DOCSLIB.ORG

Impulsion – and How to Channel It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impulsion – and How to Channel It 32 Founding Director and Editor : CRC OFFICE: Sylvia Loch (Mrs R G P Hawkins) C/o Long Meadow Business Consultant : 44 Belchamp Road John C Price, FCA Tilbury Juxta Clare CO9 4JT www.classicalriding.co.uk Email : [email protected] Impulsion – And How To Channel It BY SYLVIA LOCH here are many stories about horses tanking off with their owners, either out hacking or hunting or even at dressage shows. I once witnessed this at a top-end competition and could not help feeling I would never wish to compete on such a horse, however talented, if I did not feel master of its energy. On the other hand, TI would never want to compete with a horse that lacked impulsion. Believe me, the latter is just as important in dres- sage as it is in the other disciplines. Without energy we have nothing to work with and it is the correct channelling of the horse’s energy that can change everything and produce a beautiful performance. We hear a lot about ‘legs, legs, legs!’ from various teachers and trainers and I have been privy to a lesson where that was about the only word used. What a waste of the student’s money! As well as asking the horse to go forward from the leg, the rider must be made aware also that the seat and legs can divert or dampen energy at will. During the lesson in question, it was fairly obvious that the student was actually stopping the horse with the leg, but since no one sought to correct this, little was achieved. I somehow doubt the instructor knew the difference. One of the hardest things to grasp for the newcomer to dressage is that speed and ‘running’ have little to do with impulsion. Even at the highest levels, where collection and self-carriage are required, many horses are trying to run but are held back, imprisoned by the outline their rider has imposed on them. Draw-reins are often to blame in the schooling and preparation of the horse for dressage, but taut reins, flexed biceps and a seat and legs that work against the horse instead of allowing him to flow freely forward, can ruin what otherwise might be a harmonious picture. One of the reasons the teaching of the Classical Seat is so important is to help riders use their seat and legs to channel energy rather than relying on gadgets or the hands alone. To understand these functions better, we may liken them – in a very simplistic way – to the accelerator and gears of a car. Thus the energy produced by the engine can be harnessed to produce low gears or high, overdrive, reverse or stop. It is simply a matter of knowing how! As with a high-powered car, the feel and timing must be synchronised or we’ll simply crash through the gears and be at odds with our horse. While most riders are aware that their legs encourage the horse to move forward (acceleration) and their judicious use is the key to maximising energy, fewer riders realise that the legs can transform this energy to collect, redirect or stop the horse going forward altogether. How many are aware that from the horse’s point of view, the feel of the rider’s seat on their back is hugely affected by the legs? Tight legs will generally work against the horse and hugely disturb the balance of the pelvis and upper body. For the seat and legs to work in harmony, the ideal is to sit centrally and allow our legs gently to drop and drape the horse as a consequence of gravity. Once this is achieved we can apply a forward or a stopping aid more correctly – i.e. ask and then allow. Without the ‘allow’ phase of the action, the ‘ask’ for impulsion or the ‘ask’ for a halt will be nullified. To promote a good adhesive seat, the old masters placed much importance on the opening of the rider’s hip- joints. Only then could the legs ‘fall into place’ with no apparent muscular effort other than a feeling of stretch and tone through the front of the thighs down to the knees. To ease the hip-joints, the thigh must first be rotated slightly outwards and away from the horse, so that on its return to the saddle, the knee turns in and the flat, inner surface of the thigh brought to bear. This renders the rider stable and firm without the need to grip. It is then much easier to ask for more impulsion with a quick ‘on-off’ forward aid which allows the impulsion to travel through without impediment Those few modern trainers who take their time to study the anatomy of the rider as well as the horse recognise that work without stirrups is only successful once the position of the rider’s pelvis is addressed. It is virtually impossible to ‘ask’ or indeed ‘let go’ with the leg if the pelvis is angled backward – as in a chair seat. Once the rider is encouraged to sit in the deepest part of the saddle balanced over his or her ‘three points’ – that is two seatbones Tracking-up May 2016 33 and crotch – for stability, the hip-joints and legs very naturally free up of their own accord. The aids issued from an upright, independent seat can be fine-tuned to an extraordinary degree. Once the rider understands that the act of bringing his shoulders back deepens the back of the seat, he will also discover an important driving aid especially if the legs naturally ‘ask’ at the girth at the same moment. Then, conversely, all they have to think of is drawing up very upright through the core muscles to stop, slow or collect the horse. This is attained more easily by moving the legs very slightly behind the girth to dampen or arrest impulsion. For rein back, the aid is similar to that of a downward transition, but it helps to bring the shoulders slightly forward to lighten the back of the seat. The legs are then applied a few inches behind the girth to take the energy backwards. On a well- schooled horse, even on a sensitive novice mount, this is enough to divert the horse’s impulsion in the opposite direction. We now see how important it is not to kick the horse behind the girth to attain more impulsion. Quite the reverse! As teachers, one of our primary tasks should be to explain to the rider the link between the leg and the pelvis and how the position of one affects the position of the other. In addition, the rider should know why they are applying a particular aid at a particular time and appreciate how each action of the leg will not only have an effect on the horse’s sides but will change what he is feeling under saddle. Thirdly, timing and synchronisation must come into the equation as no single aid is of value unless asked for at the propitious moment, assisted by very subtle rein aids. As the hips and the leg position are clearly independent, it should become clear that too drastic a change in either part may affect the equilibrium of the whole structure. Let us imagine, however, that these matters have been addressed and our horse is working forward in a nice active trot, while we, tall, upright and in the centre of the saddle, sit adhesively to the trot. In a vertical posture, everything feels fairly neutral and balanced over the equine back so the horse can flow happily beneath us. If we have good feel, we will be able to enhance the movement by slight weight changes, clearly felt by the horse through our seat. These are the fine-tuning aids which have been handed down to us over many centuries to become the accepted training aids of today. Unfortunately, too many people learn these aids parrot-fashion, failing to realise that they can only work to the benefit of the horse if certain adjustments are made elsewhere. When we require more impulsion therefore, we must take care as we apply the lower leg at the girth, that our seat does not slide back, which would hollow the horse. Instead, we must send the seat bones forward which can only be done by bringing the shoulders back supported by a firm core muscles and a supple lower back. The sensation is often described as ‘riding waist-towards-hands.’ Similarly, if we wish to collect the horse and bring his weight back, the leg moving behind the girth to gather the hind legs, must not encourage us to sit heavily on the crotch. Due to the mechanical effect of our pelvis when the lower leg moves behind the vertical line of the hip to heel there will be more contact here which can block the flow of impulsion. To counteract this, we simply stretch up Top: the correct leg position. through the abdomen and think tall. It’s a wonderful feeling to sense the impulsion and energy of the horse being diverted upwards and it Above: the three-point seat contact. has very little to do with the hands. Provided the rider appreciates that everything is connected to everything else and that no aid can work in isolation, he/she will soon learn to think before acting. In this way, a naive or crude-seated rider can be transformed by riding a sensitive, highly tuned horse. Long before the instructor has uttered a word, the horse will show how a carelessly applied forward leg aid can cause him to hollow or disengage.
Load more

Recommended publications
  • Pyramid of Training – Rhythm
    Chapter 9 PYRAMID OF TRaining – RHYTHM 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 in a suitable and consistent tempo, with the horse remaining in the bal- ance and self-carriage appropriate to its individual conformation and level of training. “The object of correct dressage is not to teach the horse to perform the exercises of the High School in the collected gaits at the expense of the elementary gaits. The classical school, on the contrary, demands that as well as teaching the difficult exercises, the natural gaits of the horse should not only be preserved but should also be improved by the fact that the horse has been strengthened by gymnastics. Therefore, if during the course of training the natural paces are not improved, it would be proof that the training was incorrect.” [The Complete Training of Horse and Rider, p 161] One important function of basic training is to preserve and refine the purity and regularity of the natural gaits. It is there- fore essential that the trainer knows exactly how the horse moves in each of the three basic gaits, because only then will he be in a position to take the appropriate action to correct or improve them. When establishing rhythm, “the horse should be ridden in the basic pace best suited to it.” [Principles of Riding, p. 160] The rhythm must be maintained in each of the basic gaits, and in each form of the gait, i.e.
    [Show full text]
  • Dressage School Dressage Reference
    Schöffmann THE ULTIMATE SCHOOL DRESSAGE DRESSAGE REFERENCE Explanations and definitions in seconds that will last a lifetime of rides. Photographs demonstrating how dressage movements should look. M R B P F Descriptions of correct aids for each movement or exercise and how to apply them. DRESSAGE SCHOOL C A Sourcebook of Movements and Tips A Summaries of the most Britta Schöffmann common mistakes made by A Sourcebook of Movements and Tips Movements of A Sourcebook riders and horses and how to H S E V K fix them. Lists of fast facts, training goals, and benefits of school figures. Thoughts on how it all fits together in the continued growth of the dressage horse and rider. $24.95 USD ISBN: 9781570769238 5 2 4 9 5 www.horseandriderbooks.com 9 7 8 1 5 7 0 7 6 9 2 3 8 “Clear dressage advice, sans fluff.” —HORSEMAN’S YANKEE PEDLAR “A great reference book for all levels.” —USDF CONNECTION TSB Dressage School NE PLC FULL COVER.indd 1 9/19/18 10:04 AM DUPLICATION PROHIBITED by copyright holder V Contents vii Alphabetical Index ix Endorsements x Preface 1 Turning 3 Figure Eight 4 Canter Depart 7 Walking Off 9 Trotting Off 12 Working Pirouette 14 Working Gaits 16 Working Trot 19 Working Canter 20 Changing Rein Out of the Circle 22 Half-Volte in the Corner with Return to the Track 24 Counter-Canter 27 Sitting Trot Note for the Reader 29 Changing Rein through the Circle Please see the Important Note 30 Changing Rein Across the Long Diagonal from the Publisher on p.
    [Show full text]
  • Change of Canter Lead Through Trot on the Diagonal
    Chapter 19 CHANGES OF LEAD AND FLYING CHANGE OF LEAD Definition Change of Lead Through Trot “This is a change of lead where the horse is brought back to the trot and after a few trot strides, is restarted into a canter with the other leg leading.” [USEF Rule Book DR105] Simple Change of Lead “This is a change of lead where the horse is brought back immediately into walk and, after a few steps, is restarted im- mediately into a canter on the opposite lead, with no steps at the trot.” [USEF Rule Book DR105] Gymnastic Purpose The gymnastic purposes of changes of lead are to help develop, as well as test, the horse’s collection, coordination and balance, and to improve the quality of the canter. Qualities Desired The qualities desired in ‘Changes of Lead through Trot,’ are that the horse maintains his straightness, makes a balanced transition to two to three steps of trot, and strikes off clearly to the new canter lead. The qualities desired in a ‘Simple Change of lead’ are basically the same as the change through the trot except that the transition from canter should go directly to two to three walk steps, and to the new canter lead with no trot steps. The transition to walk must be immediate without any intervening vaguely trot-like strides, but also smooth. The steps must be determined and the four footfalls of the gait must be distinct. The transition to the new canter must also be im- mediate. The horse must canter straight and must constantly remain on the bit.” [Dressage, A Guidebook for the Road to Success, p 103] Aids The aids for changes of lead are the same as the aids for the canter.
    [Show full text]
  • LIGHTNESS TOURNAMENT Exercises of Test No. 5A Level 5-A
    LIGHTNESS TOURNAMENT Exercises of Test No. 5A Level 5-A Max Time 7min. Participant # Rider: Horse Judge: Movement Requirements Remarks Coef Appr Total 1 Presentation rider- Attire, tack, horse cleanliness 2 Enter at the Terre-à- Salute - All 3 Terre or Haunches-in reins in the left at very collected hand. right lead canter → Halt – Salute 3 Circle Haunches-in in Passage 4 Extensions at the 2 Trot 5 Pirouette in Piaffe Both hands 3 6 20m square at the (alternate in a 2 Canter 20m square Shoulder-in (Shoulder-in (first side) → ..Haunches-in) Flying change Haunches-in (second side) → Flying change Shoulder-in (Third side) → Flying change Haunches- in (fourth side) 7 Pirouette in Canter 2 8 Counter-changes at Minimum 4 Canter with Flying At the canter changes Half-Pass – Flying change – Half-Pass – Flying change – Half Pass – Flying change – Half Pass – Flying change 9 Flying changes 2 decreasing tempi (5-4-3-2) 10 Present one air above 3 the ground 11 Free exercise Show an impressive free exercise 12 Spanish Walk → In a straight line 2 Half Pirouette in 3 legs → Spanish Walk → Half Pirouette in 3 13 Halt – Free Salute Bow or Kneel 14 Exit the arena at the All reins in the Passage left hand - - - 250 - Total Technical Composition Coef Appr Total Trot (Collection, regularity, cadence, balance, elasticity) Piaffe (Collection, impulsion, regularity, cadence, balance, lightness) 2 Passage (Collection, impulsion, regularity, cadence, balance, lightness) 2 Canter (Collection, impulsion, regularity, cadence, balance, lightness) 2 Impulsion and regularity of the horse 2 Submission and enjoyment of the horse 3 Balance and lightness of the horse 3 Self carriage 3 Lightness and discretion of the rider´s aids 3 Descent of aids 3 240 - Total Artistic Presentation Coef Appr Total Rhythm, selection of the music 3 Interpretation of the music 3 Choreography and use of the arena.
    [Show full text]
  • THE FEI TRAINING SCALE 1. Rhythm
    THE FEI TRAINING SCALE 1. Rhythm - The Regularity and Tempo The first step of the training scale that should be established is the rhythm. The regularity is the correct sequence of the footfall, and, the tempo is the speed of the rhythm. The rhythm is the regularity of the beat in all paces. Steps and strides in each variation of the pace should cover equal distances and also be of equal duration remaining in a consistent tempo. The rhythm should also be maintained through the transitions within a pace and in all turns, also in the corners, as well on straight lines. No exercise can be good if the horse is losing rhythm. A loss of rhythm is often a sign of incorrect training. In order to judge the correctness of the rhythm, the judge must know how the horse moves in the basic paces. 2. Suppleness – Elasticity and Freedom from Anxiety Suppleness, together with rhythm, is an essential aim of the preliminary training phase. Even if the rhythm is maintained, the movement cannot be considered correct unless the horse is working through its back and the muscles are free from tension. Suppleness is a central theme throughout the schooling. It should never be neglected and should be constantly checked and reinforced. Only if the horse is physically and mentally free from tension (anxiety) or constraint can it work with suppleness and use itself fully. The horse’s joints should bend and straighten equally on both sides of its body and with each step or stride. The horse should convey the impression that it is putting its whole mind and body into its work.
    [Show full text]
  • The Art of Classical Dressage Riding Canter and Gallop
    THE ART OF CLASSICAL DRESSAGE RIDING THE CANTER CAN BE FURTHER DIVIDED BY THE FRAME AND IMPULSION OF THE HORSE. IT SHOULD BE NOTED THAT WHILE THERE IS A “COLLECTED” , “REGULAR” , “WORKING”, OR AN “EXTENDED” CANTER, CANTERCANTER ANDAND GALLOPGALLOP THESE ARE POINTS ON A SPECTRUM, NOT ENDS IN THEMSELVES. A TRULY ADJUSTABLE TRAINED HORSE SHOULD BE ABLE TO LENGTHEN (PART(PART 2)2) AND SHORTEN AS MUCH AS THE RIDER DESIRES. Compiled by Emmad Eldin Zaghloul TYPES OF CANTERS WHAT’S A HAND GALLOP? Jacques Toffi Jacques A Working canter is the natural canter given by a horse In the United States, show hunters may be asked to with normal stride length. This is the working gait of hunt “hand gallop” when shown on the flat or in certain seat riders. It is also used by all other disciplines jumping classes. The hand gallop differs from a true gallop in that the horse should not speed up enough A Medium canter is a canter between the working canter to lose the 3-beat rhythm of the canter, and from the and extended canter. It is bigger and rounder than the extended canter in that the horse should be allowed to working with great impulsion and very forward with lengthen its frame substantially and is not expected to moderate extension. The medium canter is common in engage as much as in an extended canter. dressage and show jumping. While the extended canter is intended to demonstrate A Collected canter is an extremely engaged, collected and improve athleticism and responsiveness to the gait (collection refers to having the horse’s balance aids, show hunters are asked to hand gallop primarily shifted backward towards its hind legs, with more to illustrate the horse’s manners and training.
    [Show full text]
  • Hunter Under Saddle
    Hunter Under Saddle CLASS DESCRIPTION Much like Western Pleasure, the Hunter Under Saddle is judged on the four following criteria: 1. Broke and Quiet 2. Soft and Smooth 3. Way of Going 4. Functionally Correct Broke and Quiet – Broke and quiet horses are free from major and minor refusals, and give the appearance of being quiet and willing to the rider’s cues and aids. Once it is determined the horse is broke and quiet, the horses are then evaluated on their quality of movement. Soft and Smooth – Soft and smooth movers are Hunter Under Saddle horses that move in a cadenced manner and hit the ground light and soft on all four feet when traveling. Horses should move with a large amount of impulsion from behind and travel with long, bold strides. Functionally Correct – Functionally correct horses are those that are correct when performing all three gaits. Horses that break gait and pick up wrong leads are not functionally correct, and should be judged accordingly. Quality and Way of Going – Quality and way of going are important when evaluating the Hunter Under Saddle Horse. Hunters should show a great deal of quality and style and should fit the part of an English horse. This horse will have a big, long, bold stride wand, and when traveling (especially at the trot), should flatten out at the knee and cover a larger amount of ground. The canter will be longer-strided than the lope of the western horse; however, it should be noted that Hunter Under Saddle horses should still be broke and quiet and level over the top line when traveling at all three gaits.
    [Show full text]
  • Classical Dressage Intro Walk/Trot
    CLASSICAL DRESSAGE INTRO WALK/TROT These tests are suitable for any horse 5 years old or above, in standard or small arena. Trot can be ridden rising or sitting. Introducing: Balanced walk and trot, half-stride walk, lengthening the neck at trot, volte. (Instructions on Page 3) Movement Directive Points Comments 1 A Enter balanced walk Tempo, regularity, impulsion, and straightness on centerline 2 I Halt 4 seconds while Balance of the halt, softening the rein, obedience, relaxation. proceed balanced walk (salute is optional) 3 C Track right C orrect bend and balance in turn and corner, consistent tempo and impulsion. 4 M - X Develop half-stride Smooth transition to half- walk stride walk, regularity, balance, softness to the connection. 5 X - K Return to balanced Smooth transition to walk balanced walk, regularity, balance, softness to the connection, bend in turns. 6 At corner 6-meter volte on the Consistent balance, tempo, between A & F left hand and bend. 7 B Turn left, develop half- Smooth transition to half- stride walk across the stride walk, regularity, centerline balance, softness to an elastic connection. 8 Before E Return to balanced Smooth transition to walk balanced walk, regularity, balance, softness to the connection, bend in turns. 9 E Turn right, continue Regularity, balance, balanced walk impulsion, softness to an elastic connection 10 At corner 6-meter volte on the Consistent balance, tempo, between H & C right hand and bend. Copyright © 2021 Carole Curley Effective Equestrian, LLC - All Rights Reserved. CLASSICAL DRESSAGE INTRO WALK/TROT 11 C Balanced trot Smooth balanced transition, consistent tempo and impulsion 12 B 20-meter circle right, Consistent balance, elastic lengthening neck and connection, developing topline more impulsion.
    [Show full text]
  • Horse Breeds - Volume 2
    Horse breeds - Volume 2 A Wikipedia Compilation by Michael A. Linton Contents Articles Danish Warmblood 1 Danube Delta horse 3 Dølehest 4 Dutch harness horse 7 Dutch Heavy Draft 10 Dutch Warmblood 12 East Bulgarian 15 Estonian Draft 16 Estonian horse 17 Falabella 19 Finnhorse 22 Fjord horse 42 Florida Cracker Horse 47 Fouta 50 Frederiksborg horse 51 Freiberger 53 French Trotter 55 Friesian cross 57 Friesian horse 59 Friesian Sporthorse 64 Furioso-North Star 66 Galiceno 68 Galician Pony 70 Gelderland horse 71 Georgian Grande Horse 74 Giara horse 76 Gidran 78 Groningen horse 79 Gypsy horse 82 Hackney Horse 94 Haflinger 97 Hanoverian horse 106 Heck horse 113 Heihe horse 115 Henson horse 116 Hirzai 117 Hispano-Bretón 118 Hispano-Árabe 119 Holsteiner horse 120 Hungarian Warmblood 129 Icelandic horse 130 Indian Half-Bred 136 Iomud 137 Irish Draught 138 Irish Sport Horse 141 Italian Heavy Draft 143 Italian Trotter 145 Jaca Navarra 146 Jutland horse 147 Kabarda horse 150 Kaimanawa horse 153 Karabair 156 Karabakh horse 158 Kathiawari 161 Kazakh horse 163 Kentucky Mountain Saddle Horse 165 Kiger Mustang 168 Kinsky horse 171 Kisber Felver 173 Kladruber 175 Knabstrupper 178 Konik 180 Kustanair 183 References Article Sources and Contributors 185 Image Sources, Licenses and Contributors 188 Article Licenses License 192 Danish Warmblood 1 Danish Warmblood Danish Warmblood Danish warmblood Alternative names Dansk Varmblod Country of origin Denmark Horse (Equus ferus caballus) The Danish Warmblood (Dansk Varmblod) is the modern sport horse breed of Denmark. Initially established in the mid-20th century, the breed was developed by crossing native Danish mares with elite stallions from established European bloodlines.
    [Show full text]
  • Ridden IBOP GENERAL RULES for FRIESIAN HORSES SUITABILITY EXAMINATION (IBOP)
    Ridden IBOP GENERAL RULES FOR FRIESIAN HORSES SUITABILITY EXAMINATION (IBOP) Responsibility The IBOP is conducted by the Koninklijke Vereniging "Het Friesch Paarden-Stamboek" (KFPS). Purpose The purpose of this examination is to establish a horse’s suitability for various uses and to do so with the greatest degree of objectivity. Every horse aged four or older can be presented for this examination (riding test, driving test or show driving test). Participation in more than one test on the same day is possible. Horses can be entered for the examination via the KFPS. The results of an IBOP test can be used for obtaining the star, crown or model titles (see the KFPS registration regulations). Location The location for the IBOP test shall be approved by FHANA. The test can be either indoors or outdoors. The hosting site will arrange for any necessary equipment required to evaluate the horse. The set-up of the area shall be the responsibility of an Inspection Site Host or other designated individual prior to testing. Countries other than the Netherlands IBOP testing outside the Netherlands is authorized. Jury members who conduct the evaluation must be certified and qualified by the KFPS. Participation A horse may participate in a maximum of two evaluations per annum provided the evaluations occur at two different FHANA sponsored events. (Example: a horse may participate at an ABFP and a Inspection, however, not two different Inspections). These evaluations can be in multiple disciplines per venue; however, in each venue the horse must meet all the evaluation criteria of the venue or discipline.
    [Show full text]
  • USEF SECOND LEVEL RIDER TEST Updated Dec
    USEF SECOND LEVEL RIDER TEST Updated Dec. 1, 2014 UNITED STATES EQUESTRIAN FEDERATION Purpose: To confirm that the rider, having achieved the requirements of first level, is able to ride the horse reliably on the bit with an uphill tendency. The rider lengthens and shortens the horse’s stride in trot and canter while maintaining correct alignment, posture and mechanics. In lateral movements the rider stays centered and demonstrates an appropriate angle and bending of the horse. As a result of the correct application of the rider’s aids, the horse shows a greater degree of straightness, bending, suppleness, throughness, balance and self-carriage than at first level. CONDITIONS All trot work to be ridden sitting. Arena: Standard Actual Average Time: 5:30 READER PLEASE NOTE: Anything in parentheses should not be read. Recommended Scheduled Time: 8:00 Maximum Possible Points: 100 TEST DIRECTIVE IDEAS 1. A Enter collected trot Rider’s alignment and symmetry; steady, elastic rein contact. Straightness on centerline; clear transition to halt maintaining X Halt, Salute uphill balance. Prompt transition to trot. Proceed working trot 2. C Track left Rider shows correct sitting mechanics in collected and medium trot; bends and straightens the horse. Horse lengthens and HXF Change rein, medium trot shortens the stride and frame with a consistent tempo. F Collected trot Rider is stable and well-balance. Horse shows clear reactivity to subtle aids; well-defined, straight, balanced transitions; remains 3. (Transitions H and F) reliably on the bit. 4. A Turn down center line Rider sits centered and vertical; uses inside and outside aids to control angle, bend, balance and impulsion in shoulder-in.
    [Show full text]
  • Dressuurproef 6
    FEI Driven Dressage Senior – Test 3*HP1 CAI3* Event: Competitor no: Judge in: Test 3* HP1 H1 P1 Athlete: Horse: TEST DIRECTIVE IDEAS REMARKS MARK Driving straight on centre line. Impulsion, Enter in Collected AX Collection, Rhythm. Self-carriage, Uphill Canter. 1 Tendency. Elasticity and Cadence. XCM Transition to Collected Trot Collected Trot Bending and contact Transition to Extended Trot, Lengthening, MXK Extended Trot Impulsion, Rhythm, balance and straightness. 2 Transition to Working Trot, Bending, contact, KAF Working Trot activity of the hindquarters. Elastic steps and good hock action Transition to Collected Trot. Control shoulders, rhythm, balance inside Collected Trot, hind leg steps forward under the horse’s body 3 FB Shoulder in left weight following the same track of the outside foreleg, with the lowering of the inside hip. Left Bending. Circle left 15m Transition to Collected Trot Suppleness, bending, accuracy, impulsion B Collected Trot. Transition to Extended Trot, lengthening, 4 impulsion, rhythm, balance, quality of steps, BM Extended Trot, lengthening Straight out in line Transition to Working Trot, bending, contact, 5 MCHS Working Trot, activity of the hindquarters, elastic steps and good hock action Transition to Collected Trot Impulsion , quality of the collection, SEX Collected Trot Bending, angle left 6 Transition to the Halt. Halt, Immobility 8 X Immobility. Driver in centre line, on the Bit, seconds square. Rhythm, obedience, remain on the bit, quality X Rein back 5 steps of diagonal steps, contact, straightness Impulsion , quality of the collection, 7 Transition to Collected Trot. XBP Collected Trot, Bending, angle right Impulsion , quality of the collection, PFA Collected Trot Transition to Working Trot.
    [Show full text]