Are all dressage methods the same? Do all dressage applications produce the same result? Let’s take a look.
In 1988, I embarked on a journey to learn dressage. Back then the competition dressage pyramid of training was the only form taught within my dressage community. Mind you, the world wide web and social media did not exist then with moments access to differing applications. So, in my corner of the world, I believed there was only one way to do dressage. This meant regular lessons to prepare for competition and confirm whether my horse and I were ready to move up a level.
However, a pivotal moment in 1995 introduced me to an altogether different dressage paradigm when French dressage master Dominic Barbier made a stop at my corner of the world. The lightness, harmony, and joy he personified with each horse was more like an artistic dance. This creative right-brain approach challenged my left-brain methods and awakened my heart and soul to participate in a two-way dialogue with my horse.
Yet, after the clinic ended, I returned to the competition dressage community to further my education. My Trakehner/Thoroughbred gelding, Seili and I pressed on to compete through Second level.
Seili and I at our first recognized show.
A move northward to rural western games territory forced me to rely on my hard-wired habits from the dressage training pyramid. Seili grew into retirement and my grandma body took shape. Smooth called me by name, and I acquired a three-year-old naturally gaited Tennessee walking horse, Makana.
With the exception of a few traveling gaited horse and dressage clinicians who came to my region, I continued to apply the dressage pyramid of training as Makana and I moved through Intro, Training, and First levels. From 2010 to 2015 we traveled to a variety of dressage schooling shows willing to embrace the only non-trotting entry. In all we rode over 60 tests.
Showing my naturally gaited Tennessee Walking Horse in flat walk at a traditional dressage show.
Not long after the digital age introduced me to the work of classical French dressage master, Philippe Karl’s School of Légèreté (School of Lightness) and the late Jean Claude Racinet. I purchased a library of books and DVDs to begin experimenting with this different approach to dressage.
A favorite in my collection is DVD Classical Versus Classique where French dressage master Philippe Karl and Christoph Hess, head of the training department of the German National Equestrian Federation, demonstrate and discuss their differing dressage methodologies. It has been rewatched enough I need a fresh copy!
While Hess confirmed my competition dressage understanding, Karl challenged my hard-wired habits. Karl’s application of French dressage awakened me to a for-the-horse approach to training that seeks my horse’s response in a partnership of harmony.
Navigating differing dressage dialogues
Trying out this new dressage paradigm, I observed significant impacts on the horses I rode, particularly their responses to my hand, leg, seat, and weight aids.
Application of the hand, leg, seat and weight aids
The competition dressage system taught a back-to-front approach, where I used my seat and legs to drive my horse forward into a low hand position for contact. However, this method led to a lack of true connection.
How? The low hand position made contact with my horse’s tongue causing discomfort. My horse evaded the tongue pressure and tucked behind the vertical creating an illusion of lightness. Plus, his poll dropped below the highest point.
Adding to this, riding was an aerobic workout! I wrongly perceived my horses as lazy and felt compelled to keep them moving forward with each step. In actuality, my melded leg, seat and hand aids created this perceived laziness―much like driving my car with a foot on the gas pedal and brake pedal simultaneously! What a revelation to realize this mixed message prevented my horse’s forwardness.
French dressage introduces a distinct separation between the leg and seat aids for “go” and the hand aids for “stop.” This clarity has brought newfound clarity to our communication leading to lightness and responsiveness and removing the excessive exertion on my part to keep my horse moving forward.
Transforming my riding to the French dressage approach proved challenging. It took time to unlearn habits of combining my aids and adopt a new way of communicating with my horse. Yet, it has paid off. My horses have gained lightness, and now we ride with the poll as the highest point.
How dressage improves quality smooth gait over time.
Makana at the age of 19.
Achieving relaxation and balance
In competition dressage, relaxation grew from riding miles upon miles on a 20-meter circle in a long and low position. While this developed the top line muscles, this approach actually conditioned my horse on the forehand. Moving Seili into Second level was a rude awakening. This meant retraining him to attain the required balance produced through the shoulder-in, haunches-in, and rein back.
In competition dressage, we believed the horse was in balance when ridden briskly forward enough to track up the hind leg steps.
True balance occurs when the head and neck are carried more over the horse’s body mass. The hindquarters engage where the hind legs lift beneath the belly more than push beyond the tail in disengagement. Engaging the abdominal muscles lift the back, and the chest muscles lift the shoulders and wither. This doesn’t happen in a long and low position.
In competition dressage, true balance is introduced at Second level where shoulder-in, haunches-in, and rein back are required. No wonder why it took Seili and I a couple years before we reached a showable Second level dressage test. We had to undo the habit of riding on the forehand to developing a posture of balance.
Few riders I know ever reach Second level and beyond in the competition dressage system. How do horse’s learn balance?
French dressage prioritizes balance and relaxation from the beginning of training. The rider gently teaches the horse how to accept and follow a mild snaffle bit from the ground. At a relaxed and balanced position, the horse learns to carry its own head and neck and not lean on the rider’s hands. The horse learns lateral exercises and rein back, as well as flexions and an extended position in-hand before saddle training.
Neck extension at a flat walk allows the horse maximum stretch from nose to tail and keeps the horse more in balance. When the nose is low to the ground, the horse collapses its chest muscles and is on the forehand.
Karl points out that the head and neck weigh up to 1/10th of the horse’s total weight. Imbalance occurs when the head and neck are propelled ahead of the body mass in a prolonged long and low position.
In French dressage any one position is not held at length. Rather the rider transitions the horse from moments of a balanced position to moments, not miles, of an extended position to stretch the top line muscles and spine and develop the full range of motion. Plus, this extended frame keeps the poll at wither height to maintain a lifted back and shoulders.
This early-on emphasis on relaxation and balance revolutionized my training approach. By prioritizing relaxation and balance, my horses developed softness, flexibility, and poised pride, setting the foundation for quality smooth gaits and greater trust.
Lightness of the hand and leg
Achieving lightness to the hand and leg is a crucial aspect of dressage. Competition dressage taught me how to drive my horse forward with my seat and legs into a low hand position. A higher hand position was frowned upon. To discourage my horse not to lean on the bit, I used draw reins, snug-fitting nosebands, and switched to a thinner bit.
French dressage has taught me a greater respect for the horse’s wellbeing in ways I had been completely unaware. For instance, I never knew that cueing with a low hand position actually presses the bit into the horse’s tongue and causes pain. Pain leads to bit avoidance. Pain also creates tension and for the naturally gaited horse, this leads to pacing. The angle of a low hand position is how a single-jointed snaffle becomes a nutcracker. A raised hand position does not.
French dressage offers a different approach by teaching the horse to be responsive and light to the hand aids apart from the leg aids producing self-carriage. The rider separates the hand and leg aids providing clearer communication between the stop and go aids. The horse learns to maintain the requested tempo through a light leg aid. This eliminates the rider’s need to constantly drive the horse forward, leading to a more responsive and engaged partnership.
As soon as I began separating my go and stop aids, my perceived “lazy” horse became lighter.
Instead of a fixed low hand position, cues are applied with a raised hand to avoid pressing the bit into the horse’s tongue. I also learned how to help my horse relax the jaw, poll, and mouth to teach bit acceptance and guide my horse into various head and neck positions while maintaining lightness. My horse’s comfort leads to bit acceptance and has brought about a more mental and physical relaxation, resulting in smoother gaits.
Bit acceptance
Competition dressage viewed it unsightly for the horse to open its mouth. We rode our horses in snug-fitting crank nosebands, flash nosebands, or drop nosebands to keep our horses’ mouths closed. This conveyed the appearance of bit acceptance.
However, this approach unknowingly caused discomfort for the horse. The combination of a low hand position and a snug-fitting noseband led to tension in the horse’s jaw and tongue. As a result, the horse would grind its teeth and try to evade the discomfort by tucking its chin behind the vertical. Despite my belief that my horse was light and on-the-bit, it was actually avoiding true contact.
The emphasis on salivation as a sign of proper flexion at the poll is also misleading. Dripping foam is not a sign of a relaxed horse, but rather a consequence of an uncomfortable noseband preventing the horse from swallowing.
Discovering the French dressage approach opened my eyes to true bit acceptance. By allowing my horse to relax its mouth and jaw, taste the bit, and swallow freely, my horse became happier, more comfortable, and able to move in a relaxed way.
In-hand exercises teach the horse bit acceptance and to follow then gentle hands through a variety of stretches. Here the outside neck muscles are stretched.
A noseband and flash attachment came with every dressage bridle I ever purchased. At first it was foreign to ride without one. Yet riding without a snug-fitting noseband permits my horse to relax the mouth and lower jaw, taste the bit, and swallow. My horse is happier, more relaxed, more comfortable, and able to move more freely without the braces that lead to pace, step pace, and a hard hollow trot.
Ultimately, the education of the mouth and its effect on the entire body aids relaxation leading to achieving fluid and smooth gaits.
One-way to two-way communication
In this French dressage exploration, I discovered the power of two-way dialogue with my horses and moved away from one-way requests. Our time together has become a harmonious exchange of communication through my voice and hand, leg, seat and weight aids while listening for my horse’s response.
Transitioning from one-way to two-way communication has been a transformative journey between me and my horse. Initially, competition dressage instilled in me a unilateral approach, where my aids conveyed commands to my horse. Resistance was met with an escalation of cues until my horse complied as expected.
Delving into the realm of French dressage opened my eyes to rich dialogue with my equine partner. I learned to not only ask with my hand, leg, seat, and weight aids but also to listen attentively to my horse’s response. Rather than interpreting resistance as disobedience, I now view this as misunderstanding or unable to perform a given request and strive to refine my communication and level of difficulty to ensure understanding. This approach brings about harmony, lightness, relaxation, and respect for my horse.
While competition dressage confined me to the arena in preparation for shows, French dressage has broadened our horizons. Our two-way communication extends beyond the confines of the arena, enriching our experiences on the trail, amidst sorting cows, navigating obstacles, and addressing fences. My horse and I now share a deeper connection that transcends the boundaries of the four corners of the arena, allowing us to thrive in various settings together.
Finally, French dressage challenges the notion that only talented horses can perform advanced movements like piaffe and passage. It welcomes all horses to develop their skills and reach their full potential.
My naturally gaited Tennessee Walking Horse at 20 years old at a piaffe.
French dressage for the naturally gaited horse
The teachings of Karl, Racinet, and other French dressage masters offer:
A deep respect for the horse
Riding for the horse’s comfort
Clarity of rider aids by separating the stop from the go
Teaching the horse to be light to the hand and light to the leg
Developing mental and physical relaxation and balanced forward movement without rushing
Developing connection, straightness, symmetry, and collection to bring about the range of motion and quality gaits
Shoulder in on a circle with Makana, my 20-year-old naturally gaited Tennessee walking horse.
French dressage has reshaped my approach producing quality smooth gaits in one of the most humane ways. Not all dressage is the same, but I believe what Philippe Karl says, “If the dressage is good, it will work on any horse.” Naturally gaited horses, like any other, thrive under these principles with grace and harmony.
I hope this is helpful. Let me know your thoughts by sending a message.
Does your gaited horse struggle with a flat four-beat canter or bumpy lateral canter? You’re not alone. I’ve learned a few ways to improve canter quality with my gaited horse.
Here’s my story…
How to improve canter with a gaited horse
By Jennifer Klitzke
Experiencing dressage with my naturally gaited horses proves that relaxation of the mind and body produce smoother gaits, including canter. This means less lateral canter and four beat canter.
“Don’t practice a poor-quality canter.”
I learned an important lesson from my gaited dressage mentor, Jennie Jackson. She says, “Don’t practice a poor-quality canter.” This means as soon as my horse begins to feel flat, hollow, bumpy, braced, or out of balance in the canter, I need to stop cantering and start over from relaxation. That’s when I transition from canter to a walk or halt, re-establish balance and relaxation and ask for a quality canter depart to quality canter steps.
This also means I need to recognize the feeling of a quality canter and a poor-quality canter so that I can ask for more of the former and reduce steps of the latter. If I continue riding a poor-quality canter, that’s what I teach my horse.
If I want a quality canter, I must know firsthand what a quality canter feels like and practice more of it. That’s why taking lessons from a qualified instructor is so important to me. Instruction provides me timely feedback so that I can learn the feeling of quality and the feeling of poor quality. This helps me train my horses with greater progress and success when I am riding on my own.
Helpful exercises to help break up a four-beat canter into a truer three-beat canter
Walk-canter-walk transitions
Rein back to canter
Practicing rein back with smaller steps that bend and fold the hind quarters of the gaited horse and helps improve canter quality.
One of my favorite exercises is establishing a soft and round rein back before a canter depart. When the rein back is soft, not forced, and not rushed, it encourages my horses to bend their hindquarter joints and engage their abdominal muscles which lifts their back. This puts them in a wonderful posture most conducive for a quality canter depart and canter steps.
Counter canter
Gymnastic jumping and ground rails
Showing stadium jumping over rails
While I will never become serious about show jumping my naturally gaited horses, I enjoy schooling them over ground rails and small fences for gymnastic purposes. It gives them variety in their training. I’ve noticed that when we ride over ground poles and small fences, it creates more lift to their canter and brings out a truer three-beat canter.
Video: Cantering a Gaited Horse over Obstacles
Video: Starting a Gaited Horse over Fences
Below is a cantering exercise over two ground rails in an L-shape. I begin by letting my horse walk over the rails before we cantered over them.
Video: Exercises to Break a Lateral or Four-Beat Canter
This is a super fun exercise for the rider and horse.
In addition to improving the quality of canter, you’ll also learn:
Balance of the horse
Rider balance on the horse
The horse’s rhythm
Keeping the horse forward yet relaxed
Looking ahead to plan the arc of a turn and line to a rail
Getting a feel for how many canter strides to a rail
The L-shape can also be used to school flying changes over the rail by alternating the direction over each pole.
Additional tips to introducing and improving canter quality
I hope this is helpful. Let me know your thoughts by sending a message.
Ever wonder how riding position and the communication system through the leg, seat, weight and hand aids affect the horse? How we ride our naturally gaited horse directly impacts smooth gaits for the better (or worse).
If you are searching for a more effective way to communicate with your naturally gaited horse into smooth gaits, read on…
Another way to ride to smooth gaits
By Jennifer Klitzke
I have been studying dressage for decades with non-gaited and gaited horses and have been introduced to a variety of rider positions and ways to effectively communicate with the horse through my leg, seat, rein and weight aids. Some methods are hard to understand and apply. Some methods are quite strenuous to apply and maintain. There are differing methods between German dressage and French dressage. Even within German dressage there are differences of application.
Then there is my riding recipe I have been refining from best practices of methods I have come across over the years, including the naturally gaited horse world. Yet, I know there are more applications I have not yet encountered.
Video: Rider position and effect on smooth gaits
Could there be yet another way to ride smooth gaits?
I wasn’t actually looking when I stumbled upon yet another way to ride my naturally gaited horses. In April, I was scouring Facebook for classical dressage groups. That’s when I discovered Heather Moffett is more than a fine saddle maker. I first learned of her name years ago after purchasing a secondhand Heather Moffett dressage saddle. Intrigued with her connection to classical riding, I had to learn more.
Enlightened Equitation
Turns out Heather Moffett is also a brilliant riding instructor and author. She’s been teaching her method for decades. Perhaps I had not learned of her since she is in the UK. In any case, I am thrilled how social media can connect us to people all over the world. After reviewing her website, I learned of her book, “Enlightened Equitation: Riding in True Harmony with your Horse” and her Online Classical Riding Academy. She offers a free 14-day trial (plus, it is highly affordable if I choose to join).
I gave the trial a go. Then I joined the academy because there are so many videos to learn. I also purchased her book. “Enlightened Equitation: Riding in True Harmony with your Horse” by Heather Moffett is a must-study for anyone desiring to learn a balanced riding position, what the hand, leg and seat aids are and how to effectively use and time of the aids. All of these elements directly impact the naturally gaited horse’s movement for the better. I haven’t come across a book that describes how to ride dressage with the horse in mind better than Heather’s book.
“Enlightened Equitation: Riding in True Harmony with your Horse,” by Heather Moffett
Through the video demonstrations and detailed book explanation, I am learning breakthrough applications about my riding position, effective use and timing of my leg, seat, rein and weight aids leading to quality smooth gaits. Plus, her method is rather easy to understand and apply.
I highly recommend this affordable academy and her book for anyone looking for encouraging and well-articulated demonstration videos in helping to develop an effective rider position and its effect on the horse.
I have been a student of dressage since 1988 and wish I had stumbled upon Heather Moffett’s teaching years ago. Her easy-to-understand methods have been helpful, insightful and my horses are moving better than ever in their senior years.
Makana, my 20-year-old naturally gaited Tennessee Walking Horse and Lady, my 20-something grade gaited horse are giving the Mullen mouth pelham bit a try―one of the ideas offered by Heather to help the horse relax the jaw.
While Makana is already relaxed in the jaw riding in a snaffle bit, the pelham has helped to improve her balance in walk, flat walk and canter, as well as leg yield, shoulder in, transitions, and rein back.
Flat walk in a shoulder fore position
Video: Following the belly sway to smooth gaits
Even more is the difference it is making with Lady who tends to hold tension in her mouth and jaw. The Mullen mouth pelham has helped her find relaxation in her mouth leading to her best quality smooth gaits.
June 2024: Riding Lady, my 20-something grade gaited horse in a Mullen mouth pelham in her smooth diagonal gait.
Video: Why follow the belly sway to a smooth gait
Ride along with us as I share thought about rider position and its effect on the naturally gaited horse.
All horses can do dressage, even gaited horses that don’t trot. The principles of dressage produce mental and physical relaxation, balance, impulsion, rhythm, connection, symmetry, and engagement. These principles develop full range of motion, quality natural gaits, and long-term soundness over time with consistent application.
Trot is not the purpose of dressage. Non-gaited horses naturally walk, trot, and canter. Gaited horses naturally walk, canter, and offer one or more smooth gaits. Dressage improves the quality of a horse’s natural gaits whether they trot, tolt, fox trot, flat walk or saddle rack.
Dressage is more than trot!
Why Dressage is More than Trot
By Jennifer Klitzke
Coming from decades of dressage riding non-gaited horses, much of my focus was a quality trot. Before buying my German warmblood in 1988, I looked at 50 prospects for the loftiest trot I could afford. The trot defined competition dressage for good scores.
In 2007 I searched for my first naturally gaited horse. This time I wasn’t searching for a lofty but the smoothest gaited horse I could afford. I fell in love with a naturally gaited Tennessee Walking Horse filly named Makana.
Since dressage had been the only riding method I knew, that’s how Makana was trained. I applied dressage principles to develop my naturally gaited horse’s smooth gaits like flat walk and running walk, as well as the free walk and canter.
Trot is a natural gait for non-gaited horses like warmbloods and thoroughbreds. Flat walk is a natural gait for gaited horses like Tennessee Walking Horses. Understandably there are non-gaited horse shows where walk, trot, and canter are required, just as there are naturally gaited horse shows where flat walk, running walk, and canter are required.
Showing dressage with a gaited horse
Many dressage associations, breed associations, and schooling dressage shows accommodate gaited horse entries. There are many dressage tests for gaited horses that reflect their natural smooth gaits. Trot is not a requirement.
My first dressage show on a horse that doesn’t trot. (Six years old).
In 2010 I learned of a schooling dressage show open to gaited horse entries.
Although we were the only gaited horse entry riding with non-gaited horses, we replaced flat walk for trot. I was curious what feedback my Tennessee Walking Horse would receive from a dressage judge.
The judge’s feedback affirmed the dressage principles of harmony, rhythm, connection, riding position, and the use and timing of aids. We also received great pointers to help us improve.
Thrilled my Tennessee Walking Horse and I were on the right path, I continued to bring her to more schooling dressage shows. Showing dressage with your gaited horse isn’t a requirement to learn dressage. Yet, showing dressage provides great feedback from a professional judge.
Showing my naturally gaited Tennessee Walking Horse in flat walk at a dressage show. (Eight years old).
The purpose of dressage is not trot
Ironically, by taking my gaited horse to dressage shows is when I realized the purpose of dressage. Most of the judges we rode for had never seen flat walk before, yet this was not a stumbling block. The judges focused on the test requirements. They commented on rhythm, relaxation, balance, impulsion, connection, straightness, engagement, harmony, rider position, use and timing of aids, and the required movements and gaits of the test. Trot is not a dressage test requirement in the gaited horse dressage tests! Trot is not the purpose of dressage.
That’s when I realized Dressage is More than Trot!
How dressage improves quality smooth gait over time. Pictured is the same Tennessee Walking Horse at the age of 19.
What is the purpose of dressage?
Dressage is the training of the horse and rider to develop the horse’s full range of motion for quality gaits, long-term soundness, and a partnership of harmony. Learn more: How dressage benefits the gaited horse
Dressage teaches rider balance over the horse’s center of gravity and a set of tools to communicate with the horse. The rider learns effective use and timing of the hands, legs, seat, and weight aids to lead the horse into relaxation, balance, rhythm, forward movement without rushing, connection, flexibility and symmetry to develop straightness, and collection. Learn more: How dressage benefits the rider
When I realized I could teach my naturally gaited Tennessee Walking Horse dressage, I dusted off my dressage books and videos and became a student all over again. Together we are developing Makana’s full range of smooth gaits on cue: free walk, medium walk, flat walk, running walk, fox trot, saddle rack, canter, counted walk and even piaffe!
That’s not all! Dressage is the language that travels beyond the arena. I bring the same communication using my hands, legs, seat and weight aids wherever we go and whatever we do: sort cows, trail obstacles, trail riding, endurance races, snow riding, and gymnastic jumping.
The same dressage I use in the arena is the same dressage I use on the trail.
Dressage has made my naturally gaited horse more maneuverable around obstacles, jumps, and sneaky cows, and she is more reliable on the trail. Plus, my naturally gaited horse has been easier on a grandma body like mine!
My naturally gaited horse enjoys moving cows more than anything!
Dressage has made all the difference in developing quality smooth gaits, and it hasn’t made my naturally gaited horse TROT.
German dressage vs. French dressage: Is dressage a sport or is dressage an art form? Is there a right way and a wrong way to “do” dressage? Is dressage only for trotting horses?
Can best practices of these differing approaches be combined for humane training and improving gaits whether horses naturally trot or flat walk?
Can German Dressage and French Dressage Co-Exist?
By Jennifer Klitzke
Years of German dressage with non-gaited horses and my ambitious competition goals collided the day I was introduced to French dressage. I had experienced the sport of dressage and now had become acquainted with the art form of dressage. They are so different. Do you have to choose one over the other or can German dressage and French dressage co-exist?
Years later I acquired a naturally smooth gaited horse. I applied dressage with a horse that doesn’t trot and began to wonder, “What is the purpose of dressage?“ Is it to produce trot? Is it to win in competitions? Is it to create art? Really?
Isn’t dressage meant to develop the rider’s skill, awareness, and feel in order to communicate with the horse through effective use and timing of rein, leg, seat and rein aids. Through this communication the rider leads the horse to produce relaxation, balance, impulsion (forward movement without rushing), rhythm, connection, symmetry, and collection?Over time and consistent communication, isn’t the purpose of dressage to develop the horse’s full range of motion and quality gaits for long term soundness? Shouldn’t dressage improve quality of gaits whether the horse naturally trots, tolts, fox trots, or flat walks? Let’s take a look.
In its essence, dressage is a French term meaning “train” as it relates to the horse and rider. Over the centuries, dressage has developed into two distinct forms: German dressage in competition for talented trotting horses and French dressage as an art form that preserves centuries-old classical training philosophies.
What about dressage for the gaited horse?
Historically German dressage and French dressage have been applied to horses that trot. United States Dressage Federation competition dressage tests require walk, trot and canter. As a whole, the institutions of German dressage and French dressage have been silent on the matter of training gaited horses in their natural smooth gaits as flat walk, fox trot, tolt, and rack.
Dressage for the gaited horse improves the full range of motion and quality naturally smooth gaits for long-term soundness. Pictured is a naturally gaited Tennessee walking horse at the age of 19.
Does this mean dressage brings no benefit to smooth gaited horses?
Thankfully, no. Since 1988, I’ve been riding, training, and competing non-gaited horses with German dressage. Then in 2010, I began successfully training and competing my naturally gaited Tennessee walking horse in dressage. We rode flat walk and running walk in place of trot (Intro, Training and First Levels).
Then in 2013, I began to explore French dressage with my smooth gaited and non-gaited horses.
Both German dressage and French dressage methods benefit horses whether they trot or have natural smooth gaits. Why? Because dressage teaches the rider how to lead the horse into relaxation, balance, impulsion (forward movement without rushing), rhythm, connection, symmetry, and collection. These training elements improve the quality of movement and full range of motion in any horse whether the horse trots or has a natural smooth gait.
Dressage helps smooth gaited horses develop:
Greater mental and physical relaxation that can reduce pacing, cross cantering, and lateral canter
Smoother gaits by learning diagonalized exercises such as shoulder-in that breakup lateral gaits like the pace and step pace
Evenly timing smooth gaits with rhythm and tempo
Full range of motion to produce longer strides and engaged steps placed more under the horse’s body mass
Symmetry producing even flexibility and even stride length by both hind leg steps
Greater head and neck nod in timing with the hind leg steps in flat walk and running walk for breeds such as the Tennessee walking horse
Better balance and connection from the hindquarters, through a neutral back to the bit, and raising the wither by engaging the chest, shoulder, and abdominal muscles
What are the similarities and differences between German and French dressage?
German and French dressage have similarities. Both teach riders a way to communicate with horses through a balanced riding position and effective use and timing of rein, leg, seat, and weight aids. This communication leads the horse into developing its full range of motion and quality natural gaits through relaxation, rhythm, forward movement without rushing, connection, symmetry, and balance.
While there are similarities, German and French dressage differ in the application and timing of rider aids, training methodology, and the philosophy of purpose. Why do I ride dressage? What is the purpose for riding dressage? How is dressage applied through the rider aids?
The book, Academic Equitation by General DeCarpentry offers historical insights between the German and French school differences. Another resource is the DVD: Classical versus Classique offers a great side-by-side comparison between modern-day German and French dressage masters: German Equestrian Federation Trainer Christoph Hess and French Dressage Master Philippe Karl of the Ecole de Legerete (School of Lightness). Whether you are a German dressage or French dressage rider, or are interested in learning more about dressage, this DVD illuminates solid points worth considering.
Classical versus Classique This DVD features German Equestrian Federation Trainer Christoph Hess and French Dressage Master Philippe Karl of the Ecole de Legerete (School of Lightness). Hess and Karl respectfully discuss and demonstrate dressage from their unique philosophical viewpoints in this in-depth DVD.
Six differences between German dressage and French dressage
1. Is dressage a sport or is dressage an art form?
This is one of the biggest differences between the modern-day German dressage and French dressage schools of thought.
German Dressage
Today’s competition dressage uses a pyramid of training through the progression of levels—Introductory (beginner) through Grand Prix (Olympic level). The rider develops the horse through the stages of the dressage training pyramid as they advance through the levels.
The 2019 pyramid of training:
RHYTHM (Regularity and Tempo)
SUPPLENESS (Elasticity and Freedom from Anxiety)
CONTACT (Connection and Acceptance of the Bit through Acceptance of the Aids)
IMPULSION (Engagement and the Desire to Go Forward)
STRAIGHTNESS (Improved Alignment and Equal, Lateral Suppleness on Both Reins; Symmetry)
COLLECTION (Balance and Lightness of the Forehand from Increased Engagement)
At each level of competition, the rider and horse perform one or more dressage tests before a professional judge or judges. The horse and rider team are evaluated on how well they execute the test requirements at each letter, reflect the qualities of the dressage training pyramid, and other required test elements.
These elements include:
Submission and the horse’s willing cooperation
Harmony, attention, and confidence
Acceptance of bit and aids
Lightness of the forehand and ease of movements
The rider’s position and seat, alignment, posture, stability, weight placement, and following mechanics of the gaits
The rider’s correct and effective use of aids, clarity, subtlety, and independence
Riding a dressage test in competition has many on-the-spot performance pressures. There is even greater pressure for the horse and rider as they reach Grand Prix levels: the test must be memorized, the rider is not allowed to carry a whip or use voice, there are high levels of difficulty shown in the trot and canter including piaffe, passage, canter pirouettes, tempe changes, and extended gaits. Plus, there are many judges placed around the arena evaluating the rider and horse.
French Dressage
Preserving a centuries-old, classical dressage philosophy, French dressage is more of an art form of beauty with respect for the horse.
Without the performance pressures of competition, each riding session is a dance where the rider leads the horse into:
Harmony
Relaxation (in mind and body)
Balance
Lightness (to the hand and leg)
Forwardness
Straightness
Collection
The rider progresses the horse’s training only as the horse is ready and able.
2. Application of leg, seat, and rein aids
How do you use your leg, seat, and rein aids to communicate with your horse? The application of leg, seat, and rein aids is another big difference between German dressage and French dressage.
German dressage teaches the rider to drive the horse forward from the hindquarters using the seat and leg aids and over the back into the hands through the neck to the bit to form a back-to-front connection with the horse.
To French dressage, this is like saying, “Go forward with the legs and seat, and stop with the hands at the same time.” It’s like driving a car with one foot on the break and the other on the gas pedal. This sends a mixed message to the horse.
In contrast, French dressage separates the “go” aids (leg and seat) from the “stop” aids (the hands). “Hands without legs and legs without hands.” Coined by the late Francois Baucher in his second manner. The horse is taught to be light to the leg and light to the hand. This means leg aid on and off means “go,” not a continually driving the horse forward with seat and legs.
To be light to the hand means the rider teaches the horse to carry the weight of its head and neck instead of leaning on the rider’s hands. Any time the horse leans on the contact, the rider applies an upward motion with the hands (demi arret). This makes contact with the less sensitive corners of the horse’s lips to remind the horse to rebalance himself.
To German dressage, the French method doesn’t teach the horse connection from the hindquarters through the back to the bit. It seems like too much fussing with the hands.
3. The use of the walk or trot in training
In the German school, horses are ridden extensively at a trot on a circle with some canter and a few walk breaks. According to Hess, the trot and canter improve the quality of the walk.
To Karl there is no need to ride kilometers at the trot when training issues are best discovered and addressed at the walk. Karl begins his training at walk using exercises as shoulder-in and renvers on a small circle. Then transitions from a balanced position to a neck extension to allow the horse to stretch the top line muscles and spine.
Karl says, “The walk is the Mother of all gaits.” This certainly is true for the naturally gaited horse like Tennessee walking horses. Developing a quality four-beat walk can help develop the four-beat flat walk and running walk.
4. Upper level movements
Another contrast between modern German and French dressage schools are the piaffe and passage. German dressage believes only talented horses are able to learn piaffe and passage. These exercises are not implemented in a horse’s dressage program until the horse reaches the FEI levels.
French Dressage Master Philippe Karl believes if the dressage philosophy is good, any horse can learn piaffe and passage—not just the talented ones. Karl proves this point well in the DVD: Classical versus Classique working with an ordinary horse. Within one year of Karl’s instruction, the rider developed her draft cross to perform the piaffe, passage, Spanish walk, canter pirouettes, and tempe changes. French dressage applies suppling and strength-building exercises to develop the horse as the horse is ready.
The German system progresses in training through the dressage training pyramid and the levels of competition. When a rider reaches scores of 60% or better they are confirmed to move to the next level. This can take eight-plus years for a horse to begin canter pirouettes, tempe changes, piaffe, and passage.
French dressage offers great news for the majority of dressage riders. If you’ve ever dreamed of learning Spanish walk, piaffe, passage, canter pirouettes and tempi changes, you don’t need to buy an expensive horse. Just learn a good dressage philosophy with your horse. Watch the DVD: Classical versus Classique for an excellent demonstration of this point.
Differences between German vs French Dressage Piaffe
In the DVD: Classical versus Classique, Hess showcased a talented German demonstration rider who rode an exceptionally gifted Grand Prix dressage horse (above left). The French dressage rider rode her draft cross that had been previously used as a plow horse (above right). With Karl’s coaching, she trained her horse through Grand Prix movements in one year.
While a talented horse is able to produce stunning, Olympic quality movement, an average horse learn these movements, too. They may not be as impressive to watch, however, the exercises offer great benefits to develop the horse’s quality of movement to be the best they can be. The DVD: Classical versus Classique demonstrates this point with astonishing results.
5. Correct position of “on the bit” and why it matters
Another contrast between German dressage and French dressage is the position of “on the bit.” German dressage views “on the bit” as a vertical frame (above left). While schooling, Hess permits the horse to be ridden slightly behind the vertical to allow the horse to stretch through the back. Karl questioned why one would school a horse one way and show it another.
French dressage believes a horse is “on the bit” when the poll (between the ears) remains the highest point of the horse (above right) with the nose positioned slightly ahead of the vertical. Horses ridden behind the bit tend to overweight the shoulders and out of balance.
6. A quiet mouth or an expressive mouth
German dressage prizes a quiet mouth. Crank and flash nose bands are commonly used to keep the horse’s mouth shut. Often you will see horses with foam dripping from their mouths. German dressage considers this a sign of flexing at the poll.
French dressage permits the horse to freely express its mouth. Karl says the mobility of the lower jaw is the best judge of relaxation in the horse. French dressage believes that some foam around the horse’s lips is a sign that the horse is tasting the bit. However, when foam drips from a closed mouth, it is a sign that the horse is unable to swallow.
Eight ways German dressage and French dressage can co-exist for the training of your smooth gaited horse
1. School dressage for the art and show dressage for growth
Many riders train dressage without showing. However, schooling dressage shows offer you and your horse many benefits. They are a more relaxed opportunity to introduce your horse to the show ring. The best reason is getting feedback from a professional judge about your riding and training. Many schooling dressage shows accommodate western and gaited horse entries. Schooling shows are more affordable, and you don’t have to wear formal attire or braid your horse’s mane.
In 2010, I entered my barefoot and naturally gaited Tennessee Walking Horse at our first dressage schooling show. We replaced trot with flat walk.
If you enjoy showing dressage, many breed shows offer gaited dressage tests at their recognized shows. Some dressage associations offer gaited dressage categories at their recognized shows. Many virtual shows offer a gaited dressage category so you can receive feedback from a professional without even leaving home!
Showing dressage can propel continued learning for you and your gaited horse
Dressage tests are designed to confirm the horse’s training. Movements are ridden to the left and right to show that the horse is developing symmetry.
Dressage tests encourage a rider and horse to work through all of the requirements of the level, such as developing both canter leads and correcting a cross canter.
The rider also learns coordination and timing of rein, leg, seat, and weight aids as they teach their horse lateral exercises, such as shoulder-in, haunches in, shoulder out, and renver. These lateral exercises are terrific for developing a gaited horse’s balance, flexibility, connection, and symmetry. Plus, lateral exercises break up a pace and help develop a smoother gait.
Dressage shows provide feedback from a professional dressage judge
For each dressage test ridden, you will receive written feedback from a dressage judge on how well you and your horse performed the test requirements, as well as rhythm, suppleness, contact, impulsion, straightness, collection, rider position, and use and timing of leg, hand, seat, and weight aids.
My barefoot and naturally gaited Tennessee Walking Horse is showing running walk across the diagonal in a First Level gaited dressage test.
The rider can bring a mindset of harmony that French dressage teaches into the showing dressage. This can build a greater partnership of trust between horse and rider.
2. Choose equipment that encourages relaxation
Relaxation is a paramount factor in dressage training. Why inhibit relaxation with uncomfortable tack?
“The mobility of the lower jaw is the best judge of relaxation,” says French Dressage Master Philippe Karl.
Choosing a comfortable bit and loose-fitting noseband can help with relaxation. Learning how to communicate with your hands is even more important in teaching a horse how to relax the mouth and lower jaw. This is especially important for the naturally gaited horse. When the horse is relaxed in the lower jaw, the horse will be more relaxed in its back. This can result in less pacing and lead to quality smooth gaits.
Equipment such as crank nose bands, tightly fitting drop nose bands, and flash attachments can lead to tension in the lower jaw.
Symptoms of tension include:
Grinding teeth
Pinning ears
A swishing tail
Rushing tempo
Braced gaits or pacing
Traveling on the forehand with collapsed chest and shoulder muscles
If you notice your horse exhibiting signs of tension, check your yourself for tension, especially your hands. Then check your equipment. An easy place to start is to loosen the nose band.
3. Separating the “stop” and “go” aids
For the naturally gaited horse, separating the leg and seat “go” aids from the rein “stop” aids are important.
Driving a gaited horse forward with the seat and leg aids into a low fixed hand can cause:
Confusion for the horse whether to move forward or stop
Reluctance to move forward
Unresponsiveness to the leg aids over time which lead to continued leg and seat aids to move the horse forward
Evading contact with the rider’s hands by dropping behind the bit or inverting above the bit
Tension in the jaw and back which can produce pacing
Following the natural head and neck motion
Just as a rider follows the natural head and neck motion of the horse at an ordinary walk, the rider needs to maintain relaxed shoulders, arms, elbows, and hands to gently follow the natural head and neck motion of the head nod at flat walk, running walk, and fox trot. In this way the naturally gaited horse remains more relaxed in the jaw and back to maintain quality smooth gaits. Riding your gaited horse two handed with contact and low fixed hands is like keeping your foot on the break while expecting your horse to move forward. It adds to the confusion, as well as produces tension.
Did you know that low, fixed hands and hands that pull back on the reins, are painful to the horse? Why? The bit presses on the horse’s tongue. Pain leads to tension and resistance through the body which can lead to more pacing. This can also cause the horse to avoid contact with the bit by tucking behind the bit.
Separating the stop and go aids and gently following the natural head and neck motion provides clearer communication to your gaited horse. Go means go and stop means stop. This leads to a horse that is lighter to the hand and lighter to the leg, and a relaxed horse that able to produce quality smooth gaits.
4. How to ride the naturally gaited horse “on-the-bit”
Both German dressage and French dressage agree that riding the horse on-the-bit isn’t a head set or pulling the horse into a frame with the reins. Riding on-the-bit is a back to front concept. It begins with forward energy from the hindquarters. That forward energy flows through horse’s body, through the rider’s following position, and to the bit.
Cue with upward motions not backward motions
Instead of pulling back on the reins which press on the horse’s tongue and cause pain, bend at the elbow and raise your hand or hands upward momentarily. This makes contact with the less sensitive corners of the horse’s lips. When the horse responds, then return to a neutral position above the wither.
Relaxation is key for the naturally gaited horse. Contact made with the corners of the lips encourage the gaited horse to relax its lower jaw, flex at the poll, and taste the bit. Relaxation of the jaw has a direct effect on the relaxation of the horse’s back. A relaxed back can promote smooth gaits.
On-the-bit position
Where the horse’s nose is positioned makes a difference. The position of the naturally gaited horse’s nose needs to be slightly ahead of the vertical through the top of the nod in order for the nose to be vertical at the downside of the nod. In doing so, the poll will remain the highest point of the horse.
Riding dressage with a smooth gaited horse requires that you ride with even steady light contact using a snaffle bit. The correct position of on-the-bit places the poll (between horse’s ears) at the highest point.
5. Develop balance before increasing tempo
French Dressage Master Philippe Karl says, “The walk is the mother of all gaits.” This is especially true for gaited horse with a natural, even four-beat gait such as the flat walk or fox trot.
The DVD: Classical versus Classique offers wonderful balancing exercises at a S-L-O-W walk and work well in the training of naturally gaited horses. Dressage develops the full range of motion. This means smaller collected steps and longer extended steps to develop quality smooth gaits. These exercises include eight-meter collected walk circles, shoulder-in, shoulder-out, haunches-in, haunches-out. These lateral exercises performed in both directions help the gaited horse develop symmetry. This will help develop evenness in stride length of both hind legs. Lateral exercises also help stretch the outside muscles for flexibility.
For the naturally gaited horse, I break up the slow balanced walk exercises with transitions to a balanced neck extension at a walk or smooth gait along the arena to stretch the top line muscles and freshen up my horse. I also take the balance of the lateral exercises into the smooth gait. I do a lot of transitions between exercises, changes of direction, changes of frames and gaits within a training session. Sometimes we are in the arena. Sometimes we are on the trail.
Most importantly, I listen to my horse and meet my horse where my horse is at.
Shoulder in
Begin with balance
By riding a naturally gaited horse in slow, yet engaged steps of shoulder-in on a circle, you allow the horse to bend its hindquarter joints, step deeper under the body, activate the abdominal muscles to lift the back to a neutral position, and engage the chest and shoulder muscles to lift the wither. This brings the naturally gaited horse into balance.
This is a great example of a neck extension at a flat walk. My smooth gaited Tennessee Walking Horse is moving forward in flat walk, lifting her back, stretching the top line with an even snaffle bit contact.
From a balanced, lateral position, the naturally gaited horse can be transitioned to a straight line with a forward tempo to extend its head and neck out (keeping the horse’s poll at the height of the wither, so that the horse maintains balance).
Think of riding your gaited horse like playing an accordion to develop its full range of motion both laterally and longitudinally.
Transitions between collected shoulder-in on a circle and neck extensions along a straight line, can help the gaited horse develop its full range of motion both laterally and longitudinally and improve the quality of natural gaits.
6. Seek to understand and meet your horse’s needs
A rider’s goals should never be at the expense of the horse. The DVD: Classical versus Classique illustrates this point well.
Rider goals and ambitions are great, as long as the horse’s needs are met. In doing so, the rider can develop a partnership of harmony with the horse that will be noticed in and out of the show ring.
7. Dressage is for all horses, not just the talented ones
Dressage does not need to be about being the best there is. Dressage can be about becoming the best you and your horse can be. Dressage improves the quality of gaits whether the horse naturally trots, tolts, fox trots, or flat walks.
Dressage won’t make an average horse a Grand Prix mover, but dressage can develop full range of motion and the best quality natural gaits a horse is able to do for long term soundness.
Philippe Karl says, if the dressage is good, it will work for all horses, not just the talented ones.
A naturally gaited horse can piaffe, too! In fact, the piaffe is a collected diagonal movement that can improve canter quality for horses with a lateral canter.
My naturally gaited Tennessee Walking Horse at 20 years old at a piaffe.
8. Become an educated and discerning dressage student
Not all dressage is the same
Learn German dressage and French dressage philosophies for yourself.
DVD: Classical versus Classique
Here’s an easy way to begin. Study the DVD: Classical versus Classique. This video offers in-depth discussion and application from two top dressage trainers: German Equestrian Federation Trainer Christoph Hess and French Dressage Master of Ecole de Legerete Philippe Karl. You’ll witness for yourself the contrasting philosophies of dressage so that you can make educated decisions for you and your horse.
Dressage with your gaited horse can improve your partnership by developing harmony and trust. Your gaited horse can live a sounder and happier life and produce the quality, natural smooth gaits you desire whether you show or ride as art.
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