This year my naturally gaited Tennessee walking horse Gift of Freedom and I gave Gaited Western Dressage a try through North American Western Dressage Association (NAWD) Virtual Shows.
2016 was a year of firsts for all three gaited dressage winners
Friends of Sound Horse (FOSH) announced the award winners for the 2016 FOSH Gaited Dressage Program, a division of FOSH Gaited Sport Horse. This unique program recognizes and rewards gaited horses competing in the discipline of Dressage.
2016 entries included the Spotted Saddle Horse, Tennessee Walking Horse, Missouri Fox Trotting Horse, and Rocky Mountain Horse. Eligible scores ranged from 62.8% to 74.50%. Eligible tests may be Live, Virtual, English or Western. Recognition was given in Two Gait, Introductory, Training, First, and Second Levels.
Jennifer Klitzke riding her naturally gaited Tennessee walking horse Gift of Freedom at one of three North American Western Dressage Association Shows.
For my naturally barefoot and naturally gaited Tennesee walking horse, Gift of Freedom, this was the first we submitted entries for Western Dressage. While we have been award gaited dressage award winners in the FOSH gaited dressage category, this is the first time we have won in the Gaited Western Dressage division.
Loren Hilgenhurst Stevens riding Sosa’s Playboy at Sonset, a Tennessee Walking Horse.
I am thrilled to see gaited dressage grow! Congratulations to Sosa’s Playboy at Sonset, a Tennessee Walking Horse, owned by Nicole Mauser-Storer of Bartonville, IL who are a new entrant to the FOSH gaited dressage program. Not only did this duo submit seven test scores, they won the award for Training Level and achieved the highest score of 74.50%,.
Congratulations also to Cash-N-Out owned by Loren Hilgenhurst Stevens of Atkinson, NH who was a new entry in 2016. This Tennessee Walking Horse was the award recipient in the Two-Gait category, submitting six test scores.
To be eligible for awards in the FOSH Gaited Dressage Program, three scores of 60% and over must have been recorded in any level of Dressage competitions with a recognized judge. Tests must have been specifically developed and written for gaited horses. Recognized tests include IJA, NWHA, WDAA and Cowboy Dressage.
Did you know that there are different forms of dressage, producing different result? Here’s my story.
Not All Dressage is the Same
By Jennifer Klitzke
In the realm of dressage, there are various approaches and methods that can shape the way we train and communicate with our equine partners. From the competition dressage pyramid to an artistic French dressage style, each path offers unique outcomes.
After seven years studying competition dressage, French dressage master Dominic Barbier traveled to my region. I experienced the lightness and joy he brought to his work with horses. This sparked a shift in my training methods, moving towards a more creative and right-brain approach that focused on a two-way dialogue with my horse.
As I delved deeper into my dressage journey, I encountered the teachings of classical French dressage master Philippe Karl and the late Jean Claude Racinet. Their emphasis on balance, relaxation, and the separation of hand and leg aids opened up a new way of communicating with my horses.
Contrasting the back-to-front approach of competition dressage, where we drove our horses forward with our seat and legs into our hands to form contact, the French dressage method lightness to the hand and leg by separating the leg and seat aids for “go” from the hand aids for “stop.” I found an improved responsiveness from my horses through this distinction in my communication.
The focus on relaxation and balance from the beginning of training in French dressage has transformed the way I work with my horses. By prioritizing the horse’s comfort and well-being, I have seen improvements in their mental and physical relaxation, leading to smoother gaits and a deeper partnership.
Transitioning from a one-way to a two-way communication approach has been transformative as well. Instead of viewing resistance as disobedience, I now see it as a signal of misunderstanding or difficulty, prompting me to refine my communication and level of difficulty to ensure understanding and harmony with my horse.
In dressage, there are more than one path to explore, each offering its own applications and outcomes. French dressage has reshaped my approach and instilled a deep appreciation for the artistry and partnership that define this paradigm. As I continue to navigate the nuances of different dressage methods, I am reminded of the words of Philippe Karl: “If the dressage is good, it will work on any horse.”
Dressage is a journey of discovery, communication, and partnership with my horses. I am grateful for the diverse approaches that have enriched our experience.
I hope this is helpful. Let me know your thoughts by sending a message.
If dressage improves the quality of natural gaits for non-gaited horses, can dressage improve quality smooth gaits for naturally gaited horses?
I was on a mission to find out.
Dressage and a Horse that Didn’t Trot
By Jennifer Klitzke
Twenty years of riding the sitting trot took a toll. I set out to find a smooth horse that would be easier on my aging body. In 2007, I fell in love with a three-year-old naturally gaited Tennessee Walking Horse filly named Makana.
When I began our training, I discovered that smooth didn’t come easy.
Yes, the smooth gaits are inherent within my naturally gaited Tennessee Walking Horse, but it was up to me to develop them. As a dressage rider of non-gaited horses that trot, how would I approach her training? Would dressage be as simple as replacing trot for the natural smooth gaits?
More than a simple gait replacement
I’ll never forget what it was like in the beginning of Makana’s training. When I cued Makana for the flat walk, she took a few steps of pace, stepping pace, flat walk, fox trot, and rack. Then I had to figure out which gait was the one I had asked for. Adding to the smooth gaits is the natural head and neck nod.
Dressage requires riding the horse with a snaffle bit and a light even, contact with both reins. While sitting a smooth horse is easier than sitting a bouncy trot, I discovered it was easier to teach a non-gaited horse acceptance of the bit. Why? The head and neck of a non-gaited horse remains stationary at the trot. My Tennessee Walking Horse has a natural head and neck nod at the flat walk, running walk, and fox trot.
How do I maintain rein contact while my horse’s head and neck nod with each step? How do I teach her acceptance of the bit?
I wrestled with these questions as we began our dressage journey. While I taught her bit acceptance, I needed to follow her natural head and neck motion. This means I needed to relax my shoulders, arms and hands to earn her trust with the contact.
Developing quality smooth gaits with dressage
I knew the principles of the dressage training pyramid would teach my naturally gaited Tennessee Walking Horse rhythm, relaxation, connection, engagement, straightness, and collection. Over time these qualities would develop her full range of motion—laterally and longitudinally. This would improve the quality of her natural smooth gaits.
Over time, Makana’s flat walk and running walk became relaxed and forward. Her head and neck nod was in timing of her hind leg steps. She developed rhythm and tempo with a more even stride length. Her steps were more engaged under her body. It was up to me to learn how to gently follow her natural head nod in a walk, flat walk, running walk, and canter.
I began to ride with greater awareness of cause and effect. By developing a greater feeling of right, I knew when I needed to make a correction. Then I listened for the regularity of foot falls and watched her head and neck motion where also helpful tools.
Learning Dressage for the Gaited Horse
I took regular dressage lessons for 20 years before moving to our farm. Now there wasn’t anyone in my area who taught dressage―especially for the gaited horse. I read books and watched videos. Then I attended clinics whenever gaited horse experts traveled to my area.
In 2010, I learned of a schooling dressage show not far away. Thinking it would be a good idea, I contacted the show manager and asked if I could ride my Tennessee Walking Horse at a flat walk instead of a trot. The show manager agreed. I entered to get feedback from a trained dressage professional about our training.
The judge provided helpful feedback about rhythm, relaxation, connection, engagement, balance, harmony, my riding position, use of rein, leg, seat and weight aids, and execution of the test requirements.
I never imaged I’d be return to showing dressage after 16 years riding a horse that didn’t trot!
Clearly dressage has improved the quality of Makana’s smooth gaits. Her medium walk, free walk, flat walk, running walk, collected walk, and canter are well established. We have worked through Introductory, Training, First level tests and are schooling Second level.
Dressage is a versatile language
Since we began this naturally gaited dressage journey, we have met many people who have introduced us to new experiences. I never imaged we’d be moving cows at team penning events and cow sorting leagues, riding the beauty of our State Parks by horseback, competing in endurance rides, orientation events, and trail challenges, riding in the snow, and giving stadium jumping a try.
In and out of the arena, dressage is our language through the versatility of experiences I enjoy with my naturally gaited Tennessee Walking Horse.
Video: How dressage improves smooth gaits
I hope this is helpful. Let me know your thoughts by sending a message.
Dressage requires riding with light, even, steady contact—not floppy, loose reins. Contact is easier when the horse’s head and neck remain stationary, but how do you maintain contact when the horse’s head and neck nod with each step?
Here’s my story.
Following the Natural Head and Neck Motion
I’ve been a passionate student of dressage since 1988, predominantly of the German school, riding bouncy trotting horses. They kept me in shape, I’ll give you that!
Then in 2007, my aging body longed for smooth, and that’s when I acquired my first naturally gaited horse: a just turning three-year-old Tennessee walking horse filly named Makana. Dressage is the only form of riding I knew, so that’s the form of training I applied. We began with the German dressage I learned.
Then through clinics with Larry Whitesell and Susan Norman, I became acquainted with the books and videos of classical French dressage Master Philippe Karl. Around 2014 I began to gradually adopt a new way to ride.
My DVD collection of Classical French Dressage Master Philippe Karl.
In 2016, I set out to Seattle, WA, to visit family and learned that Karl had been teaching School of Légèreté instructor certification clinics at three USA locations—one of which was not far from where I would be staying. I contacted the Seattle location for lessons with Nichole, one of Karl’s instructors in training.
I took several lessons each day with Nichole on her non-gaited horses. First, I learned work in hand. Here’s a recap of my lessons: Work in Hand: Educating the Mouth.
Then Nichole taught me how to apply the same exercises from the saddle while riding at a slow walk. She noticed that I wasn’t following the horse’s natural head and neck motion with my hands. Instead, I was keeping my arms still at my sides. She encouraged me to follow the horse’s natural head and neck motion with my hands while maintaining an even, steady contact with both reins connected to a snaffle bit.
Nicole noticed that while my arms were quiet at my sides, my pelvis and back followed the motion of the horse more than necessary. My efforts to remain still with my arms and hands created tension which translated heaviness to the horse.
Interesting.
While some following motion with my body is needed, Nichole encouraged me to also follow the horse’s natural head and neck motion with relaxed shoulders, arms and hands while maintaining a light, even, steady contact with both reins to the snaffle bit.
This was an epiphany for me!
Granted, I was riding a non gaited horse, but I was riding the horse at a natural four-beat walk. This got me thinking about the smooth four-beat gaits of the naturally gaited head nodding breeds.
I wondered, what compromises have tension to create stillness had on the quality of the naturally smooth flat walk, running walk, and fox trot in my naturally gaited horses?
Could the tension in my shoulders and still arms and hands be saying “stop” to my naturally gaited horse, Makana?
Would following hands produce less prodding on my part to encourage Makana to go forward?
Would following hands produce less tension and more relaxation, harmony and lightness in my naturally gaited fox trotting horse, Lady?
Would Lady be more apt to seek contact with a snaffle bit if I followed her head nod?
Would Lady’s back be less hollow if I rode her with following hands?
Would Lady be less heavy on the bit?
Would Lady learn to relax more rather than take off at a quick gait?
Would Lady track up more with deeper strides if there was greater relaxation in her back?
Think about it. Are we creating braces in our horses through our tension to ride still? How many of us struggle with a camel walk, hard pace, step pace, and a lateral canter? Wouldn’t our horses be smoother to ride if they felt more comfortable and relaxed if we followed their natural head and neck motion?
Nichole taught me the importance of following the natural head and neck motion of the horse’s four-beat walk with relaxed shoulders, arms and hands. This fostered relaxation, harmony and lightness with each horse I worked with.
If following the natural head and neck motion of non-gaited horses at a walk produces relaxation, wouldn’t this translate to the naturally gaited head-nodding breeds that move in flat walk, fox trot, and running walk?
I just wonder if following the horse’s natural head and neck motion—the head nod, head shake or what ever we want to call it—might lead our naturally gaited horses to greater relaxation, harmony, and lightness, and produce less bracing in the jaw and back and produce more naturally smooth gaits?
True or False
When the horse’s tongue, jaw and poll are stiff and tense, it will lead to tension in the back which will cause more pace in horses prone to pace when tense.
True.
Wouldn’t the opposite be true? If we follow the natural head and neck motion of the horse with relaxed shoulders, elbows hands, seat and back, our naturally gaited horses will be more apt at relaxing their backs which helps to break up pace caused by tension. Right?
Granted, it is a lot easier to ride a naturally gaited head nodding horse with floppy reins, but if dressage is your passion, like it is mine, then we need to figure out a way to establish a light, steady contact with both reins that produces relaxation, harmony and lightness. I believe following the naturally head and neck motion of the naturally gaited horse is the way to do it.
Watch: Why follow the natural head and neck motion with relaxed arms
Special thanks to Nichole Walters, the owner and instructor of Cadbury Farm who taught me the “Educating the Mouth” and “Following Hands” exercises that she learned first hand from Philippe Karl and his School of Légèreté.
I hope this is helpful. Let me know your thoughts by sending a message.
Work in hand? If you’re like me, I just like to get on and ride. Recently, I experienced the purpose work in hand has in building communication with my horse. This translates to our riding time, makes training easier, develops harmony, and helps the naturally gaited horse move in lightness and balance.
Why Work in Hand Makes Training Gaited Horses Easier
By Jennifer Klitzke
Before I set out to Seattle, WA to visit family for a week in 2016, I learned that Classical French Dressage Master Philippe Karl had been teaching School of Légèreté instructor certification clinics in three USA locations. One of these locations was not far from where I would be staying.
Ecstatic with the opportunity to get first-hand teaching in this Classical French Dressage method I have been studying, I contacted Nichole Walters, the Légèreté instructor in training to take lessons while I was in Seattle.
Nichole asked about my experience with Karl’s philosophy and the training with my horses. I explained that I had been studying Karl’s DVDs Classical versus Classique and Classical Dressage 1-4 and applying what I learned with my naturally gaited Tennessee walking horse, fox trotting horse, and Spanish Mustang.
My DVD collection of Classical French Dressage Master Philippe Karl.
Learning by DVDs are great for teaching concepts, but nothing beats one-on-one instruction for applying these concepts in real time. Lessons with Nichole were dot connectors!
When Nichole urged me to begin understanding balance and lightness with working in hand, I sighed. I just wanted to get on and ride. Philippe Karl’s DVDs cover work in hand, but I had glossed over that portion thinking it wasn’t important.
WRONG!
Nichole said Karl believes educating the horse’s mouth in hand is so important. He won’t teach his students how to ride until they know how to work the horse effectively in hand.
Benefits of working in hand
Balance: Teaches the horse lightness; how to carry its own head and neck and not lean on the bit; teaches the horse to lift its head and neck, open the throat latch; shift its balance from the forehand to carry more weight on the hindquarters; and helps the horse raise its whither by engaging the chest and shoulder muscles.
Educates the mouth: Teaches the horse how seek and follow a light, steady, even contact with a snaffle bit; relaxs the mouth and lower jaw, taste the snaffle bit and swallow; flex at the poll; and carry its own head and neck and not lean on the bit.
Flexing: Teaches the horse to follow an even, steady contact of the bit to a 45- to 90-degree bend to the right and left. This allows the horse to stretch the outside neck muscles while remaining balanced in the shoulders; then follow the snaffle bit to extend its neck down and out to stretch the top line muscles and spine. (Ideally the poll should be no lower than the height of the wither, so the horse remains in balance.)
After these work in hand exercises in place, I learned to direct the horse in hand at a walk. The horse’s body remains straight while the neck is in a 45- to 90-degree flexed position. This teaches the horse lightness, balance, forwardness, and straightness in the shoulders before the horse is directed into a small circle while remaining in balance.
After the horse walks straight while bending in the neck, then directed the horse into a neck extension on a small circle (volte). If the horse learns circles first, it often loads the inside shoulder. This in hand exercise helps the horse learn balance, lightness, and straightness as it follows an even, light, steady rein contact.
Three hours of work-in-hand lessons were GOLDEN! Work-in-hand taught me how to direct my horse to find body balance and acceptance of a light, following snaffle bit contact. This ground work made it easier to train my horse from the saddle.
Video: Why work in hand makes training the naturally gaited horse easier
Steps to work in hand
1) Face the horse and align my spine to the horse’s spine;
2) Raise the horse’s head and neck and open the throat latch (open the angle between the neck and the lower jaw) by applying equal contact on the corners of the horse’s mouth in direction of the horse’s ears. This helps the horse shift its balance from the shoulders onto the hindquarters. (Notice the horse square up its fore legs and raise its chest). This is a terrific for horses that lean on the bit.
3) Keep gently raising the horse’s head and neck until the horse begins to taste the bit and swallow. If the horse leans on the bit, QUICKLY press and release upward with both hands on the bit toward the ears. Wait for the horse to respond with lightness and remain in the upward position you desire. If the horse leans on the bit, repeat with a QUICK upward motion. The horse will learn that it has to carry its own head and neck.
4) If the horse stops tasting the bit, unlock the tension in the jaw. One hand remains neutral and holds the snaffle ring and the other hand directs the snaffle toward the bridge of the nose. As soon as the horse begins to taste the bit, bring both hands to the neutral position and maintain a light and steady contact;
Lift the head and neck high enough to be light into an open throat latch position (open the angle between the underside of the horse’s neck and jaw), encourage the horse to shift its balance from the shoulders and more onto the hindquarters. Noticed the forelegs are perpendicular to the ground and not leaning toward me and the chest and wither are raised.
5) Then, while holding one ring of the snaffle while the horse is in a balanced stance, collect the rein of the opposite snaffle ring so that there is EVEN contact with the snaffle ring and the opposite rein;
Then I move to the side while maintaining the contact and head and neck position. One hand remains on the ring of the snaffle and the other on the rein.
6) Gently lead the horse’s head and neck to one side with even contact. This stretches the outside neck muscles. (Notice the inside neck muscles concave and the outside muscles convex) ;
With even contact, I reposition myself from the side to the front of the horse while encouraging the horse follow the contact and turn its head and neck. This stretches the outside neck muscles. Be careful that the ears remain level and the horse continues to taste the bit.
7) Then direct the horse to follow the contact down and out to the side to stretch while keeping its ears level. This stretches the outside neck muscles and prevents the horse from contracting the neck muscles and hollowing the underside muscles. It also builds the top line muscles. Karl’s book Twisted Truths of Modern Dressage goes into detail why this is so important.
Extend the neck with even contact by guiding the horse with the hand down and out. Seek to maintain balance without the horse leaning onto the inside shoulder. It is most ideal if the horse’s poll is no lower than the height of the whither because it helps the horse maintain balance on all four legs, evenly in the shoulders, and the horse won’t collapse its pectoral muscles.
My lessons began with a horse that knew these exercises so that I could experience how it feels when it goes right. Then I worked with a horse that was just starting these exercises so that I could experience what it is like when things go wrong and how to correct it. This would help me at home when I began teaching my naturally gaited horses these in hand exercises.
Nichole guaranteed that if I spent ten to fifteen minutes in hand with each of my horses, it would produce balance, each horse would learn how to taste the bit, swallow, flex to each side, and follow an even, light, steady contact before riding. My horses will progress quicker in their training and become lighter on the bridle.
Applying work in hand at home
After the lessons with Nichole, I returned home and began to apply these exercises with my horses. Now I see why Karl feels so strongly about educating the horse’s mouth while in hand. I’m astounded with how soft, light, and balanced all of my naturally gaited horses are becoming when I begin riding sessions with these in hand exercises.
Lady: Grade fox trotting mare
Lift to LightnessFlexionNeck extension
Anytime my horse begins to get tense, anxious, or lose balance, I slow down the tempo or to a halt and reapply these flexibility and suppling exercises until relaxation and balance are restored. This has been a better option for me and my naturally gaited horses compared with riding through miles of tension.
The same cues used in hand can be applied from the saddle at a halt. Plus, the riding we do in a relaxed and balanced state develops the quality smooth gaits and muscle memory I desire. This dressage approach has led to a harmonious partnership with my naturally gaited horses.
Makana: Tennessee Walking Horse
Relaxing the mouthFlexionActionReactionFlexionNeck extensionShoulder inShoulder inFlat walk
Years later, work in hand and Legerete is how my unstarted three-year-old naturally gaited Tennessee Walking Horse / Spotted Saddle Horse, Marvel, has been trained and is coming along nicely. Plus, I cherish the fun and interactive partnership we have developed. Below are photos of us as a six-year-old.
In handSquare haltActionReactionFlexionJambetteFlat walkNeck extension
Anytime my naturally gaited Tennessee walking horses get worried, or my Foxtrotting mare, Lady gets tense in her body, I just ease down to a slow walk, halt or even dismount to work in-hand and restore relaxation. I don’t proceed until I’ve established mental and physical relaxation.
Getting started with work in hand
I had never given work-in-hand its proper respect until Nichole’s introduction. If you are a visual learner like me, I’d encourage you to purchase Philippe Karl’s Classical Dressage DVD Volume 1 which covers the work-in-hand exercises plus much more. Karl’s book Twisted Truths of Modern Dressage is also a great study aid with lots of pictures and detailed explanation.
For those who have studied decades of German dressage like I have and wonder what the differences are between German and French dressage, Karl’s DVD Classic versus Classique is an amazing contrast with riding lessons from Philippe Karl and FEI German Trainer Christoph Hess. Here’s my thoughts about it after watching this DVD: Can German and French Dressage Co-Exist?
I hope this is helpful. Let me know your thoughts by sending a message.
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