up. His outline begins to look like a see-saw or an airplane taking off. That degree of collection determines just how good your medium extended gaits are.

So what should you work on to develop the degree of collection that you need at Third Level in order to also be able to show medium and extended gaits?

I’d suggest work in four areas to increase collection and, therefore, be able to show a clear difference between collected, medium and extended gates. Those four areas are lateral work with a bend, frequent transitions skipping a gait, decreasing size circles, and collecting half halts.

You’ve already stared lateral work with a bend when you moved from First Level to Second level. Just remember this equation. Bend plus sideways equals engagement. Engagement refers to the bending of the joints of the hind legs. And as the joints of the hind legs bend or “fold”, the croup goes down. As a result of the croup going down, the forehand comes up.

If you bend your horse and go sideways, you’re going to shift the center of gravity back. That will create a certain degree of collection.

But there are other things that you can do to develop collection such as frequent transitions skipping a gait. For example, if you want to collect the trot, trot for 5 or 6 strides, and then halt. Then trot again for only 5 or 6 strides, and halt again. The main thing that you want to strive for during frequent transitions is that there are no dribbly walk steps in between the transitions from trot to halt and back again.

You can do the same type of transitions to collect the canter. Ride five strides of canter and then five strides of walk. Repeat this several times with no dribbly trot steps in between. As you do the down transition to the walk with your back and outside rein, visualize your horse lowering his haunches the way a dog sits down. Use this mental image to support your aids so that the croup lowers as your horse steps into the down transition.

Another very simple thing that you can do is ride smaller circles. As the arc of the circle becomes tighter, the joints of the inside hind leg bend more. Obviously, there’s more bend in the joints of the inside hind leg at 10-meters than there is at 12-meters. And there’s more bend of the joints at 8-meters than there is at 10-meters. So by decreasing the size of your circles while making sure your horses spine directly overlaps that arc, your horse shifts his center of gravity back.

The final thing you can do is “collecting half halts”. I’ve talked a lot about “connecting half halts”, or the connecting aids, which is the third ingredient of the training scale, but collection is the sixth and final ingredient in the training scale.

With collecting half halts, I like to give three half halts (a hardly visible, almost simultaneous co-ordinated action of the seat, the legs and the hands) in a row-take/give, take/give, take/give.

Be sure to time the half halts when the hind leg you want to influence is on the ground. That’s because the only time you can influence a hind leg is when it’s on the ground just before it pushes off. You can feel when a hind leg is on the ground because your corresponding seatbone feels like it’s pushed “up” or “forward”.

When you give those collecting half halts, focus on two things.
1.With each collecting half halt, decrease the amount of ground that you cover per stride.
2. Keep the same rhythm and tempo as you shorten the strides.

The “collecting half halts” shift the horse’s center of gravity back. When you trot or canter forward, be sure to maintain the same balance you achieved during your collecting half halts. You don’t want to collect your horse with half halts, and then charge forward. If you do, your horse will unload his hind legs and shift his balance to the forehand.

To sum up, following the dressage tests gives you a good general program for advancing from First Level to Second Level to Third Level and even higher. Check out what’s coming up next, and start to add in little bits of what’s in the next level. In that way, you’ll systematically and progressively add new work. Your horse won’t even realize that he’s being asked to do anything more difficult.

Author: Jane Savoie
Article Source: EzineArticles.com
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