Classical dressage for the competitive rider

There is little difference between a classical dressage rider and a competitive rider in the hands of a master, but the methods of training are very different. The two methods are different from the standpoint of how to develop lightness and self-carriage.

At this time in history the classical school of dressage is very strong and is suffering little conflict in their theories and methods of training. However, the competitive world is suffering greatly. There are a lot of horses that are being rushed through the process because of the desire to compete. They are ridden with new methods of training to shortcut the old methods through the rider's talent to take a horse falsely to the FEI levels.

Currently there is an upsurge in the classical methods helping the competitive world. I have had a lot of personal success using these classical principles and theories with riders and horses. I would like to suggest a book by Sylvia Loch, The Classical Rider. It points out that dressage riders in the top levels of competition, even at the Olympic levels, are utilizing classical methods to achieve lightness and self-carriage in their performances.

How I compare the difference between the competitive and classical methods is that the competitive school focuses on riding the horse into the contact with forward expression of the horse's gaits while the classical method focuses on lightness of aids and contained expression of the gaits in self-carriage.

My Methods of developing a competitive performance resonate to the theories of the classical school. I prefer the classical methods of training because they focus on developing the dressage horse through the fundamentals of procedure, ground training, lightness of aids, harmony and unity. I also believe that the classical method provides the competitive rider with more support in developing the rider's skill in horsemanship for dressage.

It seems as though the competitive world is having a problem getting the dressage horse to articulate his hocks and use his muscles to pick the foot off the ground. This problem occurs when the rider focuses on the driving the horse into the contact before the horse is articulating his hocks. I believe that a horse should be warmed up each time using suppling exercises, like the Überstreichen exercises before he is ridden to the contact.

When I develop the dressage horse and rider in the classical theories, I find that the jump is easier to put into the horse once the hocks of the horse are articulating nicely. From there I can build a submissive, active and competitive performance without blocked muscles and resistance. After the horse is in control using classical methods of lightness and in-hand work the horse can be ridden to the contact with the lightest of aids. If the horse is pushing his steps before the hocks are articulating there is no suspension in his gait. When this happens, the horse becomes longer in his frame and on the forehand, heavy and locked, and the war is on.

If the rider does not understand that a horse can be ridden on a dropped contact or with a non-influencing rein and have the horse remain through, expressive and forward, the rider will create an incorrect balance between contact and self-carriage.

Another problem is that riders get confused about the meaning of forward. A forward horse is active without a persisting leg aid to stay active. It does not mean a horse that is in a hurry, taking quick, short steps. It does not mean a horse that would go faster if you let go of the contact.

A forward horse is a horse that is relaxed and performing at the top of his ability with free articulating joints and suspension in his stride with the look that he is leaving the ground more that returning to the ground. Forward is a quality of the mind of the horse, that when you ask him to perform, he performs willingly and with ease. Forward is without resistance. Forward means that the horse is active without the persistence of the leg aid. Forward is when the transitions from walk, trot and canter could be made easily without change of speed or rhythm from a quiet seat and soft hand.

It is a lot to think about, but all the problems that are occurring in the competitive world could be corrected by using the classical methods of dressage. If you think about it, once you put the leg and rein aids on the horse correctly, the horse is like a piano. A piano is a generic instrument. You can play classical music or jazz on the same piano. The only requirement is that the piano be in tune.

There are many ways of developing the dressage horse. My interest is to use the lightest aids from the beginning to create the maximum performance in each horse. I find that taking the time to develop the horse through the fundamentals of the classical methods builds the horse's understanding and willingness to perform. In the end it is the fastest way to create a fully schooled dressage horse. Using the principles of the classical school of dressage, no horse or rider is put to a task that they can not achieve.

In unity there is harmony. Dressage is the practice of unity between horse and rider.

Unity is an art, the formula of practice, and the first and last step in dressage. Getting the resistance out of a horse when the horse is resistant is not dressage.

It is important to remember to keep the philosophy of dressage in the act of riding and training your horse. One rule that should never be broken is to never ask your horse to perform any movement before he is prepared and willing to try.