It is difficult enough for an accomplished rider from another equestrian discipline—one who is not fearful and can count on a good balance and feel—to learn dressage on a trained horse. It is immensely harder for that same rider to learn on a green horse. And most difficult of all, is for a beginning rider to learn dressage on a green horse. Yet the typical student is often faced with exactly that situation—trying to train a horse when he hardly understands the principles himself. To make the situation even harder, few riders can count on regular help from a qualified instructor or clinician (to avoid repetition below, when the word instructor is used, assume clinician, also).

It is my opinion that riders are better off investing their money and efforts in good lessons rather than in competing and shows (although there certainly is an important place for these). Unfortunately, within many societies there seems to be an overemphasis on competition. In general, riders should wait to show until they have something to show off. In competition observers should be able to see beauty and harmony, regardless of the level. Sometimes I ask myself why I love dressage riding. Then I see a beautiful ride and I can say, "That is why!"

For the same kind of expense as that of a show, a rider can go to a lesson (or clinic) and expose the horse to new situations and get the benefit of being corrected as well as judged. A qualified instructor can help the student do with the horse something he would not be able to accomplish on his own. Instructors have responsibilities to the rider beyond those of pointing the way. They must also help the rider perform and thus test the quality of such instructions against the rider’s ability to carry them out.

If there are difficulties, the instructor can try a different explanation or approach, or can coach the rider who may be inadvertently not following the instructions correctly. Just as critically, the instructor can demonstrate to the rider how it is to be accomplished. He can get on the rider’s horse and perform the exercise the rider is expected to achieve.

So, what makes a qualified riding instructor? The ideal dressage instructor is someone who (1) comprehends dressage in theory and practice, (2) can explain dressage in a way the student can understand, (3) teaches to the capacity and learning style of each student, (4) can demonstrate on the student’s horse—but remembers to give the horse back J, (5) has a riding philosophy that matches that of the student, (6) is generous with praise for small accomplishments, (7) realizes that the star of the show is the student and not the instructor (or those who are watching), (7) teaches with patience and respect and (8) can guide the student on a progressive step-by-step systematic approach towards the goals desired.

As a dressage instructor I love to work with those riders who are brilliant and capable—but only when that ability is matched with motivation. An instructor who comes across one such student every ten years will consider himself grateful. We were all given different talents at birth. But this talent is not given as an exact amount, but rather, something we can affect. We can improve in any area if we really desire to do so. Even if it at first it seems that we have no talent for a sport, a language, or an activity, if we stick at it, if we have desire, if we refuse to give up and have sufficient love for it, we can progress. And progress is what life is all about, not the comparing of ourselves to others.

Before moving on to the substance of this chapter, a progressive approach to dressage instruction, I also have a few thoughts on what constitutes an ideal student:

Balance involves a good seat. The rider is totally at home on the saddle and his weight, hands, legs, and seat are all available to communicate with the horse. The ideal rider has a thorough understanding of dressage theory. The thinking rider will find ways of overcoming challenges and difficulties by taking alternative approaches. Riders will want to continually study from the best dressage theory books, and observe good models of riding. Riders need to be in good physical shape and at an ideal weight (OK, so I wrote this years ago when I satisfied both conditions J ). Riding will help us become and stay fit. A good dressage student will practice conscientiously.

The successful dressage student must be driven. When I was 20 years old, a new student came to me and said she wanted to be pushed, and that she wanted to learn a lot. She meant it. Because of her comment I placed a lot of work before her. She met every challenge I posed, no matter how difficult the task. When I teach jumping I usually tighten my stomach muscles at each jump my students take—as if I could help them get over it by my efforts! With this young woman, I would design the hardest courses and sit back and enjoy her valiant, flawless and harmonious efforts. Once her horse refused a difficult jump—cross bars set so that the lowest part of the jump was very narrow. After the horse refused, I felt that perhaps it would take too much to take the horse over that height and difficulty and suggested that we would lower the jump a little. She was so insistent in begging for a second chance that I allowed her to go forward, not without trepidations. And she conquered!

Dressage takes much discipline and patience to learn, which is good, as we have a sport where we can normally ride competitively past our 70^th birthday. Enduring—not giving up—is an essential trait, and is very connected to discipline. Overcoming hardships and challenges is part of the process of becoming a rider. I had a student who could not walk yet became an excellent jumper through persistent work.

Some students, when instructed what to do, will do the minimum, and then look at the instructor as if to say, "see, it didn’t work." The student must act as if the instructions are going to work, with a can-do attitude (but without wanting it so much that they become over stressed). Horses can tell if the riders mean business or are nervous. An important student trait is to avoid looking for excuses for poor performance. Too many riders want to blame their horses or teachers, someone or something for their failures, instead of concentrating on the difficult but rewarding task at hand. Enjoying the process of becoming is as important as getting there.

Another unfortunate tendency of many students is to put their present instructor on a pedestal, and to put down their previous instructors. This is sad, as the previous instructor has prepared the rider to come this far. Instead, riders would do well to feel gratitude for their past instructors.

When the student feels the instructor has much to offer, but there are teaching or personality issues getting in the way, it helps to have a candid discussion. Instructors share in the responsibility of not allowing students to place them on a pedestal as well as for working out interpersonal difficulties that may arise. Once an instructor is chosen, it does not mean that the student gives up his beliefs or thinking in deference to those of the instructor. While students ought to give the instructor’s directives a full chance to work before dismissing them, instructors should be secure enough in themselves to encourage students to think independently and to question when necessary.

Perhaps the most critical skill or talent component required of a dressage rider is feel. Without feel riders cannot achieve brilliance in dressage. The feeling rider can read his horse and absorb the multiple messages originating from his mount. The feeling rider knows how long the reins should be, and with how much pressure the aids should be applied. The rider becomes part of his horse. It has been said that feeling is something riders either have or do not. Perhaps it is in this area where the instructor can best take advantage of the systematic progression tests described in this chapter. Before I used it, I found myself constantly getting riders to achieve too far beyond the point where they were, only to fall back the moment I left them on their own for a few minutes. Earlier we said that helping a rider progress beyond what they could do on their own, and feel what it is supposed to feel to achieve a certain result, is an important objective, but this needs to be balanced with patience and a progressive approach. In the progressive approach students have the ultimate responsibility for how quickly they progress.

The purpose of the dressage achievement requirements is to help instructors to bring along students using the individualized instruction approach, and to help students achieve in sub-steps. One of the major objectives of these achievement requirements is to provide specific and reachable goals that will help guide learning efforts and thus provide motivation and focus. These were developed in a program for preparing riding instructors. I was frequently working with several riders at the same time.

I have found success in keeping track of my student’s progress and giving them a certificate upon successful completion of a specific requirement. Later, these skill certificates helped me to separate riding students into more than one class so students would be working on similar skill levels. Finally, assistant instructors can also receive a certificate for successfully teaching others to pass a skill level. I have arbitrarily set passing each skill level with two horses and teaching two riders each skill level as sufficient to earn a teacher certificate for that skill level. Riders who have passed a skill level, even if they have not earned a teacher certificate for that level, help me teach other students who have not yet passed.

Depending on the level of interest and seriousness of the instruction, instructors may begin with the seat development or contact development (or perhaps these two may be conducted simultaneously in order to keep the student’s interest). The seat development needs to be repeated yearly when dealing with serious students. Further, review of the basics never hurts, even with very advanced students.

A smooth snaffle bit is required as are helmets (with a chin strap). The skill levels are basically in order of skill requirement and generally should be taught in that order. Even advanced riders should start with the basic skill levels. They will be able to advance quickly if they have the necessary skills. Instructors may want to modify the order of the skills levels to suit their needs, and to add additional steps between skill levels.

Difficulty level (because of skill required or time investment) assuming a rider with average skill and motivation, an average horse, and where the rider and horse combination have passed the previous tests to that point in the progression:

*	relatively easy
**	difficult
***	very difficult
****	extremely difficult

A1. Dressage seat period**** (details forthcoming)

Correct execution and mastery of seat period exercises including but not limited to the following: foot flexing, rotation of the toes, extension of the leg, leg lifting and opening, arm rotation, and head rotation. In addition, will execute two of the following: the scissors, one of the three mounting techniques without stirrups, and around the world exercise. All exercises are executed without stirrups (stirrups may be totally removed for comfort). Saddles have to be equipped with side reins and a fifth rein.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [ ] Yes [x ] No, side reins are used.

[x ] Halt [x ] Walk [x ] Trot [x ] Canter

Other remarks: May be held in conjunction with jump caltesthenics.

A2. Dressage Seat***

Will show mastery of the dressage seat without stirrups and with through various dressage figures, movements and transitions. No rider exercises are required.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

[x ] Halt [x ] Walk [x ] Trot [x ] Canter

Other remarks: May be held in conjunction with contact development period, or once the rider can maintain the horse on the bit at all times.

Minimum score: R: 2/3 + L: 2/3

(That is, the minimum score is two correct executions out of three to the right and two out of three to the left. Riders sometimes get nervous when told they are taking a test, and especially at this level I sometimes do not tell them that they have gone from "warming up" to actually taking the test.)

Other conditions:

[ ] Sitting trot [x ] Posting trot

[ ] Walk [x ] Trot [ ] Canter

On the bit required: [ ] Yes [x ] No

Although it is not required to put the horse on the bit, the rider can experience the horse naturally coming on the bit if the rider keeps the outside hand firmly in its support position and on the neck of the horse, and the rider uses the inside leg to begin driving the horse from behind. The time spent at this period helping students get this basic principle will be handsomely rewarded later. I feel that the circle is the most important and basic exercise. When students are having trouble with any of the other work I have them return to the circle.

"Basic" is used for all the "B" (Contact Development) period exercises to indicate that the horse does not have to perform any of the exercises on the bit. Later, these same exercises will be executed on the bit. Although the horse is not on the bit the rider must maintain a solid contact with the horse’s mouth, with a horse moving rhythmically and definitely forward and into the bit from the back. "AC" stands for Achievement Certificate.

B1. Basic trot circle** (AC 1)

Three consecutive circles to one side. If correct, change directions through the walk and proceed with three circles to the opposite side. Circles 15 to 20 meters in diameter. Looking for even forward movement, correct bend from head to tail, and perfectly steady rein contact.

Typical faults: Poor rein contact, variable speeds, horse straightens out in parts of the exercise and does not maintain the bend, circle varies in size or location, hindquarter falls out, incorrect rider diagonal.

B2. Basic half circle and reverse* (AC 2)

Half circle 12 to 15 meters in diagonal, and return on a straight line back to the rail. The point of return on the rail is 2 to 3 times the diameter of the half circle. After straightening out for one or two steps the rider can begin the next half circle and reverse to the opposite direction.

Typical faults: Width of half circle often too small for level of training, and hindquarter falls out or other faults related to bend or rhythm appear. Rider returns to arena edge too sharply (less than two times the width of the diameter of the half circle) after half circle. Rider does not bring the horse all the way to the arena edge before beginning new half circle. Rider on incorrect diagonal.

B3. Basic reverse and half circle* (AC 3)

Take diagonal away from the rail and then reverse through half circle 12 to 15 meters back toward rail. The point of departure on the rail is 2 to 3 times the diameter of the half circle. After straightening out for one or two steps after the half circle, the rider can begin the next reverse and half circle to the opposite direction.

Typical faults: Width of half circle often too small for level of training, and hindquarter falls out or other faults related to bend or rhythm appear. Rider returns to arena edge too sharply (less than two times the width of the diameter of the half circle) after half circle. Rider does not bring the horse all the way to the arena edge before beginning new half circle. Rider on incorrect diagonal.

B4. Basic trot turn, ‘the box’ **** (AC 4)

Starting from a point on the long side of the arena the rider turns right (or left) 90 degrees into inside of the arena (travels width of arena) and turns the opposite direction at the other side. Each turn, as well as each corner, represents a quarter of a turn.

Typical faults: Rider leaves for turn too early or late. In some cases rider will perform exercise correctly but a meter off center to one side or the other. More serious faults include: (1) leaving early and changing directions through the turn without ever coming to the perpendicular before changing directions (the horse take a mini-diagonal cut); (2) the rider overshoots and tries to correct so the exercise looks like an upside down question mark, or ¿ ; (3) the horse performs the first part of the exercise correctly but upon crossing center line does not change bend before changing directions.

(As soon as riders pass this exercise, I place them in a more advanced class. This is a difficult exercise because the rider does not have much room, relatively speaking given the previous demands on the horse, from having the horse bent to one side and being required to bend him to the next.)

B5. Basic figure eight**** (AC 5)

A figure eight consists of two circles joined at one intersecting point that is part of both circles. When the two circles are placed side-by-side an imaginary line may be drawn through the center of these circles so that at the instant of transition the horse is perpendicular to this imaginary line. Rider changes diagonal at transition point.

(Little by little we have progressed from changing direction (and therefore bend) through less and less preparation time to do so. The easiest were both the half circle and reverse exercises where the rider has much time to prepare the horse for the new direction. In ‘the box’ the rider has this time reduced to just a few strides, and now in the figure eight the horse is only straight for an instant before changing direction.)

Typical faults: Horse falls into next circle because it was not able to achieve bend change; horse takes a little diagonal into next circle as it does not ever come to the perpendicular before changing direction; circles are different in size, or travel. I like to see a distinctive, yet fluid, change of bend in this exercise.

B6. Basic trot serpentine A* (AC 6)

The trot serpentine consists of three to five loops as the horse travels from one end of the arena to the other. Each loop is composed of a circle arc that is longer than half the circle circumference (i.e., it is not possible to draw one straight line that passes through all the circle centers). Each arc diameter is 10 to 15 meters. All loops are the same size. There is a moment of straightness between one loop and the next as in the figure eight. It is possible that the arena requirements will make it so the horse will have to reverse direction through almost a complete circle in order to execute the required number of loop transitions. No more than two such changes of direction are permitted for every five loops attempted. Rider changes diagonal at transition point.

Typical faults: Possible poor transitions from one bend to the other.

B7. Basic trot serpentine B** (AC 7)

The trot serpentine consists of three to five loops as the horse travels from one end of the arena to the other. Each loop is composed of a circle arc that exactly half the circle circumference (i.e., it is possible to draw one straight line that passes through all the circle centers). Each arc diameter is 10 to 15 meters. All loops are the same size. There is a moment of straightness between one loop and the next as in the figure eight. It is possible that the arena requirements will make it so the horse will have to reverse direction through almost a complete circle in order to execute the required number of loop transitions. No more than two such changes of direction are permitted for every five loops attempted. Rider changes diagonal at transition point.

Typical faults: Horse falls into next loop because it was not able to achieve bend change; horse takes a little diagonal into next loop as it does not ever come to the perpendicular before changing direction.

B8. Basic trot wall serpentine* (AC 8)

Shallow serpentine close to the wall of the school.

Typical faults: See other serpentines.

B9. Basic change of direction within a circle*** (AC 9)

Rider makes a circle 20 to 25 meters in diameter. After completing two circumferences the rider makes a change in direction within the circle by riding an "s" pattern. (Equivalent to two loops in basic trot serpentine B.) From the point of exit in the "s" pattern the rider completes one large circle before beginning the next "s." Six "s" patterns in total. When looked from above, the tracks look like a figure eight inside a circle. Rider changes diagonal in the moment of transitions between bends in the "s" pattern.

Typical faults: Some riders have a difficult time picturing where to leave and arrive when performing the figure within the circle. Horse falls into next loop because it was not able to achieve bend change; horse takes a little diagonal into next loop as it does not ever come to the perpendicular before changing direction.

B10. Basic trot-canter circle transition** (AC 10)

On the circle at the posting trot the rider asks for a trot to canter transition.

Typical faults: Some riders have a difficult time timing the aids. Some riders sit before the transition instead of asking for the canter from the posting trot and allowing the horse to meet his or her seat.

Other conditions:

[ ] Sitting trot [x ] Posting trot

[ ] Walk [x ] Trot [x ] Canter

These exercises develop a very good feel between the rider’s hands and the horse’s mouth. It may take time for riders to develop this feel.

Minimum score: R: 2/3 + L: 2/3

Other conditions:

[ ] Sitting trot [x ] Posting trot

(unless time is given as a minimum score or other condition specified)

C1. Short and deep neck at the halt** (AC 11)

(The short and deep series of exercises are very difficult for many riders and so at one time I thought I could move it back to a later section. This, however, did not work out because the rider must first understand the effect of the short and deep before being able to achieve other rein effects in a consistent manner. I would, however, encourage the rider to work on other skill areas while they get the feel of this exercise, as it is not one that should be overdone. This exercise takes much tact, but especially at the trot and even more so at the canter. If a rider cannot perform this exercise at the canter I would permit them to momentarily skip it while we move forward with other exercises.)

Horse is brought to the vertical and then rider asks the horse to drop neck in a short and deep position for an uninterrupted 20 seconds.

Typical faults: Horse backs up. Insufficiently short and deep.

Minimum score: 20 seconds

C2. Short and deep neck at the walk** (AC 12)

Horse is brought to the vertical and then rider asks the horse to drop neck in a short and deep position for an uninterrupted 40 seconds. Head may be slightly higher than at the halt.

Typical faults: Insufficiently short and deep.

Minimum score: 40 seconds

C3. Short and deep neck at the trot*** (AC 13)

Horse is brought to the vertical and then rider asks the horse to drop neck in a short and deep position for an uninterrupted 60 seconds. Head may be slightly higher than at the walk.

Typical faults: Insufficiently short and deep.

Minimum score: 60 seconds

Other conditions:

[x ] Sitting trot [ ] Posting trot

C4. Short and deep neck at the canter**** (AC 14)

Horse is brought to the vertical and then rider asks the horse to drop neck in a short and deep position for an uninterrupted 60 seconds. Head may be slightly higher than at the trot.

Typical faults: Insufficiently short and deep.

Minimum score: 60 seconds

C5. Long and deep neck at the halt* (AC 15)

Horse is brought to the vertical and then rider asks the horse to drop neck in a long and deep position for an uninterrupted 20 seconds.

C9. Drop inside rein at the halt* (AC 19)

Horse is brought to the vertical and then rider drops the inside rein and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Caused by lack of a supporting outside hand against the neck when the horse is in the vertical position. Horse is not in balance and lifts head.

C10. Drop inside rein at the walk* (AC 20)

Horse is brought to the vertical and then rider drops the inside rein and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Horse is not in balance and lifts head.

C11. Drop inside rein at the trot* (AC 21)

Horse is brought to the vertical and then rider drops the inside rein and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Horse is not in balance and lifts head.

C12. Drop inside rein at the canter** (AC 22)

Horse is brought to the vertical and then rider drops the inside rein and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Horse is not in balance and lifts head.

C13. Drop forward at the halt* (AC 23)

Horse is brought to the vertical. The rider drops the inside rein and applies the whip slightly behind the girth, and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Lack of mobility.

C14. Drop forward at the walk* (AC 24)

Horse is brought to the vertical. The rider drops the inside rein and applies the whip slightly behind the girth, and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein.

C15. Drop forward at the trot** (AC 25)

Horse is brought to the vertical. The rider drops the inside rein and applies the whip slightly behind the girth, and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Lack of mobility.

C16. Drop forward at the canter** (AC 26)

Horse is brought to the vertical. The rider drops the inside rein and applies the whip slightly behind the girth, and then recovers the contact. Three times to each side. The horse’s poll must be the highest position of the head and neck.

Typical faults: Horse not brought to vertical. Insufficient release of contact with the inside rein. Lack of mobility.

C17. Unilateral half-halt at the trot*** (AC 27)

At the trot circle, the horse is brought to the vertical and then rider will demonstrate the unilateral half halt with the outside rein. The action of the rein through the horse must be evident. To both reins.

Typical faults: Half-halt not sufficiently through the horse.

Other conditions:

[x ] Sitting trot [ ] Posting trot

C18. Unilateral half-halt at the canter*** (AC 28)

At a sufficiently large canter circle (20 meter diameter or more), the horse is brought to the vertical and then rider will demonstrate the unilateral half halt with the outside rein. The action of the rein through the horse must be evident. To both reins.

Typical faults: Half-halt not sufficiently through the horse.

C19. Walk-trot-walk transitions** (AC 29)

On a circle obtain upward and downward transitions from walk to trot and back. To both reins.

Typical faults: Inability to maintain horse on the bit.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

C20. Walk-halt transitions*** (AC 30)

On a circle obtain a square halt. To both reins.

Typical faults: Insufficient impulsion before the halt.

C21. Walk-halt-walk transitions*** (AC 31)

On a circle obtain a square halt and proceed at the walk. To both reins.

Typical faults: Insufficient impulsion before the halt. Losing of impulsion at the halt.

Other conditions:

On the bit required: [x ] Yes [ ] No

C22. Trot-canter-trot transitions** (AC 31)

On a circle obtain upward and downward transitions from trot to canter and back. Correct bend and lead required. To both reins.

Typical faults: Inability to maintain horse on the bit.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

C23. 60 centimeter test A*** (AC 32)

On a circle. Halt-walk-trot-canter and canter-trot-halt-walk-halt transitions. Correct bend. Stationary rein in which horse must adapt to rider. To both reins.

Typical faults: Inability to maintain horse on the bit.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

C24. 60 centimeter test B**** (AC 33)

On a circle. Halt-walk-trot-canter and canter-trot-halt-walk-halt transitions. Correct bend. Supple rein. To both reins.

Typical faults: Inability to maintain horse on the bit.

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

Minimum score: R: 2/3 + L: 2/3

Other conditions:

[ ] Walk [x ] Trot [ ] Canter

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

(unless otherwise stated)

D1. Trot circle** (AC 34)

Three consecutive circles to one side. If correct, change directions through the walk and proceed with three circles to the opposite side. Circles 15 to 20 meters in diameter. Looking for even forward movement, correct bend from head to tail, and perfectly steady rein contact.

D2. Half circle and reverse* (AC 35)

Half circle 12 to 15 meters in diagonal, and return on a straight line back to the rail. The point of return on the rail is 2 to 3 times the diameter of the half circle. After straightening out for one or two steps the rider can begin the next half circle and reverse to the opposite direction.

D3. Reverse and half circle* (AC 36)

Take diagonal away from the rail and then reverse through half circle 12 to 15 meters back toward rail. The point of departure on the rail is 2 to 3 times the diameter of the half circle. After straightening out for one or two steps after the half circle, the rider can begin the next reverse and half circle to the opposite direction.

D4. Trot turn, ‘the box’**** (AC 37)

Starting from a point on the long side of the arena the rider turns right (or left) 90 degrees into inside of the arena (travels width of arena) and turns the opposite direction at the other side. Each turn, as well as each corner, represents a quarter of a turn.

Typical faults: Rider leaves for turn too early or late. In some cases rider will perform exercise correctly but a meter off center to one side or the other. More serious faults include: (1) leaving early and changing directions through the turn without ever coming to the perpendicular before changing directions (the horse take a mini-diagonal cut); (2) the rider overshoots and tries to correct so the exercise looks like a mirror image of a question mark; (3) the horse performs the first part of the exercise correctly but upon crossing center line does not change bend before changing directions.

D5. Figure eight*** (AC 38)

A figure eight consists of two circles joined at one intersecting point that is part of both circles. When the two circles are placed side-by-side an imaginary line may be drawn through the center of these circles so that at the instant of transition the horse is perpendicular to this imaginary line.

Typical faults: Horse falls into next circle because it was not able to achieve bend change; horse takes a little diagonal into next circle as it does not ever come to the perpendicular before changing direction; circles are different in size, or travel.

D6. Trot serpentine A* (AC 39)

The trot serpentine consists of three to five loops as the horse travels from one end of the arena to the other. Each loop is composed of a circle arc that is longer than half the circle circumference (i.e., it is not possible to draw one straight line that passes through all the circle centers). Each arc diameter is 10 to 15 meters. All loops are the same size. There is a moment of straightness between one loop and the next as in the figure eight. It is possible that the arena requirements will make it so the horse will have to reverse direction through almost a complete circle in order to execute the required number of loop transitions. No more than two such changes of direction are permitted for every five loops attempted.

D7. Trot serpentine B** (AC 40)

The trot serpentine consists of three to five loops as the horse travels from one end of the arena to the other. Each loop is composed of a circle arc that exactly half the circle circumference (i.e., it is possible to draw one straight line that passes through all the circle centers). Each arc diameter is 10 to 15 meters. All loops are the same size. There is a moment of straightness between one loop and the next as in the figure eight. It is possible that the arena requirements will make it so the horse will have to reverse direction through almost a complete circle in order to execute the required number of loop transitions. No more than two such changes of direction are permitted for every five loops attempted.

D8. Trot wall serpentine (AC 41) **

Shallow serpentine close to the wall of the school.

D9. Change of direction within a circle*** (AC 42)

Rider makes a circle 20 to 25 meters in diameter. After completing two circumferences the rider makes a change in direction within the circle by riding an "s" pattern. From the point of exit in the "s" pattern the rider completes one large circle before beginning the next "s." Six "s" patterns in total. When looked from above, the tracks look like a figure eight inside a circle. Rider changes diagonal in the moment of transitions between bends in the "s" pattern.

Typical faults: Some riders have a difficult time picturing where to leave and arrive when performing the figure within the circle. Horse falls into next loop because it was not able to achieve bend change; horse takes a little diagonal into next loop as it does not ever come to the perpendicular before changing direction.

D10. Down center line A *** (AC 43)

Starting from a point outside a dressage arena come down center line at A and halt at X. The rider comes by the long side of the arena and executes a full half circle to line up with the center line. At X, immobility and salute, and proceed at the trot and proceed to C where the rider will turn the opposite direction than the one he entered from. Three entries from each side. Horse may pass through the walk on the way to the halt and pass back to the walk on the way to the trot. Square halt.

D11. Down center line B **** (AC 44)

Starting from a side within a dressage arena come down center line at A and halt at X. At X, immobility and salute, and proceed at the trot. The rider will turn the opposite direction than the one he entered from. Three entries from each side. Horse will demonstrate smooth trot-halt-trot transition. Square halt.

D12. Lengthen the stride posting*** (AC 45)

Demonstrate lengthening of stride, posting, coming off a circle or a corner, through the diagonal.

D13. Lengthen the stride sitting*** (AC 46)

Demonstrate lengthening of stride coming off a circle or a corner, through the diagonal.

Introduction: The riding instructor may want to break up, particularly E2 and E3, into numerous achievement awards. Since the emphasis of this book is in dressage, I have not done so here.

E1. Jumping calisthenics period, forward seat***

Correct execution and mastery of jump seat period exercises including but not limited to the following canter circle-going large-canter circle, etc, at the forward jump position: arms out, hands behind back, hands in front of knees, hands on hips, hands behind neck, head right and left, head up and down, hands two inches apart from horse’s neck, climbing the ladder. Short stirrup exercises to be included. Saddles have to be equipped with side reins.

Other conditions:

[x ] Forward jump position

On the bit required: [ ] Yes [x ] No

[x ] Halt [x ] Walk [x ] Trot [x ] Canter (Mostly)

Other remarks: May be held in conjunction with any other period.

E2. Jumping calisthenics period, vertical seat***

Correct execution and mastery of jump seat period exercises including but not limited to the following, with a vertical upper seat emphasis: arms out, hands behind back, touch knees with both hands, touch foot with both hands, hands behind neck, head right and left, head up and down, hands two inches apart from horse’s neck, climbing the ladder, 1-2-3-forward exercise, etc. Short stirrup exercises to be included. Saddles have to be equipped with side reins.

Other conditions:

[x ] Vertical jump position

On the bit required: [ ] Yes [x ] No

[x ] Halt [x ] Walk [x ] Trot [x ] Canter (Mostly)

Other remarks: May be held in conjunction with any other period.

E3. Jump period****

Various exercises including preparing horse to approach jump in rhythm and straightness; cavalleti; tall jumps; long jumps; jump combinations. Combine ability to approach jumps in both forward and vertical positions.

Other conditions:

[x ] Forward jump position [x ] Vertical position approach

On the bit required: [ ] Yes [x ] No

[ ] Halt [ ] Walk [x ] Trot [x ] Canter (Mostly)

Other remarks: Completion of jump calisthenics period a requirement.

E4. Field period****

Correct execution and mastery of trotting and cantering up and down hills, sliding downhill, and taking jumps in various terrain, including banks, drops, water, and ditches.

Other conditions:

[x ] Forward jump position

On the bit required: [ ] Yes [x ] No

[x ] Halt-Slide [x ] Walk [x ] Trot [x ] Canter (Mostly)

Other remarks: Completion of jump calisthenics period and jump period required.

Minimum score: R: 2/3 + L: 2/3

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

(Unless otherwise mentioned)

F1. Leg yield head-to-the-wall at the walk** (AC 47)

Will perform leg yielding head to the wall for a continuous eight strides (four hoof prints for each stride). Angle of the horse will be constant. Two of three executions required to each side.

F2. Half circle and leg yield to the near wall at the walk*** (AC 48)

After completing half circle will reverse through a leg yield back to the original wall.

F3. Half circle and leg yield to the far wall at the walk*** (AC 49)

After completing half circle will leg yield to the opposite wall (and thus maintain the same direction of travel).

F4. Walk leg yield head-to-the-wall with change of direction*** (AC 50)

Will perform leg yielding tail-to-the-wall with three changes of direction to each side, at the walk.

F5. Leg yield head-to-the-wall at the trot** (AC 51)

Will perform leg yielding head to the wall for a continuous eight strides. Angle of the horse will be constant.

F6. Half circle and leg yield to the near wall at the trot*** (AC 52)

After completing half circle will reverse through a leg yield back to the original wall.

F7. Half circle and leg yield to the far wall at the trot*** (AC 53)

After completing half circle will leg yield to the opposite wall (and thus maintain the same direction of travel).

F8. Leg yield tail-to-the-wall at the walk*** (AC 54)

Will perform leg yielding tail to the wall for a continuous eight strides. Angle of the horse will be constant.

F9. Leg yield tail-to-the-wall at the trot*** (AC 55)

Will perform leg yielding tail to the wall for a continuous eight strides. Angle of the horse will be constant.

F10. Leg yield on circle head-to-the-inside at the walk*** (AC 56)

Will perform one complete circle of leg yielding head-to-the-inside on the circle.

F11. Leg yield on circle tail-to-the-inside at the walk*** (AC 57)

Will perform one complete circle of leg yielding tail-to-the-inside on the circle.

F12. Walk leg yield tail-to-the-wall with change of direction*** (AC 58)

Will perform leg yielding tail-to-the-wall with three changes of direction to each side.

F13. Leg yield on circle head-to-the-inside at the trot*** (AC 59)

Will perform leg yielding head-to-the-inside on the circle to each side.

F14. Leg yield on circle tail-to-the-inside at the trot*** (AC 60)

Will perform leg yielding tail-to-the-inside on the circle to each side.

F15. Leg yield to center line at the canter*** (AC 61)

Will perform leg yielding to center line at the canter, to each side.

F16. Leg yield on circle head-to-the-inside at the canter*** (AC 62)

Will perform leg yielding head-to-the-inside on the circle to each side.

F17. Leg yield on circle tail-to-the-inside at the canter*** (AC 63)

Will perform leg yielding tail-to-the-inside on the circle to each side.

F18 Pasade** (AC 64)

Will perform four to eight strides of pasade. Each set may be separated by a short period of walk or trot. To both reins.

Other conditions:

[x ] Walk [ ] Trot [ ] Canter

F19. Pasade zigzag*** (AC 65)

Will perform four to eight strides of pasade to right, then left, then right. Three directional change transitions required to each side.

Other conditions:

[x ] Walk [ ] Trot [ ] Canter

F20. Walk shoulder-in A (AC 66)

Three track shoulder-in will be executed to both sides. Eight consecutive strides.

F21. Walk shoulder-in B (AC 67)

Four track shoulder-in will be executed to both sides. Eight consecutive strides.

F22. Trot shoulder-in A (AC 68)

Three track shoulder-in will be executed to both sides. Eight consecutive strides.

F23. Trot shoulder-in B (AC 69)

Four track shoulder-in will be executed to both sides. Eight consecutive strides.

F24. Canter shoulder-fore (AC 58)

Suppling shoulder-fore to be executed to both sides. Eight consecutive strides.

F25. Walk haunches-in A(AC 59)

Travers on three tracks to be executed to both sides. Eight consecutive strides.

F26. Walk haunches-in B(AC 63)

Travers on four tracks to be executed to both sides. Eight consecutive strides.

F27. Trot haunches-in A(AC 64)

Travers on three tracks to be executed to both sides. Eight consecutive strides.

F28. Trot haunches-in B(AC 65)

Travers on four tracks to be executed to both sides. Eight consecutive strides.

F29. Walk haunches-out A (AC 66)

Renvers on three tracks to be executed to both sides. Eight consecutive strides.

F30. Walk haunches-out B (AC 67)

Renvers on four tracks to be executed to both sides. Eight consecutive strides.

F31. Trot haunches-out A (AC 68)

Renvers on three tracks to be executed to both sides. Eight consecutive strides.

F32. Trot haunches-out B (AC 69)

Renvers on four tracks to be executed to both sides. Eight consecutive strides.

F33. Canter haunches-in A (AC 70)

Travers on three tracks to be executed to both sides. Eight consecutive strides.

F34. Canter haunches-in B (AC 71)

Travers on four tracks to be executed to both sides. Eight consecutive strides.

F35. Trot shoulder-in A through corner (72)

Three track shoulder-in through corner will be executed to both sides through corner. Eight consecutive strides.

F36. Trot shoulder-in B through corner (AC 73)

Four track shoulder-in will be executed to both sides through corner. Eight consecutive strides.

F37. Trot quarters-in A through corner (AC 74)

Three track travers will be executed to both sides through corner. Eight consecutive strides.

F38. Trot quarters-in B through corner (AC 75)

Four track travers will be executed to both sides through corner. Eight consecutive strides.

F39. Trot quarters-out A through corner (AC 76)

Three track renvers will be executed to both sides through corner. Eight consecutive strides.

F40. Trot quarters-out B through corner (AC 77)

Four track renvers will be executed to both sides through corner. Eight consecutive strides.

F41. Canter quarters-in A circle (AC 78)

Three track travers will be executed on a circle to both sides.

F42. Canter quarters-in B circle (AC 79)

Four track travers will be executed on a circle to both sides.

F43. Canter half pass to center line A (AC 80)

Canter half pass will be executed to the center line on both sides. Full ride back to the same spot before beginning next half pass.

F44. Canter half pass to center line B (AC 81)

Canter half pass will be executed to the center line on both sides. Two half-pass exercises for each full time around.

Minimum score: R: 4/6 + L: 4/6

F45. Turn on the haunches (AC 82)

Turn on the haunches (or pirouette at the walk).

F46. Shoulder-in to half pass (AC 83)

After 8 to 12 strides of shoulder-in on the rail, half pass to center line.

F47. Trot half pass to center line (AC 84)

After corner half pass to center line.

F48. Trot half pass to center line and back (AC 85)

After corner half pass to center line and back to the same rail.

F49. Half circle and half pass to rail (AC 86)

Half circle and half pass to rail , arriving exactly at the correct marker on the rail (different markers called out at the last moment, at the beginning of the half-circle).

F50. Half pass zigzag (AC 87)

Half pass zigzag coming down center line. Start first half pass to both directions. Three changes of direction.

Minimum score: R: 2/3 + L: 2/3

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

(Unless otherwise mentioned)

G1. Shoulder-in and rising middle trot

Shoulder-in (sitting) and middle trot, rising.

G2. Travers and rising middle trot

Quarters-in (sitting) and middle trot, rising.

G3. Renvers and rising middle trot

Quarters-out (sitting) and middle trot, rising.

G4. Shoulder-in and middle trot

Shoulder-in and trot middle trot.

G5. Travers and middle trot

Quarters-in and trot middle trot.

G6. Renvers and middle trot

Quarters-out and trot middle trot.

G7. Middle trot

Middle trot through the diagonal.

G8. Shoulder-in and rising extension

Shoulder-in (sitting) and trot extension, rising.

G9. Travers and rising extension

Quarters-in (sitting) and trot extension, rising.

G10. Renvers and rising extension

Quarters-out (sitting) and trot extension, rising.

G11. Shoulder-in and extension

Shoulder-in and trot extension.

G12. Travers and extension

Quarters-in and trot extension.

G13. Renvers and extension

Quarters-out and trot extension.

G14. Extended trot

Extended trot through the diagonal.

G15. Trot boa

Rising trot collection on short side.

G16. Collected trot circle

Collected trot on circle.

G17. Collected trot

Collected trot on short side.

G18. Collected-extended-collected trot

Collection to extension to collection and transitions.

G19. Collected trot-halt-collected trot

Collection to extension to collection and transitions.

Minimum score: R: 2/3 + L: 2/3

Other conditions:

[x ] Sitting trot [ ] Posting trot

On the bit required: [x ] Yes [ ] No

(Unless otherwise mentioned)

H1. Walk-canter circle transition

Walk-canter transition in the circle.

H2. Lengthen canter stride

Lengthen canter stride.

H3. Counter-canter

Counter-canter.

H4. Canter-walk transition

Canter-walk transitions.

H5. Canter-halt-canter

Canter-halt-canter transitions.

H6. Down center line A at canter

Starting from a point outside a dressage arena come down center line at A and halt at X. The rider comes by the long side of the arena and executes a full half circle to line up with the center line. At X, immobility and salute, canter and proceed to C where the rider will turn the opposite direction than the one he entered from. Horse will demonstrate smooth canter-halt-canter transition. Three entries from each side. Square halt.

H7. Down center line B at canter

Starting from a side within a dressage arena come down center line at A and halt at X. At X, immobility and salute, and proceed at the canter. The rider will turn the opposite direction than the one he entered from. Three entries from each side. Horse will demonstrate smooth canter-halt-canter transition. Square halt.

H8. Collected canter

Collected canter, 12 strides.

H9. Half-circle and reverse with flying change

Flying change after half-circle and reverse. Flying change the moment of return to the wall.

I1. Instructor I

Can teach the particular skill level indicated. Must have had to (1) pass the test on two horses on the given skill test; and (2) teach two riders so they can pass this skill test.

I2. Instructor II

Can sign card for the particular skill level indicated. Must have (1) Instructor I card for this skill test; (2) show ability to teach students and show good judgement calls as to whether students (or others) have passed the particular skill test in question; (3) show ability to ride and improve the students horses at this skill test; and (4) show understanding of the theory behind the work being performed.

I3. Instructor III

Can teach and pass Instructor I & II persons for the particular skill level indicated. Must have instructor II card for that skill test and must show brilliance in riding, teaching, and theory mastery.

(Additional Dressage Achievement requirements can be added)