How to create a frame

I see this question a lot: how do I get my horse to round it's back, lower its head, and work from behind? Actually, a great deal of the time people forget to ask the latter ("and work from behind"), not realising that it is not about the head but rather about the hind - that the head will follow the hind naturally and that the head really does not have to be 'played' with.

To start off, I highly recommend the following for your own further research into collection - how it is achieved, why it is achieved, and the involved biomechanics of the horse:

Sustainable Dressage - this blog contains a wealth of information I have yet to fully tap into thanks to the absolute overwhelming multitude of information presented!

Tug of War: Classical Versus "Modern" Dressage by Dr. Gerd Heuschmann - it is extremely enlightening and reveals a great deal of knowledge of collection via understanding the biomechanics of the horse. This is a vital part of any horseman's library.

Progressive School Exercises for Dressage & Jumping by Islay Auty BA, FBHS - this is just another of those simple books that contains a great deal of progressive exercises, but it is encompassed of exactly the types of exercises and patters that I use and recommend when teaching the horse collection.

In my opinion, I believe the comprehension of 'correct' collection (developing one's eye), the biomechanics of the horse, and how to achieve 'natural' collection are of the utmost importance to any rider/trainer/horse owner, regardless of the discipline. Regardless of discipline, it pays to teach our horses to use themselves efficiently. Firstly, such benefits a horse in relation to their soundness. Horses are not made to carry the weight of a rider and teaching them to carry themselves in an efficient and correct manner ensures they may carry the weight of a rider with little or no detriment to them physically. Second, teaching a horse to use itself in a correct and efficient manner better enables them to succeed in their chosen discipline. The cow horse, cutter, or reiner, benefit from collection in that they are balanced. With their weight shifted off of their front and onto the haunches, they may better be able to - with a freer front end - thrust forward into a gallop and slide into a stop or change direction rapidly. The jumper with its weight shifted onto its hind will have better propulsion over jumps, better scope, and better form.

The method(s) many riders are taught neglects taking into account the whole horse, the bigger picture, and instead focuses on individual physical aspects. Particularly, riders will almost obsessively focus on the head and on teaching it to drop, often via use of a martingale or draw reins or by bumping or see-sawing on the horse's mouth. There are many variations to this but ultimately a false frame is created whereby the horse is not fully engaged from behind. In lieu of the aforementioned, the rider needs to focus on the HAUNCHES. As the haunches are developed and the horse increasingly engages, the back rounds and lifts, the front end lightens, the horse raises its neck from its base, and the head drops into place according to the horse's level of training and strength.

The focus in developing true and correct collection in the horse should be on encouraging the horse to carry himself efficiently, by his own means - classically. This means patterns and exercises where the hands are light and guiding and the legs are quiet, that essentially 'enlighten' the horse as to what to do, but do not directly tell or force the horse into a particular frame. In this fashion, they only 'frame-up' as per their current training level and strength and their frame is one that includes relaxation. Furthermore, their frame is 'correct' and efficient. In such a way, the horse will simply 'come together' naturally, with guidance and refinement from the rider: the horse will start tracking up and loading bent hocks, tipping his pelvis. He will commence lifting his back, and his head will come down and he will reach forward to actively seek the bit. The rider's seat should be balanced and independent with no pushing so hard that the rider is leaned way back (as is often seen) and there should be no pulling back or holding of the horse's mouth. The hand closes as appropriate, and opens as appropriate, without moving. In such a way, the energy may be channeled and recycled through the horse - without actually creating or damming the flow through aids; the flow is already established by the horse and is simply guided through their body.

This is also where the Dressage Training Scale is vital, regardless of your discipline. Dressage is a foundation and regardless of your discipline, a strong foundation is a strong foundation - dressage offers that possibility for a strong foundation that will enable success in any direction later. The Training Scale is as follows:
1. Rhythm
2. Suppleness
3. Contact
4. Impulsion
5. Straightness
6. Collection
It is a progressive 'ladder' that is designed to be applied in that specific order, albeit each step will feed into and build off other steps. Place those six building blocks into a pyramid with collection at the top and rhythm at the bottom, you can begin to see how it is progressive and how each 'block' builds upon another. Keep in mind too that to have rhythm and suppleness, one requires relaxation. Thus one of the first goals in developing the horse should be to develop relaxation.

Relaxation is required for rhythm - the tense horse will be constantly increasing and decreasing its rhythm and tempo. To achieve such rhythm and relaxation, the horse must be both mentally and emotionally relaxed, which will then automatically reflect in a physical sense (barring any physical issues).

Once rhythm is established, we also find suppleness - the looseness and flexibility of the horse. Suppleness is comprised of both lateral and longitudinal components: lateral being sideways and bend along a circle (such as in the ribs), and longitudinal being along the horse's length from jaw to tail.

With suppleness achieved, the horse begins to seek contact. Where before the horse is expected to accept contact (ie, not evade the rider's hands), the horse who increasingly engages from behind and is relaxed and supple will start to actually seek the bit and chew it from the rider's hands with further progression of the training scale. This also requires a very forward thinking horse, hence the importance of developing and encouraging forward in the horse from the very start.

With contact we can begin to refine what we have and establish further impulsion, where the horse steps under himself further (engages) and sends power through the hind end to the rider's hand and to his front end (which lifts). Impulsion appears as a forward moving horse who is loose and supple; the hocks are engaged and bent (loaded) as well as far-reaching beneath the horse's barrel. This is achieved through willingness on the horse's part and not through constant nagging on the part of the rider. Impulsion should be thought of as THRUST. With thrust, the horse will increasingly seek the rider's hand - contact.

With the requirements of 1-4, straightness is mostly achieved naturally and ultimately is when the hind hoof steps in the line of the fore hoof (in collection though the hind may step slightly to the inside, but not to the outside, which would indicate the horse is traveling with its hindquarters in on the circle = crookedness). Straightness is achieved when the horse is supple and conditioned equally laterally (both sides are equally loose and strong).

With all preceding five building blocks established, we naturally achieve our golden goal of collection - it is not made or forced, but rather is the ultimate and simple result of the building blocks of the pyramid. The horse reaches further under but by engaging the hocks actually takes shorter steps and compresses its frame. The pelvis tilts and the croup drops, and the forehand lightens so that the horse appears to be traveling 'uphill'. Since collection is not made, the rider should ultimately be able to, on a fully and 'correctly' collected horse, be able to drop all communication with the horse (legs and hands), and the horse still finish the movement. This test is the result of the horse initiating collection and carrying itself; the rider is not creating the collection nor are they carrying the horse themselves. In such a manner, the rider may then further encourage and guide the horse to the highest level of collection.


The following exercises and patterns may be used in the context of the training scale to help develop the horse toward collection:

Rhythm
To achieve rhythm we first of all want the horse forward-moving, relaxed, and loose in its movements. This is partially achieved through the rider maintaining rhythm themselves (ride to music, to a metronome, or simply relax your body and ensure you create an example of rhythm the horse can then follow), in their riding. This means that at the trot, the rider posts in a rhythmic manner and allows the horse to move forward; if you have trouble keeping out of the horse's mouth, ride on the buckle - if you do not feel safe riding on the buckle, you've got work to do! Initially, you can have an instructor/equine-savvy bystander also longe you and your horse if you have trouble riding your horse on a loose rein; as such the individual on the ground can have control yet you can allow your horse the opportunity to relax and develop rhythm. In my experiences rhythm is often best achieved working along straight lines as opposed to circles, yet circles tend to relax the horse because horses move in circular patterns when stressed (check out Temple Grandin's work); this is where figure-8's along the long side of the entire arena can help because they include both long straight lines and some circular lines (plus, it is a specific, distinct pattern, which is also comforting to the horse according to its instincts). Rhythm is established through mental and emotional relaxation in the horse, which will result in physical relaxation and thus rhythm. I develop mental and emotional relaxation in the horse on the ground first, developing respect and trust, and teaching the horse to be calmer, braver, smarter in general. Under-saddle, patterns and exercises in general are calming to the horse, as are patterns and exercises that are circular in nature (as previously mentioned). Relaxation and thus rhythm are established through a general mindset and method on part of the rider, which might require a professional to help. Above all, it is established with soft, light aids, and patience and good leadership on part of the rider. The rider must remember to have very elastic elbows and a following hand.

Suppleness
This is obviously develope-able only when relaxation and rhythm are achieved. The next step then is to develop suppleness Travers, shoulder-in, side-pass, half-pass, leg yield, bends along a straight line (ie. come down the long centre-line and have your horse bend without leaving said line, using the least possible amount of leg and especially hands), circles, figure-8's, serpentines, spiraling in and out on a circle at the w/t/c - all great exercises to encourage and increase bi-lateral suppleness. The exercises should be done with light riding and should be refined to the point of little interference and guidance by the rider, where the horse is soft, accepting, and supple. The exercise book I mentioned at the start of this blog has some fabulous exercises to create suppleness, and an instructor usually has a number of exercises and patterns up their sleeve! Jane Savoie has a plus/minus poll-suppling exercise I will iterate at a later date: I highly suggest reading her books and purchasing some of her educational material and using the suppling exercises she describes.

Contact
The horse must be soft and supple and accepting of contact - meaning they are responsive to the rider's hands and are light, soft, and relaxed. With development and progression through the training scale, the horse will start to seek contact - he will push into your hands with a soft mouth and chew the reins into a lengthened frame if you allow him the lengthened rein. It is not up to the rider to establish 'on the bit', but rather the horse, when they are ready; if the rider progressively schools through the Training Scale, they will find the horse will not only grow to accept contact, but it will also actively pick up the bit in its mouth.

Impulsion
The primary exercise I use to develop forward and to start to introduce impulsion is the point-to-point exercise; I find it works brilliant with horses who are inclined to shorten and elevate rather than lengthen and move forward, as well as for those horses who would normally be classified as 'lazy'. This exercise was taught to me by Jonathan Field, who is a fantastic horseman. Another method of specifically developing a desire in the horse to move forward is to just move the horse out long and forward - drop contact and allow the horse to move forward in an extended trot (slight push with your legs, but [important!] do not nag the horse, or by posting higher in the trot) and/or gallop. You may also use jumps or hacking out to encourage forward. Giving a horse a job to do whereby he is naturally inclined to be forward can be greatly beneficial. Establish that forward thinking. To be clear, forward is different from impulsion, but one requires forward so as to develop impulsion. Forward is the horse moving out forward willingly and freely, in front of the rider's leg. The horse should stride out with momentum and energy. Impulsion requires the horse to THRUST from behind. To land with a bent hock and push forward with its haunches engaged as opposed to strung out behind him. A specific exercise that may be used to develop impulsion is one I learned from Mette Rosencrantz while watching her conduct a clinic last year: start out on a 20m circle, set up with 4 pairs of cones dispersed evenly along the circle. Start out by trotting half the circle and walking the other half the circle, sharpening the transitions, then progress the exercise to trotting through one set of cones (the horse has to go through the pairs of cones, no going around them!), and walking through the next, and so forth. Lastly, Rosencrantz had the riders trot the 20m circle, slowing through each second set of cones, then, once rider and horse had a good grasp of that, slowing through each set of cones. The horse was already forward-moving and the rider did not pull back to achieve downward transitions and a slowing in pace. They simply relaxed into their seat, tensed their abs, and closed their hands. When asking for an upwards transition or to increase the pace, they were asked not to use leg but to open their hands and to pick up their energy. The rider should not have to use leg because the horse should already be forward thinking. With the latter part of the exercise, the horse was asked to slow to a near-walk, without actually walking, then to pick up an upbeat trot. In such a way, the horse was naturally balanced onto its hindquarters and would gather and compress itself, without losing forward momentum. Once the exercise was completed successfully on the 20m circle, it was then completed on a 10m circle, which you will find much more difficult! The key in developing thrust from behind is developing strength in the haunches (ground poles, jumps, hills, trot work all especially target this) and transitions transitions transitions.

Straightness
Is achieved through achievement and development of the prior building blocks of the training scale and can also be further refined through exercises such as the shoulder-in. An instructor can provide one with additional exercises to work on that will further develop straightness in the horse and to be a person's eyes on the ground (particularly as you develop the feel for when your horse is straight versus crooked)!

Collection
The goal and ultimate result of achieving the first 5 components of the Dressage Training Scale. Once the prior components, and thus collection, is/are achieved, all that is left is to refine and further shape what you have, to continue along a continuum of increased collection.

Heavy horses

The “heavy” horse is the horse you’re under the impression will never be nimble enough to turn on a dime (I know I have, and clients of mine have been!), or who is constantly leaning on your hands (aaah, we love our OTTB’s, but they can love to lean!). How do you lighten such a horse up?

If you’re under the (typically, false) impression your horse cannot pick up that shoulder and give you a clean, light turn on the haunches – you might want to re-think the situation. It usually is not that the horse can’t physically do it (unless it's a skeletal/muscle issue), it is often that he won’t do it – either (1) due to lack of respect for his rider, (2) due to tension, or (3) because he has never been taught to be light.

1 - If it is a lack of respect that is the issue, the job is yours to earn your horse’s respect – play games on the ground that get your horse moving his feet more than yours: moving his front end around, moving his hind end around, backing up. Use assertive body language and increasing phases of “ask” until you get the response you desire. The Parelli 7 games are one great way to earn respect, roundpenning with plenty of changes in direction can be another. You can also earn respect under-saddle by working on impulsion through transitions, etc.

2 - If the issue is tension in the horse – circles circles circles – work on all sorts of patterns that include bends and circles. Keep your own body relaxed and free of tension. Earn your horse’s trust (not only in you, but in your leadership) and be consistent and fair. Challenge your horse and work on some wet saddle blankets! Use exercises that encourage relaxation and suppleness (Jane Savoie has some fabulous exercises that address such) so your horse does not 'lock up'.

3 - Teach your horse to release to pressure by asking him, first on the ground, to release to various points of pressure you apply on his body. Ask in increasing phases (hair, skin, muscle, bone) and release the instant your horse responds. Have long phases to start, and shorten the phases as your horse understands your request and thus as you ask more of him. Keep yourself light and always allow him the chance to be light!

For the horse who is leaning on your hands – quit giving him something to lean on! It’s as simple as that! A leaning horse is the result of a vicious circle - horse pulls, so your hands brace and harden, horse leans further, your hands toughen up even further...and so it continues. It's a two-way street. If you take away the contact, your horse no longer has anything to lean on. The first thing we did for my mom’s OTTB when we first got him off the track, was to remove all bit contact under-saddle and ride him on a looped rein. It was a little hilarious, because he felt like a fish out of water, floundering about as he tried to figure out what he was now supposed to do. No one was directing his every (leaning) step!! He had to take responsibility for himself, think for himself, and be light – there was no longer anything to lean on! He was a little confused at first, but quickly figured it out. Once he had a solid foundation, we then took it back up to the next level – contact. This is not to be confused with asking the horse to pick up the bit, which comes as a result of progression along the dressage training scale; picking up contact on the horse who is ready for it consists solely of picking up the slack in the reins to the point where you can subtly feel his mouth at the end of your reins - that's it. At that point you start developing the horse to where he eventually picks up the bit of his own accord, as a result of the exercises and patterns you're asking him to perform (using bend and inside leg to outside rein). For the less enthusiastic or established leaner, you can do two things when he goes to lean: close your legs and close your hands. Your legs should gently but abruptly bump him, effectively driving his hind under him a little more and causing him to pick up his front end. Simultaneously, close your hands abruptly as he reaches down to lean, allowing him to "hit the end of the rein". Lateral work and poles on the ground - exercises that require increased engagement, will also prevent your horse from leaning.

Please make sure to not confuse a horse reaching down and stretching over his back with a horse who is leaning - a horse who is leaning is putting a lot of weight in your hands, you will feel your arms and shoulders being dragged downward. The horse who is stretching over his back should be doing so while remaining engaged (at least mostly) and should be light in your hand. If you're not sure what your horse is doing or why, consult a professional.



Many times I feel horses are thrown into contact work without sufficient basics. A horse should be light on a loose rein first, should be responsible for himself (ie, maintain gait, self-carriage to a limited extent, and balance), and should know how to think for himself, first. He should be very responsive to weight shifts, to leg aids, and should be soft, supple, and relaxed. There should be no resistance on a loose rein and there should also be no dependance on that rein for control; it should be an intimate means of communication! Only then should the slack be taken up in the reins and the horse progressed up the training scale. At that point, the rider is solely taking up slack in the reins - not pulling on the horse's mouth or trying to initiate contact by the horse or what.

Another tip for the leaner is: impulsion. Transitions as well as changes in pace within a gait (such as a trot) work to get the horse working more off its hind end. A horse on his hind end is, obviously, not on the forehand and in a position to lean. A little squeeze when your horse goes down to lean forces him to step under himself better for a moment or two, which causes the poll to come up. In dressage, you work to the point where eventually the poll is the highest point in the collected horse - obviously he is not leaning on your hands by that point! You don't have to be a dressage rider to achieve the same lightness and level of collection, but you can do the same or similar exercises. Really effective can be to squeeze and bump gently with your hands simultaneously, as previously mentioned. Don't nag at your horse, but only correct him when he actually makes a mistake. On the note of exercises, I have found the book: Progressive School Exercises for Dressage and Jumping, by Islay Auty, to be extremely beneficial - I use it on a constant basis, whether working my western horses or my dressage and jumping prospects. A specific exercise you can do is to set up 4 pairs of cones, one pair at each "corner" of a 20m circle (creating a "+" or "x"). Space each pair of cones 3-4 feet apart, along the circumference of the 20m circle, with the goal of riding between each pair. Start by riding the circle at a walk, then progress to a trot, then finally a canter - don't progress to the next gait until the former is well-established. Ensure your horse is bent, supple, relaxed, and balanced going around the circle. As you ride between the pair of cones, slow the horse (if you're working on contact, don't pull back, just close your hands and relax your seat). As you leave the pair of cones, open your hands and allow the horse to move out again (you should just have to open your hands, if not, give a light squeeze - if impulsion is a problem, play some Point-2-Point or other such simple exercise). The goal is to teach the horse to sit back on his hindquarters and work off his hind end - by slowing he sits back in the first place, by asking for impulsion afterwards he works off that hind end. With the western horse, your hand and seat cues are essentially the same, even if you are working off a loose rein (if your horse has trouble "hearing" you, use heavier reins or shorten up the rein length).

Keep in mind also that the horse who is leaning is likely doing so due to lack of strength and balance. He is using his rider as a 'fifth leg' so as to balance, as opposed to using his hind end. The ultimate object is to work the horse in such a way where he has to increasingly engage (ie, lateral work, poles, hills) so he develops strength and the habit of carrying himself in a more uphill manner. Horses with a downhill build (ie, top of butt higher than top of wither) or with a low-set neck (ie, below the point of shoulder) will have a stronger tendency to lean and will have more difficulty rocking back onto their haunches - be patient! Such a horse will have limits to his ability to move in a more uphill manner. Horses, just as people, can also be lazy, which means they are not driving from behind and engaging as they should be. Same principles as previously mentioned all apply.

Last but not least, our horses are a reflection of us, so a tense body or hard hands = a hard mouth and/or a heavy horse. Keep your body and hands soft!! There is many a time I have had to consciously remind myself to lighten up my hands or legs – instantly the horse I am riding would lighten up as well. Tension in your own body can also reflect as tension in the horse too. Often, too, we just have to give our horses the chance to be light with leg aids - they sometimes surprise us! Always be as light as possible but as effective as necessary - make your corrections to be effective but always return to being light. On a related note, be sure to maintain correct position, as a leaning rider will also create a leaning horse who is on his forehand.

Don’t think your horse can be light and responsive in his mouth, or that he is physically capable of being light in his body? Think again - he can feel a fly landing on a single hair. It's about the horse's mind and responsiveness to your aids, not about whether or not he can feel you. He feels you - your job is to teach him he can be light.

The lazy horse

"He's really lazy!" Or stubborn. Or dull. Take your pick, we hear it all the time in regards to horses. Don't get me wrong, there are horses out there, just as people, who just don't naturally have the greatest work ethics or who naturally are not as responsive as we would like. But partnerships with said horses don't have to be frustrating and fraught with conflict.

It is not about the horse. You, as the rider, have the choice of creating either a soft and light horse who is responsive to your aids, or a dull horse who ignores you. What people a lot of times do not realize is that a horse being lazy has more to do with them than the horse. The horse might be more inclined to be lazy or stubborn, but if you are working in partnership with said horse, they're working in partnership with you...which means they're working in harmony with you rather than resisting you.

Lack of impulsion is a lack of respect. The respectful horse says "yes sir, how fast, how far?" rather than "do I have to?". This is not the horse's fault though, because respect cannot be expected until it is earned - by you, the rider. Build a higher level of respect between you and your horse, as well as a higher level of responsibility in your horse, and you get a higher level of impulsion. Build up your partnership and they'll do what you ask of them because they want to and not just because you said so.

So, how do you solve the problem? Under-saddle, here is what I do with all the horses I work with (...from the Parelli website - in blue, with my comments in boring old black italics...):

Most people are told to kick a horse to go, which is ridiculous when you think about it from a horse's point of view. Imagine if you were kicked in the ribs on the way to the dance floor... what would your attitude be towards that dance partner? Would you even want to go?

Kicking a horse to go is one of my pet peeves - it's got to be one of the rudest things you could do to a horse (in my opinion). Kick any of our own horses and you will either have a horse bolting because you just applied a lot of sudden pressure (unnecessarily), or a horse giving you a sharp little warning buck because he's ticked off you "spoke" to him so rudely. I remember John Lyons instructing the rider to spank in lieu of kicking and I could never agree more.

By using four distinct phases of polite assertiveness, the horse can quickly become a willing partner; happy to take our lead to the dance floor.

Phase 1 – Smile with all your cheeks! Take a long focus, stretch your hand out in front of you with the reins, and tighten your cheeks. If the horse has not moved forward from this suggestion, continue through the phases and be ready to release as soon as there's forward movement.

Phase 2 – Squeeze with your legs, starting at the top, then all the way down to your heels (turn your toes outward to make smooth contact). This is not a strong squeeze. If you are straining or getting cramps, it's too strong! Remember, a horse can feel a fly land on him.

Phase 3 – Smooch while holding the squeeze, do not let go with your legs.

Phase 4 – Spank. Start by spanking yourself lightly slap your shoulders from side to side with the end of a rope.

Allow the rope to grow longer and keep up the flapping rhythm until it starts touching your horse on the sides of his hindquarters, letting it get progressively stronger if he has not responded.The moment your horse responds, release your legs, quit spanking, and keep smiling. If he stops or slows, repeat the phases again. Always begin with Phase 1.

At first, release when the horse gives you the slightest try. It's the release that teaches, so it is absolutely crucial to release at the right time so as to teach the right thing and to reward the horse for the effort given. Expect a lot, accept little. Progressively ask for more. Also, when you're first starting, use long phases - as you progress with your horse, you can use shorter/quicker phases as you ask/expect more responsibility of your horse.

Some common mistakes:

- Probably the most common mistake is kicking out of habit, quickly losing whatever respect you just earned, so really keep a watch out for this.

- Another mistake is to keep squeezing and/or spanking after the horse has made the effort to go forward. This feels unfair and confuses the horse because they don't know what the right behavior is.

- Be sure to put slack in the reins. It's a common habit to put contact in the reins when the horse goes forward. This is sometimes enough to confuse a horse trying to do the right thing. This is where the Level 2 Harmony Program techniques can really help.

Begin each time at Phase 1 and be prepared to go to Phase 4. Finally, be sure there's enough 'life' in your body when you ride. Think about how fast you want your horse to go and bring up enough life in your body to stimulate that... then let the squeezing, smooching and spanking support it. Your horse will learn very quickly how to get in tune with you.

I also do a lot of patterns with the unmotivated horse, including one I learned in a Jonathan Field clinic - Point to Point. I start at one point in the arena - Point A - and halt. I turn the horse to another point in the arena - Point B - and go through my phases quickly to get a w/t/c (depending on where the horse is in its training) to Point B. Between Point A and Point B, I only correct - first with leg and seat, then with hand - as necessary, and I don't nag. If the horse is moving at a sluggish pace, I leave him alone unless he changes gait - I don't correct him as he is about to make a mistake, I only correct him once he actually makes the mistake. As soon as we get to Point B, I ask for a woah (relax my body, then use reins if necessary). The horse has to stop on the exact point I picked out - if not, I move her back to that point. The horse knows where that point is (you should have your eyes on it and your rectangle of aids - composed of your hands and legs - should have kept the horse in a straight line toward Point B), so expect them to stop on that exact point. If you don't care, the horse won't care - the lack of precision will reflect in all aspects. We rest a moment (depending on the horse, the really unmotivated horse gets to rest the longest - reverse psychology), I pick out a new Point B, and so we continue. Rest is a huge motivator, particularly to the unmotivated horse - I use it in everything I do; whenever the horse does something to my satisfaction, she earns a rest break. Essentially this game does a number of things:

- it teaches the horse responsibility and earns their respect (ie. do as I say when I say or I go through these particular phases, stop when I ask where I ask, etc)

- teaches snappy, light departs and responsive, light halts (I relax, horse stops) - great transition work (which is a result of respect). The horse soon starts offering more.

- motivates the horse to work for you!

Another thing to keep in mind is to do something the horse enjoys! Mix your patterns and games up in the arena, hack out, send your horse over ground poles and cavelleti, heck, even work on your patterns and exercises outside in a field. The best thing you could do: give your horse a job to do. Everything improves when you do, including respect level, because the horse wants to do what you ask. Pretty soon that carries over to areas they're maybe not so psyched about (like arena work) because you've set the precedence of them wanting to do what you ask and so they do as you suggest anyways, even if the activity is not all that enjoyable to them.

On the ground, you can earn a higher level of respect through playing games horses play out in pasture together. Personally, I use the Parelli 7 games as well as the patterns: I have the horse navigate patterns in increasing levels on the ground, have them move their front and and hind end around, have them circle responsibly (without my micro-managing) around me, etc. Get your horse moving her feet more than you move yours. Be fair but assertive (but never aggressive). And...be your horse's friend and act like a worthy partner they want to work for.