Many gaited riders choose to ride still or to ride with a long floppy rein. So, why follow the natural head and neck motion of the gaited horse with relaxed arms, shoulders, hands and fingers? If dressage is your riding style, here’s something to consider.
Following the Head and Neck of the Gaited Horse with Relaxed Arms & Rubber Band Fingers
By Jennifer Klitzke
When I returned from my Seattle vacation last Fall, I was excited to try out all I learned from Nichole Walters, a student of Classical French Dressage Master Philippe Karl. I was especially curious about following the natural head and neck motion of my naturally gaited horse with relaxed shoulders, arms and hands.
Granted, I rode non gaited horses at Nichole’s farm. Yet a trotting horse walk expresses an even four-beat gait. The head and neck nods naturally with each step. This is where Nicole encouraged me to relax my shoulders, back, and arms so that I would follow the horse’s motion.
It got me thinking. This seemed like a direct take-a-way for how I ride my naturally gaited Tennessee walking horse and fox trotting horse. It was critical that I learn to follow the natural head and neck motion while maintaining a light, even contact.
After publishing the video: Following the Motion of the Head Shaking Horse, I received a great tip from someone on the Naturally Gaited Facebook page. Along with following the natural head and neck motion with relaxed arms, a women encouraged to open and close my fingers with each head nod. This is what I call “rubber band fingers.”
I began giving this idea a try with both my naturally gaited Tennessee walking horse and my fox trotting mare.
Along with following the natural head and neck motion with relaxed arms and rubber band fingers are leading my naturally gaited horse into:
Relaxation: relaxed in the mind and relaxed in the jaw and back which will help break up pace.
Balance: so my naturally gaited horse will carry equal weight on all four legs and not be heavier on the forehand or leaning on the bit.
Rhythm: that my naturally gaited horses tempo is even, steady, forward, and not rushing.
Engagement: that of the hind leg steps deeper under the body more than trailing behind the tail.
Straightness: so that the shoulders are carrying equal weight and the horse isn’t leaning on the inside shoulder or bulging the outside shoulder.
I am seeing great results from combining these elements. My naturally gaited Tennessee walking horse’s head nod is more defined and regular in timing with the hind leg steps. Her rhythm is more even, and she seems more forward and engaged from behind.
Video: Following the Motion of the Head & Neck
I hope you find this video helpful. Please let me know your thoughts by completing the contact form.
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.
Naturally gaited TWH Gift of Freedom ridden by Jennifer Klitzke was named 2015 NWHA First Level Champion.
By Jennifer Klitzke
When I bought my naturally gaited Tennessee walking horse Gift of Freedom (Makana) in 2007, I had no intentions on showing her—especially in dressage—because I thought dressage was only for horses that trot. I just wanted a smooth horse to ride that would be easier on my aging body. Since dressage had been the only riding style I had studied since 1988, that’s what became our training language.
Since I lived on a hobby farm with no gaited dressage instructors nearby, I rode by myself and applied knowledge from 12 years of traditional dressage lessons and attended clinics when gaited dressage instructors traveled to my state.
In 2010, I saw that a USDF schooling dressage show would be held ten miles away. I contacted the show manager and asked if I could ride my TWH but replace trot with flat walk. She agreed. (Little did I know that the National Walking Horse Association (NWHA) had already written dressage tests which did exactly that.
Getting to the show that day, I thought I would be laughed off the planet, because I’d be the only one riding a horse that didn’t trot. But I didn’t care, because it meant more to me to receive feedback from a dressage professional as to where we were at in our training as it related to rhythm, relaxation, connection, impulsion, balance, and harmony. The feedback we received that day was meaningful, challenging, and affirming. It gave us something to work toward.
Both Makana and I enjoyed the day. My mare was relaxed and curious. I made significant connections with owners of gaited trail horses. Many of which had never considered applying their dressage training to their gaited horses until seeing gaited dressage in action. Two women even invited us to join their next trail ride. As long as Makana and I had fun, we’d try it again.
After that show I became introduced to the NWHA dressage tests which are the same as the USDF tests with flat walk in place of trot.
Five years and fifty-five gaited dressage tests later, USDF schooling dressage show judges have provided constructive feedback to help us grow in our training from Intro through Training to First Level and have challenged us to face all of the required movements in both directions. This would be easy to avoid if we were just hacking at home.
In 2015, the NWHA launched a dressage awards program. I have so much gratitude for the NWHA. I appreciate all of the hard work in getting the tests approved through the USDF every four years. If it weren’t for these tests, I likely wouldn’t have had the opportunity to show at open USDF schooling dressage shows the last five years. For these reasons I became a NWHA member to support the dressage awards program.
In 2015, Makana and I showed at five USDF open schooling shows as the only gaited horse among the trotting horses and rode 10 NWHA tests (two at Training Level and eight at First Level). Five scores were required from three different “L” (or higher) judges within a level to qualify and one test being the highest of the level. The horse with the highest median score would determin the winner.
2015 Gaited Dressage Show Record
May 2, 2015
Wildfire Farms Schooling Dressage Show
Maple Lake, MN
Judge: Jodi Ely
NWHA Training Level Test 3: 68.2%
NWHA First Level Test 1: 70.4%
May 9, 2015
Arbor Hill Schooling Dressage Show
Stillwater, MN
Judge: Molly Schiltgen
NWHA Training Level Test 3: 67.27%
NWHA First Level Test 1: 65.56%
May 30, 2015
Northwoods Schooling Dressage Show
Corcoran, MN
Judge: Colleen Holden
NWHA First Level Test 1: 65.926%
NWHA First Level Test 3: 70.294%
August 2, 2015
Carriage House Farms Schooling Dressage Show
Hugo, MN
Judge: Jennie Zimmerman
NWHA First Level Test 1: 64.07%
NWHA First Level Test 3: 62.06%
August 15, 2015
Wildfire Farms Schooling Dressage Show
Maple Lake, MN
Judge: Nancy Porter
NWHA First Level Test 1: 66.5%
NWHA First Level Test 3: 63.9%
I’m happy to announce that Makana and I were named Champion in First Level, followed by Banner’s Dixie Belle ridden by Scot MacGregor, and Heat Stroke ridden by Pamela Polydoros.
For complete dressage award results visit www.NWHA.com.
Pictured left to right: Dressage en Gaite Clinician Jennie Jackson, Heritage Walking Horse Temp’s Red Rascal, and Cynthia Priebe.
By Cynthia Priebe, Guest Writer
If you Google “Dressage,” you will learn it is a French term most commonly translated to “training.” To most horsemen it conjures up
images of horse and rider teams such as Charlotte DuJardin and the great Valegro. We think of FEI, USEF, WEG and the Olympics.
We may think of Levels, tests and Freestyle performances. We recognize and may even understand a leg yield, shoulder-fore or shoulderin. We may not however think of our gaited horses doing these maneuvers, but we should!
Dressage at its most fundamental is a standardized and progressive training method intended to bring out a horse’s natural athletic ability and willingness to do what its rider asks of it. At its peak, the horse will respond ably to a rider’s minimal aids. The team performs together and it looks effortless. It is NOT breed specific. All horses can benefit from its principles and techniques.
However, over the years if I would discuss dressage as could be applied to my TWH, I would receive odd looks, wrinkled up noses, scoffs or comments of “Dressage does not and cannot apply to a Walking Horse.” If I was referring to the Equestrian sport of the FEI, USEF or USDF, they are correct, but I was referring to its principles and exercises for training.
The last few years have changed that. Gaited Dressage though not widespread is now recognized. Facebook and Web pages are dedicated to the subject. Clinicians and trainers of the gaited horse have written books, posted videos and sell DVD’s.
This past April, Temp’s Red Rascal and I attended a Jennie Jackson’s Dressage en Gaite Clinic. A day of watching other riders learn how to apply dressage principles to their gaited horses, and a one-on-one session of our own. Rascal and I haven’t really done anything but ride around the barn for the last few years. Improving health and other factors have revitalized my energy. Rascal’s abilities, temperament and patience have revitalized my confidence. My goal – use dressage to get us both back into shape.
Cynthia and her Heritage Walking Horse Temp’s Red Rascal
Jennie is so good at communicating with any and all levels of rider experience. She is patient, and really understands the gaited horse. She helped me understand where we are in the training pyramid and what we might be capable of. We successfully performed leg yields and shoulder-in and learned a new way to warm up for focus, muscle elasticity and increased responsiveness to the aids all without expending the energy Rascal would need to perform properly. May not seem like much, but what we learned that day has completely changed our relationship and what we have been able to accomplish together since.
Most of the Walking Horses at the clinic were from show bloodlines, and Rascal presented very differently so I seized the clinic as an
opportunity to discuss the Heritage Walking Horse. Other than Jennie, no one was familiar. Jennie explained how Rascal’s temperament, build and “On/off” switch where hallmarks of
the Heritage horse. She took the time to explain that though Rascal’s build kept him from having a big over stride, it was not what he was bred for. He was bred for a steady and consistent 4 beat gait that would cover uneven ground safely. So proud that Temp’s Red Rascal could be an ambassador for the Heritage Walking Horse that day!
Since the clinic, Rascal has been improving in all aspects of his condition, responsiveness and ability. He has actually increased his stride length which I attribute to our lateral work and the conditioning that dressage provides. We plan on showing again this year in Halter, Western Pleasure and Horsemanship (Equitation.)
I am not sure where we will pin, but I know we will have more fun this year than we have had in long time. And I am looking forward to the growth of Gaited Dressage and the possibility of testing in the near future on Temp’s Red Rascal.
So next time you hear “Dressage,” think Dressage en Gaite!
For more about the International Heritage Walking Horse Society, visit IHWHA.com.
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