Score sheets analysed

LEFT: THIS LOOKS LIKE A HAPPY ATHLETE, USING ITS BODY ATHLETICALLY AND APPEARING WILLING AND HAPPY IN ITS WORK.

LEFT: ALTHOUGH WE USUALLY THINK OF SELF CARRIAGE AS WHEN THE HORSE IS WORKING IN A RAISED OUTLINE THE AIM IS FOR A HORSE TO BE IN THE NECESSARY BALANCE AND CARRYING ITSELF IN ALL OUTLINES.

PART 4

BEYOND THE COMMENTS

IN OUR FINAL INSTALMENT OF JANE KIDD’S LOOK AT THE MEANING BEHIND SOME COMMONLY USED JUDGE COMMENTS, WE LOOK AT REMARKS WHICH COVER THE WHOLE HORSE WITH SUGGESTIONS ON HOW TO IMPROVE BEFORE YOUR NEXT OUTING.

The very fi rst sentence in the F I’s guidelines is The object of dressage is the development of the horse into a happy athlete through harmonious education. Therefore, the goal of every rider, trainer and judge has to be a happy athlete. This wonderful image of the whole horse is one to keep uppermost in our minds alongside the scales of training. It’s the starting and end point as opposed to the detail featured in the three previous articles on the forehand, back and hindquarters. JUDGES COMMENT: THROUGHNESS

Throughness indicates the quality of the work and all the other fundamentals make a positive or negative contribution towards it. The scales of training appropriate for that horse and at that level are what need to be in place to achieve it. ermeability is a good way of looking at it the impulsive forces aids, contact and impulsion can go through the horse’s body and are not blocked by resistance, tension, stiff ness, anxiety, etc.

Throughness is the best translation of the term used in Germany for the third collective mark. We call it submission and this can be associated with subordination not what we want in dressage . We associate throughness with cooperation and harmony and many support it as a better way of describing what we are looking for in that third collective mark. Possible corrections: It’s when the scales of training are working well that throughness is possible, so focusing on the basics helps this key state to thrive.

“LIGHTNESS”

JUDGES COMMENT: SELF CARRIAGE

The aim is to give an impression of lightness, that the horse is carrying itself not dependent on the rider’s support whether its head and neck are stretching down or higher in a more collected position. The horse has to be in a balance to achieve self-carriage especially as the rider’s rein contact is not there to hold the head and neck in a position but to receive, and direct. Any resistance or tension will inhibit self-carriage. Possible corrections: Self-carriage requires the basics to be in place and for the horse to be in a good balance, so it is like throughness, the outcome of the way it is trained rather than a particular goal.

There are many causes of a lack of self carriage including weakness, being very strong, pulling, resistance, behind the bit and on the forehand – but taking the weight back to get the horse into a better balance often helps. Therefore, give and retake of the reins, transitions and half halts are usual remedies along with a poised and balanced position for the rider who does not pull back.

RIGHT: A BALANCED RIDER HELPS THE HORSE TO BE IN A BALANCE AND ESTABLISH SELF-CARRIAGE. LEFT: A TEST OF GOOD TRAINING IS BEING ABLE TO KEEP THE THROUGHNESS IN A TRANSITION SUCH AS THIS ONE TOWARDS MORE COLLECTED STRIDES.

“SELF CARRIAGE”

JUDGES COMMENT: LIGHTNESS

ightness refers firstly to the lightness of the footfalls, that the steps do not land heavily or sluggishly, and secondly to the contact. This lightness in the contact is not to the extreme that there are loops in the reins and that there is a fixed outline. A light, consistent, elastic contact with a forward tendency is the aim. Possible corrections: Half halts and transitions are as so often a likely correction.

JUDGES COMMENT: CADENCE

This is the ultimate aspect of rhythm. The first stage is regularity, that the sequence is correct for each pace and the second is tempo where the rider finds a speed that is consistent and brings out the best qualities in each of the horse’s three paces. Finally there is cadence when there is a pronounced beat.

It is defined as a rhythmic sequence and for me it is when there is a pronounced rhythm of both the regularity and the tempo. Possible corrections: To have a pronounced rhythm as an aim can lead to tightness and be at the expense of suppleness and fluency. There is a greater likelihood of harmony if it is achieved instead as the outcome of the scales of training being in place, particularly rhythm.

“EXPRESSION”

BELOW: THERE IS PLENTY OF EXPRESSION IN THIS TROT EXTENSION.

JUDGES COMMENT: EXPRESSION

xpression is much sought in dressage as it is the element that when controlled, leads to the s and 10s and much admiration. It’s a display of eye-catching flamboyance and the athleticism that fulfils one part of our goal of a happy athlete. However, it takes skill to keep a horse balanced when it shows this exuberance and it’s easy to lose the other aspect of the goal – happiness.

ABOVE: CLEAR ELASTICITY IS SHOWN IN THIS SPRINGY CANTER STRIDE

JUDGES COMMENT: ELASTICITY

lasticity is a crucial element in expression. It’s when the muscles can stretch and relax and to do so smoothly yet elastically. This is a development of suppleness and it enables the steps to become springier. Possible corrections: The basis of elasticity is suppleness and this is the first stage of the correction but the relaxation of the muscles needs to be contained to create that springiness. Transitions, compressing without losing impulsion and extending to give variations of trot and canter often help.

RIGHT: A RIDER WHO REWARDS THEIR EQUINE PARTNER AND SEEKS TO BUILD UP RAPPORT BY ADAPTING TO DIFFERING ATTITUDES IN DIFFERENT HORSES IS MORE LIKELY TO ACHIEVE WILLINGNESS AND TRAINABILITY IN EACH INDIVIDUAL HORSE.

JUDGES COMMENTS: WILLINGNESS AND TRAINABILITY

These refl ect whether the fi rst part of our goal has been achieved – a happy athlete. The FEI asks for the horse to be trained so that ‘it is confi dent, attentive and keen’. I value particularly the objective: ‘the horse gives the impression of doing of its own accord what is required’. Possible corrections: Make sure the aids are clear and consistent. Study the mind of each horse, whether it’s nervous, stubborn, sensitive or lazy and adapt the approach accordingly. Only ask what the horse is capable of giving in view of its strength, level of training, talent etc. Work around limitations.

JUDGES COMMENTS: TRACKING UP, OVERTRACKING

In the walk, we talk about overtracking when the hind feet step into or in front of the forefeet on the same side. It’s the same principle in the trot when it’s normally referred to as tracking up. It’s expected in the working, medium and extended trot but not collected variations and is an important indicator that the horse is working with the appropriate scales of training. Possible corrections: The amount a horse can overtrack does depend on its natural ability but the way it’s ridden can destroy, maintain or enhance this. The horse has to be encouraged to stretch forwards towards the bit and many trainers when in walk on young horses keep to a long rein. When riding to a contact, restriction by the reins on the natural head nod tightens the back and leads to irregularities and restriction of the steps. Riders need to allow a slight movement with their hands that is in line with the head nodding in all but collected walk.

In the trot it’s a matter of positive rhythmical forward riding to encourage the hinds to swing under the body with the appropriate level of scales of training in place. It’s particularly important for young horses to track up in their working trot as this encourages use of the whole body and not just movement of the legs. JUDGES COMMENT: CONNECTION

Connection is when horse is moving as a harmonious whole with any activity generated in the hindquarters passing through the unblocked body to the head and mouth to be received in the hands. The connection is between the hind and front ends of the horse to establish what FEI describes as a circuit along which there is ‘an unrestricted fl ow of energy and infl uence from and through the rider to and throughout the horse and back of the rider’. Possible corrections: As for throughness.

ABOVE: THE HORSE IS SWINGING WELL FORWARD WITH ITS OUTSIDE HIND TO TRACK UP BY STEPPING INTO THE HOOF PRINT OF THE OUTSIDE FOREFOOT.

“UPHILL”

JUDGES COMMENT: UPHILL

Uphill refers to the outline of the horse so that the hindquarters are well engaged to support a lightening and lifting of the forehand. It‘s the opposite of a horse being on its forehand and is particularly sought in the canter. As the horse advances in its training, it becomes increasingly important. Possible corrections: If a horse is leaning on the reins then some checks and releases on the reins may be helpful, but generally the focus is on the hindquarters, encouraging them to engage and support more, largely through half halts and transitions.

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