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.

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.

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.

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.

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.

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.

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.

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.

8. Become an educated and discerning dressage student

Not all dressage is the same

Learn German dressage and French dressage philosophies for yourself.

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.

Learn more: Dressage for the Gaited Horse

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