Last day! I had hoped to catch Jay Hayes with his Session 2 of Group 2 however with the long days and the hour-long drives in between, I just did not make it out early enough to watch his last clinic in the morning. Too bad, however I picked up so much from this event and I have to be satisfied with that! There is always room for more next time.
So, first on the agenda for our day was Jonathan Field with his clinic on Liberty, which he started off with his young 4yo QH, Tessa (his greenie), and finished with her, Hal, and Quincy - his other QH partners. He started off with a great point: Take all the ropes off and you find out the truth, you find out how much your horse likes you. I've repeated this point of his so many times, because I believe it to be so accurate. The ropes are what hold your horse to you, so remove all those and you see where your partnership is truly at in that moment. Jonathan mentioned that liberty allows expression, it allows your horse to truly express to you how he feels and it can also allow the horse to do what HE wants for a minute, which is important! We sometiems get so caught up doing what WE want, oftentimes without any consideration for the horse even. Some additional main points:
- your relationship with a horse should be say 51:49 draw to drive, the horse should be a little more drawn to you than is driven by you (he should want to be with you), yet there should be a balance: too much draw and the horse runs over you, not enough and the horse runs away.
- draw can be created through liberty work, directly drawing the horse in, or also through hanging out with the horse with no pressure to do anything
- the goal is to send the horse out without them leaving and to draw them in without them coming (ie. they remain on a circle rather than coming in to you or taking off)
- be very specific about what you ask your horse: something he once told us in a clinic I attended with one of my horses was If you don't care, then they don't care. If you don't care where they stop, then they won't either - they'll stop whenever, wherever, however. You have to be specific with your horse. If he moves off when ground-tied, put him back in the EXACT spot you'd originally left him in. If you don't, it won't matter to him then if he takes a step off that spot...pretty soon it's two steps, then four, then pretty quick he's not ground-tying any longer.
He went over ground-tying briefly and how it can be done (create a "sweet spot" and correct the horse if she moves, by putting her back in that exact spot - her responsibility is to stay in one spot until invited out), how to balance draw and drive at liberty in a round pen, and then how to do some liberty work in the full arena. He demonstrated some pretty amazing things, including cutting on the ground with Hal (Hal cutting Jonathan), "picking up" Quincy (ie. having him join Jonathan in partnership in a huge arena with other horses) and having him circle responsibly at liberty (same pace, same size circle, just waiting for Jonathan's next cue), and Tessa remaining on the exact spot Jonathan had left her for just about the entire demo after Hal and Quincy came in, despite the two horses galloping around her. Pretty inspiring!
Dressage with Mette was next on our list for the day! Today she brought in her Group 2, all her higher level students. Some of the points she made during her demo's with the students in the clinic:
- the polls should be the highest point and the horse should NOT be behind the vertical, though this is only achieved at the higher levels
- the collected horse is shorter, compressed
- a horse's neck will come up when he is out of balance, to better balance himself (which can then tell you more about what is going on during your work with said horse)
- a horse that is in the downhill position with its neck tucked in too low, work on transitions and in & outs (forward and half-halts)
- the higher level horses, those that are fully collected, will have a bend in their neck (topline) close to their poll. At the beginning stages of collection the bend is lower down the neck, likely about mid-way
- keep the pace even, all the way to the end (ie. extended trot or such)
Mette started off by having her students do a few exercises before having her CDI student run through an Intermediare 1 dressage test for the crowd, which included canter pirouette, extended trot, numerous flying changes, passage, etc. It was pretty neat to see the finished product (or close to, something to aim towards at least) and both rider and horse performed a fabulous test.
Lastly, we took in the Trainer's Challenge finals, a competition between three trainers to each train a colt. The Trainer's Quest I did last October up in St.Paul, Alberta, actually seems to be modelled almost identically to the Mane Event Trainer's Challenge! Each trainer is permitted 4 one-hour sessions in a round pen with their colt. By the finals, the colt and trainer were judged on:
- leading with respect
- w/t/c
- back-up
- picking up all four feet with ease
- tacking up quietly
-mounting and dismounting quietly
- dragging a pole on the ground by a lariat for 25'
- cross a wooden bridge
- swing a rope from the saddle
- weave through a set of cones at the trot
- walk over a set of ground poles
- freestyle (trainer's choice)
Patrick Hooks from Oklahoma was first up. We had only had the chance to catch one of his roundpen sessions (his third), during which we noticed that he had neither his colt's respect nor his trust (none at all in either area) and that he seemed unable to communicate with his colt. His colt, Sunny, a red dun QH, was constantly trying to nip at him (and I hear had successfully done so during an earlier session) and was very obviously ticked off and unhappy with Hooks. Hooks was also unable to have Sunny move out at all under-saddle. He was very inconsistent with his aids and had no idea of timing and release. This all followed him to the finals in the arena. However, you have to give the man credit for trying and I applaud him for continuously pointing out to the audience that it was not the horse's fault whatsoever for the lack of success. I definitely disagreed with a few of his methods though (he spoke of throwing the horse had he been at home, which I strongly disagreed with), but overall he was okay and he certainly seemed a decent man. For freestyle points, Hooks led his colt up into a trailer and also played a song for him on the guitar (lol).
Next in the arena was Doug Mills. Part of me really wanted to like Mills for his constant stream of jokes and seemingly good nature, but the other - larger - part of me had a tough time swallowing his huge ego. This man was definitely parading and was certainly lacking in humbleness. His horse definitely did well, but I felt the colt was right around where it should have been...nothing special. His ego definitely made me shy from him a bit, because it seems those are the type of individuals who often do not mix well with horses at times. For his freestyle he did trailer-loading as well and then did some bridleless work. I have to admit I resent the bridleless work because I felt that he was trying to flaunt his ego once again, yet he had no control over that colt whatsoever. It remained at the gate end of the arena for the most part (when it wasn't, the colt was headed there), and picked up a lot of speed just zipping around small circles at that end. It seemed like a stunt to gain attention and to impress, but to me it wasn't really all that impressive at all - anyone brazen enough could have done what he did. It certainly demonstrated the colt was comfortable under-saddle (which is great), however the colt was still under no control whatsoever (which others likely may not have noticed had they no clue about bridleless riding or even horses). I felt like it was sort of a cheap trick to leave a false impression in spectators' minds. Perhaps I am incorrect?
Lastly, we watched Mel Hyland on his colt. I really liked this man. There was the odd thing I disagreed with or where I felt he could have done something better, however for the most part he was great - a great man and a great horseman. He came at it from the right angle - from the horse's angle, and was very logical about it; I just really liked what he had to say and what he did in general. His horse seemed to have a great degree of trust and respect for him, despite its apparent difficulty (a little pushy at times). His colt actually seemed similar in personality to the one I worked with at the Trainer's Quest in St.Paul and his colt was about at the same level as mine had been. The colt spooked twice when Hyland went to drag the pole 25' however the horse soon settled down and Hyland got 'er done! Overall I felt he had the best approach and the best colt. His freestyle was trailer-loading and to ride his colt bareback in a halter (which both he and colt performed flawlessly).
Showing posts with label Red Deer Mane Event. Show all posts
Showing posts with label Red Deer Mane Event. Show all posts
Tuesday, April 28, 2009
Sunday, April 26, 2009
Red Deer Mane Event Part 2
Jay Hayes was the first clinic we attended, though we were only fortunate enough to catch the tail end of it. It was Session 2 of Group 1 though, so I am hoping that tomorrow picking up Session 2 of Group 2 I can pick up material similar to that of what we missed today (his Session 1 of Group 1 was very similar to Session 1 of Group 2). The primary points I picked up on today though were:
- don't let the horse leave long - if he does don't be afraid to be left behind (let the horse make the mistake and fix it)
- go deep - horses land on their weak side this way, therefore going deep and landing on their weaker canter lead strengthens their weak side...going long allows them to land on their good side
- GIVE to your horse (reins) during the downward transition
- train the horse to backup, to sit back on his haunches as he approaches the jump
Next we took in our favourite clinician, Jonathan Field - Beginning to Specialization. A few points:
- the most impressionable times in a horse's life are: within the first 24hrs of life (imprinting), within the first 2 weeks of life, pre-ride (all the groundwork you do), and under-saddle (the first ride)
- build a strong foundation then move into specialization
- horses feel the slightest shift in weight, so he re-inforced that you always look (they feel the weight of your head turning), then use seat (ie. push with your seat), then leg, then rein
- sitting up in the saddle at the halt should get the horse's attention but it shouldn't automatically walk forward
- doing serpentines through a line of cones (ie. weave pattern), you can either use a direct rein (lead the front), or use an indirect rein and push the hind over (lead by the hind)
- direct rein leads to straightness, impulsion, and engagement, while the indirect rein leads to bend and disengagement
- a narrower stance, all the way to the hinds crossing over (extreme narrow stance) = less power, disengagement
- wider stance = more power, engagement of the hindquarter
- if the horse picks up speed then starts to leave the path, disengage (full or partial); get a soft feel with your hands and wait for the horse to relax and be with you (soft head, staying between your legs on the path), then leave the horse alone
- at the foundation level, turn and face the jump (sweet spot) so the horse learns to relax rather than build impulsion (prevents anticipation) or even go up to the jump and back
- wait for relaxation
- make your horse elastic: bring the life up ie. take off at the gallop from the halt, for example, (once both you and your horse are sufficiently prepared) and then get back down to relaxation quickly
- horses that crossfire, pick pu the wrong lead often, or are stuck toward one side (ie. bent in one particular direction consistently) can indicate chiropractic issues or one-sidedness
We learned so incredibly much - every time we watch Jonathan our minds practically burst with new knowledge (lol)...can't wait to apply it at home!
We attended a saddle fitting demo and I've been convinced into buying a few DK saddles...wow they seem like amazing saddles! They're supported by Mette Rosencrantz too and several of the high level dressage riders today were in them (that's what really clinched it for me today haha). They're built completely different from your average saddle and use air rather than padding...everything I've learned about these saddles just make so much sense to me after all I have heard and all the research I have done thus far (and will continue to do). $5000 a pop however they seem worth it; so my goal is to eventually have a dressage, jumping, and western saddle.
Oh yea, did I mention that throughout all this I have also been convinced to get into dressage and jumping individually, rather than eventing?? Hehe. We'll see, but those are my thoughts as of late, I think that might be where I am better suited ;P
Next we checked out Mette Rosencrantz with Group 2 today - Level 2 to CDI level. A few of her points during the session (which was so amazing and inspiring, btw!):
- more strength behind results in the poll being the highest point as the horse sits back on its hind end; therefore horses at the lower levels will carry their head behind the vertical...and that's okay! It's not until the horse works up to the higher levels and builds up that strength in his hind that he sits uphill and has his poll the highest point.
- collection cannot come from the hand, it must come from the hind (otherwise the horse becomes heavy on the front)! Your hands must be soft and unmoving. The collection must come from forward thinking from the horse. LOTS of transitions without allowing the horse to get flat at the walk from the trot.
- when the hind is lower and driving, the front becomes lighter
- use the leg yield to supple a horse, they should flex but not bend
- rock the horse back by pushing forward with your legs - NOT by holding back with the reins, then half-halt back (a gentle and QUICK squeeze of the hand, NO pulling back with the hands). The half-halt and the pushing forward with your legs are done at SEPERATE times, NOT simultaneously. The half-halt takes that forward momentum and causes the horse to go up, so that the energy is on the hind...this teaches the horse to eventually sit back on his hind consistently and to build up strength to do so.
- the extended trot is done by allowing the horse to go out in the front - elasticity. The steps are the same pace but are longer and more forward.
- the passage is shorter and higher, "damming up the river" but NOT pulling back....the horse is on the hind
- the piaffe is the extreme of the passage, a "standing passage"
Mette gave her students a couple of exercises to do that included leg yields, half-pass, shoulder-in, and haunches-in. She also had her higher-level students (including one who competes against her) perform for us an extended trot, a passage, and a canter-pirouette - they were amazing to watch!!
Jonathan Field next had on a lecture about bits and bitting. He started off by pointing out that bits do NOT train the horse. Horsemanship trains the horse. Next, he listed two basic types of bits: those that help the horse stay straight and those that help the horse stay bent, for lateral work and disengagement. With that in mind, he has a 5 step program of "bits" he uses:
1. rope halter - groundwork. Solve the problem on the outside before going to the inside, therefore you do not dull the inside
2. rope hackamore - stiff (for straightness) or flexible/soft bosal (for disengagement)
3. 1/4" lift (port) - some tongue (the most invasive part of a horse, the tongue) relief yet the pressure is still distributed rather than focused on the bars and lips
4. 3/4" port
5. 1" port
The first bit is double-jointed with a barrel roll in the center to prevent the total collapse of the bit (and therefore nutcracker action) - the bit itself has a lot of movement side-to-side...which results in a lot of "fuzz", a lot of background noise, when communicating with the horse. This is absolutely fine when building a foundation, but as you build up and start to specialize, you want to start fading out that fuzz...which the bits do. Each bit, as the port rose, became more solid. The ultimate "specialization" bit would be the spade bit, where communication between horse and rider is uber intimate.
The ports offer increasing tongue relief and as the port increases so does the training level (so distribution of pressure becomes less of an issue as less pressure is used anyways). This way the horse can still swallow easily. The low port though prevents pallet pressure - pallet pressure does not begin until a port is 2 1/2" or so high, the port of a bit will not interact with a horse's pallet until this point.
Mette Rosencrantz once more (our final clinician of the day)!! I absolutely love this woman, her style is logical and she looks at things from the horse's perspective and really focuses on the rider being soft and supple. This group was Group 1 from yesterday and was at Training Level. Her points for this group, among the exercises she had them do:
- loosen the arm - do not use your arms to balance
- NEVER pull back with your hands - softly open and close your hands and use your bottom three fingers for communication, but do not pull back.
- knee under your hip, toes pointed slightly outward (just like how you would stand), longer leg and stirrups (but it is better to be 1/2 a hole too short than 2 holes too long!)
- use your legs before your reins
- bend at each corner!
- your hands should always be above the level of the bit
Next was Group 2 from yesterday, riding at Level 1. The primary points in this group:
- the horse can never get off your hands if you never get off his face. So get off his face! What I always say: if your horse is leaning on your hands, quit giving him something to lean on!!
- at this level the horses should have a rounder frame than Training Level
- on the circle, the inside hand "sweeps the dust" into the outside hand (which holds the "dustpan"), swoosh and catch, softly, to achieve that bend and to support the horse throughout the bend - the outside rein supports
- canter to trot transitions - contract contract contract the horse THEN trot
- if the horse leans into the circle, do NOT hold the horse up with the outside rein, push him with your inside leg
- on the longe (with a rider or with a young horse with no rider): you can attach a side rein to the outside and have the longe line run through the inside rein and clip onto the ring at the pommel; this causes the horse to be concave a little on the circle but the side rein prevents him from falling in
- your hands should be 50/50 - soften/give and take/harden per hand, you can't take take take in one hand nor can you give give give in the other - they must work together in reflection
- do not move your arms, only move your hand and wrist
- length of the dressage stirrup - there should be some bend in the knee but you should also be able to use your foot without losing your stirrups
- use your calves rather than thighs (wear down your boots in lieu of the insides of your pants)
I have learned so much - I leave each day my head spinning from new information and so mentally exhausted from all the thinking and input! I am learning a lot from everyone we watch - I just wish we could see them all! I wish very much I could watch Al Dunning however I just have not yet had the chance to! I am hoping that tomorrow I can catch a bit of him during his Q&A. I am so ecstatic to take all this home and start applying it - I have some fantastic basics to work on at home in both the natural horsemanship, western, dressage, and jumping areas!
- don't let the horse leave long - if he does don't be afraid to be left behind (let the horse make the mistake and fix it)
- go deep - horses land on their weak side this way, therefore going deep and landing on their weaker canter lead strengthens their weak side...going long allows them to land on their good side
- GIVE to your horse (reins) during the downward transition
- train the horse to backup, to sit back on his haunches as he approaches the jump
Next we took in our favourite clinician, Jonathan Field - Beginning to Specialization. A few points:
- the most impressionable times in a horse's life are: within the first 24hrs of life (imprinting), within the first 2 weeks of life, pre-ride (all the groundwork you do), and under-saddle (the first ride)
- build a strong foundation then move into specialization
- horses feel the slightest shift in weight, so he re-inforced that you always look (they feel the weight of your head turning), then use seat (ie. push with your seat), then leg, then rein
- sitting up in the saddle at the halt should get the horse's attention but it shouldn't automatically walk forward
- doing serpentines through a line of cones (ie. weave pattern), you can either use a direct rein (lead the front), or use an indirect rein and push the hind over (lead by the hind)
- direct rein leads to straightness, impulsion, and engagement, while the indirect rein leads to bend and disengagement
- a narrower stance, all the way to the hinds crossing over (extreme narrow stance) = less power, disengagement
- wider stance = more power, engagement of the hindquarter
- if the horse picks up speed then starts to leave the path, disengage (full or partial); get a soft feel with your hands and wait for the horse to relax and be with you (soft head, staying between your legs on the path), then leave the horse alone
- at the foundation level, turn and face the jump (sweet spot) so the horse learns to relax rather than build impulsion (prevents anticipation) or even go up to the jump and back
- wait for relaxation
- make your horse elastic: bring the life up ie. take off at the gallop from the halt, for example, (once both you and your horse are sufficiently prepared) and then get back down to relaxation quickly
- horses that crossfire, pick pu the wrong lead often, or are stuck toward one side (ie. bent in one particular direction consistently) can indicate chiropractic issues or one-sidedness
We learned so incredibly much - every time we watch Jonathan our minds practically burst with new knowledge (lol)...can't wait to apply it at home!
We attended a saddle fitting demo and I've been convinced into buying a few DK saddles...wow they seem like amazing saddles! They're supported by Mette Rosencrantz too and several of the high level dressage riders today were in them (that's what really clinched it for me today haha). They're built completely different from your average saddle and use air rather than padding...everything I've learned about these saddles just make so much sense to me after all I have heard and all the research I have done thus far (and will continue to do). $5000 a pop however they seem worth it; so my goal is to eventually have a dressage, jumping, and western saddle.
Oh yea, did I mention that throughout all this I have also been convinced to get into dressage and jumping individually, rather than eventing?? Hehe. We'll see, but those are my thoughts as of late, I think that might be where I am better suited ;P
Next we checked out Mette Rosencrantz with Group 2 today - Level 2 to CDI level. A few of her points during the session (which was so amazing and inspiring, btw!):
- more strength behind results in the poll being the highest point as the horse sits back on its hind end; therefore horses at the lower levels will carry their head behind the vertical...and that's okay! It's not until the horse works up to the higher levels and builds up that strength in his hind that he sits uphill and has his poll the highest point.
- collection cannot come from the hand, it must come from the hind (otherwise the horse becomes heavy on the front)! Your hands must be soft and unmoving. The collection must come from forward thinking from the horse. LOTS of transitions without allowing the horse to get flat at the walk from the trot.
- when the hind is lower and driving, the front becomes lighter
- use the leg yield to supple a horse, they should flex but not bend
- rock the horse back by pushing forward with your legs - NOT by holding back with the reins, then half-halt back (a gentle and QUICK squeeze of the hand, NO pulling back with the hands). The half-halt and the pushing forward with your legs are done at SEPERATE times, NOT simultaneously. The half-halt takes that forward momentum and causes the horse to go up, so that the energy is on the hind...this teaches the horse to eventually sit back on his hind consistently and to build up strength to do so.
- the extended trot is done by allowing the horse to go out in the front - elasticity. The steps are the same pace but are longer and more forward.
- the passage is shorter and higher, "damming up the river" but NOT pulling back....the horse is on the hind
- the piaffe is the extreme of the passage, a "standing passage"
Mette gave her students a couple of exercises to do that included leg yields, half-pass, shoulder-in, and haunches-in. She also had her higher-level students (including one who competes against her) perform for us an extended trot, a passage, and a canter-pirouette - they were amazing to watch!!
Jonathan Field next had on a lecture about bits and bitting. He started off by pointing out that bits do NOT train the horse. Horsemanship trains the horse. Next, he listed two basic types of bits: those that help the horse stay straight and those that help the horse stay bent, for lateral work and disengagement. With that in mind, he has a 5 step program of "bits" he uses:
1. rope halter - groundwork. Solve the problem on the outside before going to the inside, therefore you do not dull the inside
2. rope hackamore - stiff (for straightness) or flexible/soft bosal (for disengagement)
3. 1/4" lift (port) - some tongue (the most invasive part of a horse, the tongue) relief yet the pressure is still distributed rather than focused on the bars and lips
4. 3/4" port
5. 1" port
The first bit is double-jointed with a barrel roll in the center to prevent the total collapse of the bit (and therefore nutcracker action) - the bit itself has a lot of movement side-to-side...which results in a lot of "fuzz", a lot of background noise, when communicating with the horse. This is absolutely fine when building a foundation, but as you build up and start to specialize, you want to start fading out that fuzz...which the bits do. Each bit, as the port rose, became more solid. The ultimate "specialization" bit would be the spade bit, where communication between horse and rider is uber intimate.
The ports offer increasing tongue relief and as the port increases so does the training level (so distribution of pressure becomes less of an issue as less pressure is used anyways). This way the horse can still swallow easily. The low port though prevents pallet pressure - pallet pressure does not begin until a port is 2 1/2" or so high, the port of a bit will not interact with a horse's pallet until this point.
Mette Rosencrantz once more (our final clinician of the day)!! I absolutely love this woman, her style is logical and she looks at things from the horse's perspective and really focuses on the rider being soft and supple. This group was Group 1 from yesterday and was at Training Level. Her points for this group, among the exercises she had them do:
- loosen the arm - do not use your arms to balance
- NEVER pull back with your hands - softly open and close your hands and use your bottom three fingers for communication, but do not pull back.
- knee under your hip, toes pointed slightly outward (just like how you would stand), longer leg and stirrups (but it is better to be 1/2 a hole too short than 2 holes too long!)
- use your legs before your reins
- bend at each corner!
- your hands should always be above the level of the bit
Next was Group 2 from yesterday, riding at Level 1. The primary points in this group:
- the horse can never get off your hands if you never get off his face. So get off his face! What I always say: if your horse is leaning on your hands, quit giving him something to lean on!!
- at this level the horses should have a rounder frame than Training Level
- on the circle, the inside hand "sweeps the dust" into the outside hand (which holds the "dustpan"), swoosh and catch, softly, to achieve that bend and to support the horse throughout the bend - the outside rein supports
- canter to trot transitions - contract contract contract the horse THEN trot
- if the horse leans into the circle, do NOT hold the horse up with the outside rein, push him with your inside leg
- on the longe (with a rider or with a young horse with no rider): you can attach a side rein to the outside and have the longe line run through the inside rein and clip onto the ring at the pommel; this causes the horse to be concave a little on the circle but the side rein prevents him from falling in
- your hands should be 50/50 - soften/give and take/harden per hand, you can't take take take in one hand nor can you give give give in the other - they must work together in reflection
- do not move your arms, only move your hand and wrist
- length of the dressage stirrup - there should be some bend in the knee but you should also be able to use your foot without losing your stirrups
- use your calves rather than thighs (wear down your boots in lieu of the insides of your pants)
I have learned so much - I leave each day my head spinning from new information and so mentally exhausted from all the thinking and input! I am learning a lot from everyone we watch - I just wish we could see them all! I wish very much I could watch Al Dunning however I just have not yet had the chance to! I am hoping that tomorrow I can catch a bit of him during his Q&A. I am so ecstatic to take all this home and start applying it - I have some fantastic basics to work on at home in both the natural horsemanship, western, dressage, and jumping areas!
Friday, April 24, 2009
Red Deer Mane Event Part 1
So Matt and I attended the Red Deer Mane Event and plan to do so again Saturday and Sunday. Here's what we experienced today, Friday April 24!
Stopped in at DK Saddlery, Danny Kroetch, to check out some amazing saddles! His western saddles look fabulous and are adjustable to various horses, though he custom fits it primarily to your main horse. The english saddles are custom fit and can be adjusted per horse, but not per ride (ie. I can't adjust it myself, I have to take it in to him). They're made completely different from most I've seen - wider gullets but with good wither clearance and air panels! Anyways, they look absolutely fabulous and run at $5000 apiece; I might just have to work out a near-ish future (a future that includes loans and debt haha) deal with him for a jumping saddle and a western pleasure too ;P
Next we hit up Jonathan Field's clinic on Leading Up to Flying Lead Changes. He was absolutely stunning - this guy is brilliant! Sidenote: I attended a Level 1 and then a Level 2 Parelli clinic with him, taking my young Warmblood cross Koolaid, a few years past and learned so much.
He focused primarily on 1) Path 2) Speed and 3) Bow bend to achieve the flying change. You have to have each component to achieve a successful flying lead change, in that specific order. He set up a pattern and explained that you had to ensure that your horse did the pattern -went through specific cones, etc. If you allowed him to take over the pattern - if you did not show enough leadership to take him through the pattern correctly, then your horse is going to take leadership in other areas as well, which will manifest itself as herdboundness, flight, etc. So if a horse missed a cone, he'd tell the rider to go back and get that cone. If a horse turned to the left rather than the right, the rider was going to make a full circle to the right immediately after halting the horse from going any further to the left. Path. Speed indicates tension and so if a horse is tearing around with his head in the air, it's going to be difficult to achieve a lead change - he has to be soft and supple, which equals a slow and rythmic canter. Speed also affects path and also bow bend. The bow bend (a full body arc) is necessary to allow the horse to pick up the correct lead.
He had a few exercises leading up to the actual change which allowed the rider and horse to sufficiently prepare for a correct flying lead change. It was fabulous - when the horses first entered the arena it was clear many were tense, uptight, and not at the level to achieve a flying lead change - yet Jonathan had every single horse performing flying lead changes by the end of his hour 15min clinic (as well as improving some general horsemanship with some riders). I had not thought it possible, yet all the exercises he used just enabled it to happen so easily!!
He also spoke some on how when a horse spooks and goes to bolt, he bow bends away from the object in question, so the key is to be able to bow bend the horse towards the object he's fearful of so as to maintain control. Otherwise the horse bow bends away, digs his heels in, and has complete power to take off. Another good point that Jonathan made was that whatever you have at home is amplified at the show. Whatever you have at the walk is amplified at the trot. So many times you hear people say - "well my horse is good at home!" or "his walk is fine!" yet some small piece of foundation was missing, something they'd inadvertedly missed, and it was amplified when the stress level and general level or work increased. The other key point Jonathan made was to start and finish with relaxation. My goal is always to have my horses more relaxed when we finish than when we begin, which we do 99.9 percent of the time. However Jonathan was going further with that, working a specific pattern until relaxation is achieved. For example, if a horse was tense during the canter after a flying change, Jonathan would have the rider circle at the canter (or even the trot) until it was relaxed, then it was permitted to relax (halting for a rest at a set of barrels). The reason for this is that what happens last starts to happen first, so if a horse ends tense, soon he starts to start out tense too. This way the action itself (in the above example, the canter then the flying lead change) brings about relaxation. The way Jonathan just pieced together the flying lead change made so much sense and worked so well - I can't wait to use it on my own horses!
Next clinician we saw was Jay Hayes, Jumping (Group Session). He started off with speaking on rider position - full seat (including a flat back, not rounded not arched - as I was taught), two-point, and three-point positions. A few points he made were:
- impulsion before collection
- 90 percent weight should be in the rider's heel = a low center of gravity for jumping
- DO NOT SEE-SAW ON YOUR HORSE'S MOUTH!!! I see so many riders doing this and even one of the girls at the clinic was see-sawing away before Jay corrected her.
- close the hip angle at the trot (go from two-point to three-point and back and forth)
- 4 and 4 - everything is done in four's. 4 seconds of collection, for for relaxation. 4 strides before the jump you are putting the horse on the hind with a half-halt.
- the horse needs the most care before the jump, not after: after a jump allow the horse to gallop out, collecting them only 4 strides before the jump (which is also where you change jumping position)
- your first jump is your most conservative jump of the day
- a mistake made going deep to a jump can be a good mistake, a mistake made going long to a jump is a bad mistake
- shorten stride before the jump results in bigger scope
- the quality of the gallop is directly related to the quality of jump
- let the horse jump up to you - close your hip angle then you can open a bit at the jump to feel the belly lift up to you
His primary 7 points were:
1. Forward - obtain impulsion, allow the horse to gallop between jumps
2. Jump line - stay on your jump line and be watching it from a ways back
3. Stride control - have control of your horse's stride so you can shorten the strides 4 strides out from the jump, setting the horse on its hind for bigger scope (because the horse is on his hind and can power up vertically over the jump)
4. Exercise/train/compete - you need all three
5. Seat - your seat should match the jump (size and proximity)
6. Hip angles - related to seat, closed or open depending on the jump size
7. Release - there should be no release, the horse then comes against your hands and powers up vertically; he mentions this is why your horse should be in a soft bit, nothing more than a simple snaffle...this is where my opinion differs from his - I strongly feel that your hand should follow the horse during a release. But we'll see, perhaps my opinion will follow his if I see it's still in the horse's best interests.
He led his students through a variety of exercises too that really helped put together a correct jump.
Lastly we got a chance to watch Mette Rosencrantz's Dressage clinic. She started out with two Training Level riders. She set up pairs of cones for a 20m circle and had them work up to half-halts at the trot and bending on the 20m at the walk and trot. Here's how Mette described the advanced half-halt:
It's composed of a very briefly closed, then opened, hand (say one second in length). It's supposed to allow the hind end to continue its forward momentum and energy as the front end slows, as opposed to halting the hind completely (she paralleled it to tossing a stick into a rear bike wheel as opposed to allowing it to continue to spin). Therefore the half-halt is actually quick little steps as the horse's hind momentum continues and the horse coils its body, before the stride is lengthened again. The overall speed of the trot is slowed yet the speed of the horse's steps are basically maintained. It's the beginning of the piaffe - eventually slowing the half-halt until you get that trot-on-spot. The half-halt is essentially pressuring the desire of the horse to move forward, "damming up the river".
Something I did not know that was also mentioned was that the FEI Prix St.George upwards is where the double bridle is mandatory; below that level it's voluntary but the judges will take a harder stance when judging you.
Next Mette took in three riders working on their Level 1 dressage. She was looking for the horses to bend enough for the rider to see the horse's inside eye and nostril in the bend as she asked them to trot the 20m circle with periodic walks and then half-halts. Lastly, she had them work on walking then trotting the 10m circle with bend. Mette also pointed out how the rider who is forward in her seat with her horse's nose to its chest (avoiding the rider) has no speed control. I felt this ties in (indirectly) to the three points Jonathan listed: Path, Speed, Bow Bend.
Actually a lot tied in together between all three clinics! I loved all three clinics and learned so incredibly much, but the Jonathan Field clinic was so amazing, as everything he said crossed over to so many other areas. The dressage and jumping clinics were fabulous as well, it was great to pick up new patterns and ideas to work on to get me started on and it was great to learn that a lot of what I tend to do naturally is correct - I'm on the right track! Still so incredibly much to learn though, it's never ending!! Can't wait to get back into lessons, some dressage this year then maybe some jumping next spring. I was originally thinking eventing with Link, but had always had jumping (ie. Spruce Meadows) at the back of my mind...now I'm leaning more that way than the eventing. We'll see!! Much more tomorrow to enjoy!
Stopped in at DK Saddlery, Danny Kroetch, to check out some amazing saddles! His western saddles look fabulous and are adjustable to various horses, though he custom fits it primarily to your main horse. The english saddles are custom fit and can be adjusted per horse, but not per ride (ie. I can't adjust it myself, I have to take it in to him). They're made completely different from most I've seen - wider gullets but with good wither clearance and air panels! Anyways, they look absolutely fabulous and run at $5000 apiece; I might just have to work out a near-ish future (a future that includes loans and debt haha) deal with him for a jumping saddle and a western pleasure too ;P
Next we hit up Jonathan Field's clinic on Leading Up to Flying Lead Changes. He was absolutely stunning - this guy is brilliant! Sidenote: I attended a Level 1 and then a Level 2 Parelli clinic with him, taking my young Warmblood cross Koolaid, a few years past and learned so much.
He focused primarily on 1) Path 2) Speed and 3) Bow bend to achieve the flying change. You have to have each component to achieve a successful flying lead change, in that specific order. He set up a pattern and explained that you had to ensure that your horse did the pattern -went through specific cones, etc. If you allowed him to take over the pattern - if you did not show enough leadership to take him through the pattern correctly, then your horse is going to take leadership in other areas as well, which will manifest itself as herdboundness, flight, etc. So if a horse missed a cone, he'd tell the rider to go back and get that cone. If a horse turned to the left rather than the right, the rider was going to make a full circle to the right immediately after halting the horse from going any further to the left. Path. Speed indicates tension and so if a horse is tearing around with his head in the air, it's going to be difficult to achieve a lead change - he has to be soft and supple, which equals a slow and rythmic canter. Speed also affects path and also bow bend. The bow bend (a full body arc) is necessary to allow the horse to pick up the correct lead.
He had a few exercises leading up to the actual change which allowed the rider and horse to sufficiently prepare for a correct flying lead change. It was fabulous - when the horses first entered the arena it was clear many were tense, uptight, and not at the level to achieve a flying lead change - yet Jonathan had every single horse performing flying lead changes by the end of his hour 15min clinic (as well as improving some general horsemanship with some riders). I had not thought it possible, yet all the exercises he used just enabled it to happen so easily!!
He also spoke some on how when a horse spooks and goes to bolt, he bow bends away from the object in question, so the key is to be able to bow bend the horse towards the object he's fearful of so as to maintain control. Otherwise the horse bow bends away, digs his heels in, and has complete power to take off. Another good point that Jonathan made was that whatever you have at home is amplified at the show. Whatever you have at the walk is amplified at the trot. So many times you hear people say - "well my horse is good at home!" or "his walk is fine!" yet some small piece of foundation was missing, something they'd inadvertedly missed, and it was amplified when the stress level and general level or work increased. The other key point Jonathan made was to start and finish with relaxation. My goal is always to have my horses more relaxed when we finish than when we begin, which we do 99.9 percent of the time. However Jonathan was going further with that, working a specific pattern until relaxation is achieved. For example, if a horse was tense during the canter after a flying change, Jonathan would have the rider circle at the canter (or even the trot) until it was relaxed, then it was permitted to relax (halting for a rest at a set of barrels). The reason for this is that what happens last starts to happen first, so if a horse ends tense, soon he starts to start out tense too. This way the action itself (in the above example, the canter then the flying lead change) brings about relaxation. The way Jonathan just pieced together the flying lead change made so much sense and worked so well - I can't wait to use it on my own horses!
Next clinician we saw was Jay Hayes, Jumping (Group Session). He started off with speaking on rider position - full seat (including a flat back, not rounded not arched - as I was taught), two-point, and three-point positions. A few points he made were:
- impulsion before collection
- 90 percent weight should be in the rider's heel = a low center of gravity for jumping
- DO NOT SEE-SAW ON YOUR HORSE'S MOUTH!!! I see so many riders doing this and even one of the girls at the clinic was see-sawing away before Jay corrected her.
- close the hip angle at the trot (go from two-point to three-point and back and forth)
- 4 and 4 - everything is done in four's. 4 seconds of collection, for for relaxation. 4 strides before the jump you are putting the horse on the hind with a half-halt.
- the horse needs the most care before the jump, not after: after a jump allow the horse to gallop out, collecting them only 4 strides before the jump (which is also where you change jumping position)
- your first jump is your most conservative jump of the day
- a mistake made going deep to a jump can be a good mistake, a mistake made going long to a jump is a bad mistake
- shorten stride before the jump results in bigger scope
- the quality of the gallop is directly related to the quality of jump
- let the horse jump up to you - close your hip angle then you can open a bit at the jump to feel the belly lift up to you
His primary 7 points were:
1. Forward - obtain impulsion, allow the horse to gallop between jumps
2. Jump line - stay on your jump line and be watching it from a ways back
3. Stride control - have control of your horse's stride so you can shorten the strides 4 strides out from the jump, setting the horse on its hind for bigger scope (because the horse is on his hind and can power up vertically over the jump)
4. Exercise/train/compete - you need all three
5. Seat - your seat should match the jump (size and proximity)
6. Hip angles - related to seat, closed or open depending on the jump size
7. Release - there should be no release, the horse then comes against your hands and powers up vertically; he mentions this is why your horse should be in a soft bit, nothing more than a simple snaffle...this is where my opinion differs from his - I strongly feel that your hand should follow the horse during a release. But we'll see, perhaps my opinion will follow his if I see it's still in the horse's best interests.
He led his students through a variety of exercises too that really helped put together a correct jump.
Lastly we got a chance to watch Mette Rosencrantz's Dressage clinic. She started out with two Training Level riders. She set up pairs of cones for a 20m circle and had them work up to half-halts at the trot and bending on the 20m at the walk and trot. Here's how Mette described the advanced half-halt:
It's composed of a very briefly closed, then opened, hand (say one second in length). It's supposed to allow the hind end to continue its forward momentum and energy as the front end slows, as opposed to halting the hind completely (she paralleled it to tossing a stick into a rear bike wheel as opposed to allowing it to continue to spin). Therefore the half-halt is actually quick little steps as the horse's hind momentum continues and the horse coils its body, before the stride is lengthened again. The overall speed of the trot is slowed yet the speed of the horse's steps are basically maintained. It's the beginning of the piaffe - eventually slowing the half-halt until you get that trot-on-spot. The half-halt is essentially pressuring the desire of the horse to move forward, "damming up the river".
Something I did not know that was also mentioned was that the FEI Prix St.George upwards is where the double bridle is mandatory; below that level it's voluntary but the judges will take a harder stance when judging you.
Next Mette took in three riders working on their Level 1 dressage. She was looking for the horses to bend enough for the rider to see the horse's inside eye and nostril in the bend as she asked them to trot the 20m circle with periodic walks and then half-halts. Lastly, she had them work on walking then trotting the 10m circle with bend. Mette also pointed out how the rider who is forward in her seat with her horse's nose to its chest (avoiding the rider) has no speed control. I felt this ties in (indirectly) to the three points Jonathan listed: Path, Speed, Bow Bend.
Actually a lot tied in together between all three clinics! I loved all three clinics and learned so incredibly much, but the Jonathan Field clinic was so amazing, as everything he said crossed over to so many other areas. The dressage and jumping clinics were fabulous as well, it was great to pick up new patterns and ideas to work on to get me started on and it was great to learn that a lot of what I tend to do naturally is correct - I'm on the right track! Still so incredibly much to learn though, it's never ending!! Can't wait to get back into lessons, some dressage this year then maybe some jumping next spring. I was originally thinking eventing with Link, but had always had jumping (ie. Spruce Meadows) at the back of my mind...now I'm leaning more that way than the eventing. We'll see!! Much more tomorrow to enjoy!
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