Have you longed to learn dressage with your gaited horse, yet have a trail horse that detests arena work? That’s me and Lady.
Gaited Dressage for the Trail Horse
Not all horses are wired the same. That includes my naturally gaited fox trotting horse Lady. I began riding her in the arena, because that’s how I’ve introduced all of the horses I’ve ridden to dressage over the years.
Lady is a marvelous trail horse, and I quickly discovered that she didn’t understand the purpose of riding in an arena without a change of scenery!
Instead of fighting with her, I brought Lady to her happy place—the trail. And that’s where we work on our gaited dressage. We use natural obstacles to maneuver around such as trees and the fire pit. Then we leg yield from one side of the path to the other, followed by a soft halt, and a gentle and slow rein back, to a slow balanced walk, and then transition to her easy gait before transitioning back to a free walk on a long rein.
Gaited dressage on the trail helped our training in 5 ways:
1) Passenger to Participant
Instead of being a passenger and let Lady follow the trail, I became an active participant in our relationship through the exercises and transitions,
2) Tuning Me Out to Listening
By being present with Lady and guiding our travels, it gave gave her a reason to stay dialed in to me instead of just following the trail.
3) Tension to Harmony
During our ride on the trail Lady lost the tension she had in the arena and we developed more harmony.
4) Fight and Flight to Trust
Working together on our journey through the woods helped Lady and I develop a partnership of trust. Lady began to listen to me for the next cue, release and reward. This helped establish me as the trusted leader of our relationship where Lady looked to me over her fight or flight defenses.
5) Developing the Basics of Gaited Dressage
While on the trail, we began to ride the elements of a low level gaited dressage test by establishing relaxation, rhythm, balance, connection, and forwardness, as well as developing harmony and softness. While I worked on applying effective aids and reinforcing a balanced riding position.
Lady seemed happy working gaited dressage on the trail. Come to think of it, so did I.
Dressage on the trail has become a new kind of training for me—training without walls in the beauty of nature which feeds my soul while freeing me of the rigidity and perfectionism that often plague me in the arena.
Let me know your thoughts if you’ve given dressage on the trail a try.
Showing dressage on a horse that doesn’t trot (2013)
Many people ride their naturally gaited horses with low fixed hands. I did this, too until I learned a new way leading to relaxation and smoother gaits.
Here’s my story.
Following the Natural Head and Neck Motion
By Jennifer Klitzke
I’ve been a passionate student of dressage since 1988, predominantly of the German school, learning how to post and develop my core to sit a bouncy trot. This kept me in shape, I’ll give you that!
Then in 2007, my aging body longed for a smooth ride, and that’s when I acquired my first naturally gaited horse: a just turning three-year-old Tennessee Walking Horse filly named Makana. I began her training with the German dressage I knew until I was introduced to a gaited rail class instructor. This is where I learned to ride with low fixed hands.
Then French dressage clinicians traveled to my region, and they acquainted me with the work of modern classical French dressage Masters, such as Philippe Karl and his School of Légèreté. This launched a book and DVD study into his methods which were vastly different than the German dressage and rail class instruction I had learned. I gradually began to adopt Karl’s methods as I rode my naturally gaited Tennessee Walking Horse.
My DVD collection of classical French dressage Master Philippe Karl.
A few years later, I learned that Karl had been teaching School of Légèreté instructor certification clinics at three USA locations—one of which was not far from family. At my next trip to Seattle, WA, I contacted Nichole, one of Karl’s instructors in training for lessons.
Then Nichole taught me how to apply the exercises from the ground to the saddle. First, we began at a halt and then a walk.
As soon as I began the walk, Nichole noticed my low fixed hand position. While my arms and hands were quiet at my sides, she also noticed my pelvis and lower back followed the motion of the horse more than necessary. It seemed my back and hips were overcompensating for my still arms (tense shoulders, elbows and hands).
My efforts to remain still with my arms and hands began to affect the horse with tension and heaviness. This great observation and feedback is just what I needed. I certainly did not intend to impose this response from my aids! The book and DVD study I had been doing was great, but only one-on-one lessons can give specific real time feedback.
Instead of being still with my arms and hands, Nichole encouraged me to follow the horse’s natural head and neck motion. This meant becoming aware of my arms and hands―elastic fingers and relaxed wrists, elbows and shoulders while maintaining a light contact with the reins connected to the snaffle bit.
This was an epiphany for me!
Granted, I was riding a non-gaited horse at a walk, but the walk is an evenly timed four beat gait. I began to think about the smooth evenly timed four beat gaits of the Tennessee Walking Horse. Gaits like the flat walk and running walk with a natural head and neck nod.
I wondered how my stillness and low fixed hands had been affecting my horse’s relaxation, willingness to move forward, and quality of natural gaits?
Could low fixed hands and stillness be creating tension and braces leading to pace, step pace, short quick steps, lateral canter and bit avoidance?
Could the tension in my shoulders, still arms and hands be saying “stop” to my horse when I intend to move forward?
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 rode during my lessons.
If following the natural head and neck motion of non-gaited horses at a walk produce relaxation, wouldn’t the same logic translate to the naturally gaited head-nodding horse at a flat walk, fox trot, and running walk?
Would following hands produce less driving with my legs and seat to encourage my horse forward?
Would following hands produce less tension and more relaxation, harmony and lightness between me and my horse?
Would my horse be more apt to seek contact with a snaffle bit if I followed the head nod?
Would following hands lead to longer and deeper strides rather than short quick steps?
How many naturally gaited horses struggle with a camel walk, hard pace, step pace, and a lateral canter? Would horses be smoother to ride if they felt more comfortable and relaxed? Could following the horse’s natural head and neck motion lead to smoother gaits?
Did You Know
When the horse holds tension in the mouth, jaw and poll it affects the body with tension. For the naturally gaited horse this body tension can lead to pace. (Just do a study on the hyoid apparatus, the horse’s tongue, and the effect it has on the horse’s body and movement.)
Wouldn’t the opposite be true? If the naturally gaited horse where more relaxed in the mouth, jaw and poll wouldn’t it lead to smoother gaits? Wouldn’t following the natural head and neck motion of the horse lead to relaxation better than low fixed hands?
I began to explore this idea of following the natural head and neck motion with my hands at the flat walk and running walk. In the beginning I was rather clumsy with my following arms. Yet it was a step in the right direction since I was letting go of the tension in my shoulders, elbows and hands as compared to a low fixed hand position.
Overtime I gained more finesse in the use of elastic fingers and wrists, along with relaxed shoulders and elbows, as I followed my horse’s natural head and neck motion at the flat walk and running walk.
Watch: Why follow the natural head and neck motion with relaxed arms
Granted, it is a lot easier to ride a naturally gaited head nodding horse with floppy reins, but dressage is my passion. I needed to find a way to communicate with a light contact that produces relaxation leading to smooth gaits. I believe following the natural head and neck motion is beneficial.
Makana, my naturally gaited Tennessee Walking Horse in flat walk (2025).
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 firsthand from Philippe Karl and his School of Légèreté.
Questions?
Let me know your thoughts by completing the form below.
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?
Questions?
Let me know your thoughts by completing the form below.
There’s nothing like trail riding on a naturally gaited horse. You can cover lots of ground and your body won’t pay for it later. But who ever said that dressage has to stay in the four walls of an arena? Why not take dressage to the trail and transform a ride to a dance?
Introducing the Gaited Trail Horse to Dressage
My friend’s naturally gaited horse fox trotting horse, Lady has been living at our place the last two summers. She doesn’t get out to ride much so she has encouraged me to ride Lady as much as I have time for.
Lady was purchased by my friend as an 8-year-old unregistered Walking horse. Registration didn’t matter to my friend since she just wanted a beautiful black trail horse. And Lady is all that—beautiful, black, and an exceptional trail horse.
When Lady first arrived she had two distinct gears, a dog walk and a hard trot. Over time Lady has developed a naturally smooth fox walk and fox trot. She’s more diagonal versus lateral on the gait spectrum.
Lady is used to being ridden bareback on the trail with a long, loose rein, so the concept of being ridden on a light contact and in balance have been new to her.
Here’s how balance and connection all started…
Resources for Naturally Gaited Horses to Improve Relaxation and Connection
A month ago, I began applying classical French dressage methods of training as taught by Philippe Karl from his DVD series Classical Dressage and Classical versus Classique, as well as principles taught from the late Jean Claude Racinet in his book: Another Horsemanship and his student Lisa Maxwell from her DVD: Getting Started in Lightness.
These instructors have taught me the importance of teaching the naturally gaited horses I ride to be soft in the mouth, jaw and poll to create relaxation in the mind which is critical before moving on to body exercises.
A relaxed mind is a teachable mind while a tense jaw and anxious mind bring about a resistant body that will not produce quality movement. Teaching the horse softness in the mouth, jaw and poll is best introduced in hand on the ground using a mild snaffle bit. These videos all provide excellent teaching in this and I highly recommend owning them for your personal library.
Relaxing the Naturally Gaited Horse for Trainability
Once the naturally gaited horse is soft and relaxed (in the mind and body); relaxed in the jaw and mouth, and licking, salivating, and chewing, then I proceed to teaching the horse exercises that bring the horse into balance. This is where the horse begins to engage the hind quarters by bending the joints, stepping under its body, engaging the abdominal muscles to lift the back, and lifting its whither to lighten the forehand for a few steps. This also can be introduced to the horse in hand which the videos encourage.
Separating the Stop and Go Aids
The French dressage philosophy differs from the German dressage philosophy I had been trained in for 12 years. While the German philosophy taught me to use my legs and seat to drive my horse into a rein contact, the French method separates the brake pedal (reins) from the gas pedal (seat and legs). Separating my seat and leg aids from my rein aids has been one habit that I have been working hard to break, and it is worth the results that I am seeing in the horses I ride. Lightness, harmony, and more willingness to go forward with less cueing on my part are among these benefits.
Timing of Aids
In addition to the separation of aids, is the crucial timing of my aids. My rein aids cue my horse’s front and my leg aids cue my horse’s hind legs. It is critically important for me to correctly discern the feeling of when my horse’s leg is in a cue-able position so that I get the desired result.
For example, if I am asking my horse to leg yield along the fence going to the right, my left calf needs to touch my horse at the girth as my horse begins to step its left hind foot forward. As I release my calf, I squeeze and release my outside (right) indirect rein to tell my horse to remain straight and not lead with the right shoulder. If my horse begins to get tense in the jaw, I squeeze the left rein with my middle, ring, and pinky fingers, and release by opening these three fingers as soon as the horse gives. At all times, I maintain a very light contact with the horse’s mouth on both reins with my thumb and index fingers.
Also, here’s an excellent blog post “The Wonder Whip” written by Manuel Trigo which was forwarded to me from a fellow gaited dressage friend. This blog post talks in detail about the timing of aids, and I find it very insightful.
Below is a video showing Lady being introduced to light contact as we leg yield along the fence. I am riding her in a Level 1 Mylar snaffle bit with white reins so that it is easier to see the amount of contact. The first leg yield is nothing short of a “hot mess,” and I explain what we worked through to “clean up” the second pass.
For Lady, establishing a soft contact and a relaxed mind before moving on to body exercises for balance have been the winning combination. Together they have brought out a beautiful transformation in Lady’s fox trot that is simply a joy to ride. The video below begins and ends just after the leg yield exercise which shows the most balanced, supple, and elegant fox trot Lady has achieved thus far.
Video: Introducing the Gaited Trail Horse to Dressage
Here’s a sequence of cues that produce a soft, round, and relaxed halt without the use of force or pulling back on the reins.
Cues to a Softer Halt
Back in the days before owning horses, I looked forward to the hour-long trail rides each summer. Before our group mounted up, the trail guide would give us these handy instructions: “kick” to go and “pull” on the reins to stop.
Now that I’ve been a horse owner for a few decades, I’ve learned better approaches than “kick” to go and “pull” to stop which produce softer and rounder responses. The cues are a blend of tips I have learned from classical French dressage and natural horsemanship philosophies.
Each test begins and ends with a halt and salute where the horse stands square and immobile for three seconds.
I ride my naturally gaited and barefoot Tennessee walking horse in a mild snaffle bit and have been competing at schooling dressage shows since 2010. We consistently earn scores of “8” on our center line halt and salute.
Below is a sequence of cues that produce a soft, round, and relaxed halt without the use of force or pulling back on the reins.
How to produce a soft, round and relaxed halt
Well fitting equipment: Beginning with a practical note, an uncomfortable horse is unable to perform a soft, round, and relaxed halt. So, it is important to ride your horse in a well-fitting saddle, bridle and bit. Also have your horse’s teeth checked and floated regularly by an equine dentist or qualified veterinarian.
Following seat: The next thing I do is develop a following seat (versus a driving seat). I encourage my horse forward with my seat, followed up with the use of my voice, a bump and release of my lower calf, and a tap of the dressage whip if needed. Then I follow the motion of my horse’s walk (in a toned sort of way) as if my hip joints walk with my horse’s hind legs. I do not drive my horse forward with my seat (by thrusting my pelvis forward and backward) as I believe this annoys my horse and eventually causes her to tune me out.
Stilling seat: When I am about to come to a halt, I gently squeeze and release the reins with my middle, ring and pinky fingers to soften and round my horse. At the same time, I still my seat and no longer follow the motion of my horse. If the horse is listening to my seat, the horse will stop.
Alternating squeeze and release of the rein: Plan B: If my horse doesn’t halt with the stilling of my seat, then I follow it up with an alternating squeeze and release of each rein in sequence with each hind step. As if to say, “Stop your foot. Now stop your other foot.” I will keep alternating the squeeze and release of each rein with each step combined with a stilled seat until the horse slows to a stop.
I have found that this approach produces a softer, rounder, more relaxed and square halt than when squeezing both reins at the same time, and definitely better than pulling back on the reins.
Repeat the exercise: If the horse didn’t stop by my seat, I will return to a forward walk and repeat the exercise a few times before moving on to something else. Then I’ll come back to the exercise a couple more times during our riding session.
Practice: I practice this exercise each time I ride. Every horse I ride becomes more and more responsive to my seat, softer, rounder, and more relaxed with the halting, less dependent upon the reins for stopping, less depended upon the voice, legs, and whip to move forward and more responsive to the seat.
Video: Cues to a Softer Halt
A square halt from the medium walk is required in NWHA Intro tests, a square halt from the flat walk is required in NWHA Training Level tests, and a square halt from a canter is required in NWHA Fourth Level.
Video: Soft Halts from the Medium Walk, Flat Walk and Canter
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Instead of fighting with her, I brought Lady to her happy place—the trail. And that’s where we work on our gaited dressage. We use natural obstacles to maneuver around such as trees and the fire pit. Then we leg yield from one side of the path to the other, followed by a soft halt, and a gentle and slow rein back, to a slow balanced walk, and then transition to her easy gait before transitioning back to a free walk on a long rein.
5) Developing the Basics of Gaited Dressage
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