| It's summer (Finally!), and lots of you are getting ready | | | | left hand. Drop your right arm loosely behind your thigh. |
| to compete your dressage horse. So I want give you | | | | Nod your head keeping eye contact with the judge. |
| some competition tips to help you have the best | | | | Don't make this big extravagant bow. You want to |
| experience possible. Before I get started with the | | | | acknowledge the judge, but you want it to look crisp |
| actual tests, I want to just talk in general about test | | | | and efficient. |
| riding because there's a lot of things that all the | | | | A man can actually salute in the same way. He can |
| dressage tests have in common. | | | | take the reins in one hand, drop his hand loosely behind |
| 1. MEMORIZE YOUR TEST | | | | one thigh, and nod his head. Or he can take his hat off, |
| The first thing is that you need to know your dressage | | | | put it behind his thigh, and nod his head. If you do take |
| test. I mean REALLY know it. Even though the Training | | | | your hat off, make sure the top of the hat (not the |
| through 4th level dressage tests, can be read out loud, | | | | inside of the hat) faces the judge. |
| it's still important that you really know your test. This is | | | | Take your time in the halt so you can really show that |
| critical so your test doesn't look like a bunch of | | | | your horse is on the aids. However, if he starts to |
| movements strung together. That way you can use | | | | move, go ahead and pick up the trot. You'll get a |
| the reader if you occasionally blank out. But for the | | | | better mark for a halt that's too quick as compared to |
| most part, you won't even be listening to the reader | | | | letting your horse move forward and then trying to halt |
| because you'll be paying attention to your horse. | | | | again. |
| Your goal is to be able to do the test on autopilot, so | | | | If you feel like your dressage horse drops behind your |
| that you can reserve all of your focus for riding your | | | | leg in the halt, "breathe" your legs to help him react |
| horse. You want to be riding your horse not | | | | more quickly to your driving aids. To "breathe" your |
| concentrating on what comes next in the pattern. To | | | | legs, take them ever so slightly off his sides. Bring them |
| help you do this, start memorizing your test early on. I | | | | back an inch or two, and then place them on his sides |
| have 3 different ways that I memorize tests. | | | | lightly again. |
| 1. Visualization-I know that it takes approximately 21 | | | | As you finish your centerline, keep your horse straight. |
| days to develop a habit. So I start visualizing my test | | | | Pretend you're going to lengthen toward the judge so |
| every day at least 3 weeks before a show. I sit in an | | | | you ride him between the channel of your legs and |
| easy chair or lie down on my bed, close my eyes, and | | | | hands. Then warn him that he's going either left or right |
| take 3 really deep breaths. You want to do | | | | by asking for flexion at the poll when you're a couple |
| diaphragmatic breathing, so as you inhale, feel like your | | | | of strides before C. |
| stomach is getting fat. That means you're taking air | | | | 4. CORNERS AND DIAGONALS |
| way down into the bottom of your lungs. As you | | | | Okay, you're in the arena. No matter what level you're |
| exhale, feel yourself sinking into the chair or bed. | | | | doing, you have to ride corners. The general rule for |
| Visualizing your test is going to help you do two things. | | | | riding corners is that you don't have to go any deeper |
| First, it's going to help you memorize your test. | | | | into the corners than the smallest circle done at each |
| Secondly, when you visualize the perfect ride, you | | | | level. |
| program your subconscious mind to ride correctly. | | | | So, the smallest circle you're asked to do for First |
| That's because when you do "perfect practice" in your | | | | Level is a 10-meter circle. That means you need to get |
| mind's eye, your muscles will fire in the correct way. | | | | into the corner to the depth of one quarter of a |
| As you visualize, go through your ride stride for stride. | | | | 10-meter circle. At Training Level, the smallest circle |
| Fill in as much detail as you can. What are you | | | | you're required to do is a 20-meter circle. So you really |
| wearing? What does your horse look like? What does | | | | don't have to get into the corners any deeper than the |
| the arena look like? What color is your jacket? What | | | | arc of a 20-meter circle. |
| color are your gloves? | | | | But if you can show a difference between the line that |
| Fill in as many details as you can AND include your | | | | you follow when you're going into a corner and the line |
| senses. Hear the rhythm of the footfalls. Feel the | | | | that you follow when you're on your 20-meter circle, |
| contact with your horse's mouth. See your horse's | | | | you show the judge that you're a savvy rider. If that's |
| head and neck out in front of you. Smell the fly spray. | | | | pretty simple for him, try to show a 3-meter difference |
| Also, add emotion to your mental movies. Experience | | | | between the line you'd follow if you were going into a |
| yourself feeling calm, relaxed, poised and the harmony | | | | corner and the line you'd follow if you were on a |
| of being at one with your horse. | | | | 20-meter circle. That shows a real clear difference |
| 2. Do your test on foot. | | | | between getting into the corner and being on a circle. |
| Another thing I do is that my living room rug tends to | | | | Your rule of thumb is to ride into the corner as deep |
| be a rectangle, and I walk out and trot out and canter | | | | as your dressage horse can manage-That is, he can |
| out the parts of the dressage tests as if I were riding | | | | keep the same rhythm, tempo, balance and quality of |
| them. So I actually, and you can do this in a regular | | | | his gait. The next things that all the tests have in |
| dressage arena if you want, of course it will take you | | | | common are diagonal lines. Here's what I'd suggest. |
| a long time to walk, trot and canter around an entire | | | | First, ride deep into the corner before you turn onto the |
| dressage arena although I have seen people do that. | | | | diagonal. Then look at a point about a half-meter |
| But if you have a big rectangular area or just mark off | | | | before the final letter on the long side. Aim for that |
| an area and trot down the center line, do your halts, | | | | spot when you go across the diagonal. By looking a |
| trot off, plan where you're going to turn, walk where | | | | little bit before the letter, you'll have more time to really |
| you're supposed to walk, canter where you're | | | | balance your horse for the next corner. |
| supposed to canter. So you actually have a chance to | | | | 5. TRANSITIONS |
| physically practice. | | | | Another thing that all the tests have in common is that |
| 3. Know your test "forwards and backwards". The | | | | you have transitions from gait to gait. And with the |
| third way that I memorize a test is to learn it the way | | | | more advanced tests, you also have transitions within |
| it's written from the first entry to the final salute. But | | | | the gait. First, let's look at transitions from gait to gait. |
| then, to know that I "own" that test, I pick any | | | | Always prepare for those transitions with half halts. |
| movement and ask myself what comes after it. And | | | | However, the particular version of the half halt you |
| here's the real thing that tells the story, I ask myself, | | | | give depends on the way your horse feels prior to the |
| "And what movement comes before this movement?" | | | | transition. This is because a transition can be no better |
| So I might say, "What comes before the left canter | | | | than the stride just before the transition. |
| depart?" or "What comes before the free walk?" or | | | | If your dressage horse is well schooled, obedient, and |
| "What comes after the trot lengthening?" When you | | | | is solidly on the bit, you can give what I call |
| can pick any point within the test and you can answer | | | | "Preparatory Half Halts". That's a momentary closure |
| those two questions, you really own that test. Also, if | | | | of seat, leg and hand--Take/give, take/give, take/give. |
| you do happen to blank out in the middle of the test, | | | | Direct those half halts to the inside hind leg. Give the |
| you'll be able to remember where you are very easily. | | | | half halts when the inside hind leg is on the ground just |
| 2. THE ENTRY | | | | before it's ready to push off. You need to time these |
| Now let's talk about the movements that all of the | | | | half halts when the inside hind leg is on the ground |
| dressage tests have in common. First, they all have an | | | | because that's really the only time you can influence a |
| entry. You have to get into the arena. So I'm going to | | | | hind leg. Once it's in the air, it's already committed to its |
| start while you're going around the arena. What you do | | | | flight. |
| as you go around the arena really depends on your | | | | Your goal is to engage the inside hind leg prior to the |
| horse. I find it helpful to just walk around the arena with | | | | transition. Give three Preparatory Half Halts prior to the |
| tense horses. I know that things look different to a | | | | down transition. Let's say, for example, that you want |
| horse from the left side and the right side. So, I'll walk | | | | to go from trot to walk. When you feel the inside hind |
| by the judge's stand then I'll turn around and walk by | | | | leg on the ground, say something like, "Engage, engage, |
| so the horse can see the judge's stand from the other | | | | engage, walk". Or you can say, "Now, now, now, walk". |
| eye. And then, I'll actually turn and face the judge's | | | | So you might ask me at this point, "Well how do I |
| stand, halt, and pat my horse. I know that my horse is | | | | know when a hind leg is on the ground?" When a |
| going to see two weird people in the judge's booth | | | | particular hind leg is on the ground, your horse's hip will |
| when we come down the centerline. I want him to | | | | feel higher. You'll feel your inside seat bone either being |
| have already seen them and know that he doesn't | | | | pushed up or being pushed forward. When I'm getting |
| have to be worried. | | | | ready to do a downward transition, I tune into my |
| For the horse that tends to be a little behind the leg, | | | | seatbones. I feel which of my seat bones is being |
| you might decide to do some rising trot lengthening | | | | pushed up in the air or forward. So I get into the timing |
| outside the arena. That way you can make sure that | | | | of the inside hind leg being on the ground. |
| your horse is in front of the leg and that you really get | | | | Then, 3 strides before the letter, I give my half halts. I'll |
| his motor going. | | | | say, "Now, now, now, walk," or if I'm cantering, and I |
| Or let's say you have a horse that is spooky or to | | | | want to trot, I'll say, "Now, now, now, trot." It's pretty |
| tends to get a little on the forehand. Do a little | | | | easy to feel the inside hind leg in the walk and in the |
| shoulder-in when you're still outside the arena. The next | | | | trot. In the canter, feel the moment when your seat is |
| thing that you have to think about is whether you're | | | | deepest in the saddle. It's also the moment when your |
| going to enter from the right rein or from the left rein? | | | | horse's mane flips up. So you can coordinate what |
| If your horse is fairly straight, enter from the direction | | | | you see with what you feel. |
| you'll be turning at C. That will trigger your memory if | | | | That's how I prepare for transitions so that I ride a |
| you blank out and forget which way to turn at C. So, if | | | | very accurate test. I know how much ground my |
| I'm going to be turning right at C, I normally enter from | | | | horse covers with each stride. So, when I'm 3 strides |
| the right rein. I enter from the left rein if I'm going to be | | | | away from where I'll be doing a down transition, I give |
| turning left at C. | | | | my 3 Preparatory Half Halts-- that momentary closure |
| However, let's say I have a horse that's really hollow to | | | | of seat, leg and hand directed to the inside hind leg |
| the left (meaning he likes to bend his neck and carry | | | | being on the ground. Now, let's take another scenario. If |
| his hind quarters to the left then); I'll enter from the right. | | | | my horse doesn't feel solidly on the bit, I need to give a |
| That's because he'll be straighter, and I don't want the | | | | different version of the half halt which I call the |
| judge's first impression to be that my horse is crooked. | | | | "Connecting Half Halt" because I want to be sure that |
| Now, as you come down that centerline, look up, and | | | | my horse stays on the bit through both upward |
| make eye contact with the judge. This is part of | | | | transitions and downward transitions. |
| showmanship. No matter how you're really feeling, look | | | | I superimpose the "Connecting Half Halt" before, during |
| confident, put a smile on your face, and come down | | | | and for at least two strides after the transitions. So, I |
| that centerline like you own that arena. | | | | bridge 0r overlap the transitions with a connecting half |
| 3. THE HALT | | | | halt as an insurance policy so that my horse stays on |
| Now, let's talk about the halt. The way you approach | | | | the bit through the transitions. My aids are saying, "Stay |
| the halt is different depending on the level of the test. If | | | | on the bit through this transition". Let's say I'm going to |
| you're doing a Training or Intro test, you can walk into | | | | ask my dressage horse to do a downward transition |
| your halt. You can also take a step or two of walk out | | | | from canter to trot. |
| of the halt into the trot. | | | | Two or three strides before the transition, I begin my |
| From First Level and above, there are no walk steps. If | | | | connecting half halt. I press with both legs as if I'm |
| you enter in the trot, go directly to the halt from the | | | | going toward a medium canter. I close my outside |
| trot and then back to the trot after your salute. If | | | | hand in a fist to recycle that energy. And I vibrate the |
| you're doing one of the higher level tests and you're | | | | inside rein so the horse doesn't bend his neck to the |
| entering into the canter, go directly from canter to the | | | | outside. Then, I ask for the downward transition by |
| halt. | | | | tightening my stomach muscles and "stilling" my seat. |
| Once you're in the halt, you need to salute. The most | | | | But I keep giving the half halt during and for at least |
| common way to salute is to take all the reins in your | | | | two strides after the transition. |