We have covered the first five steps of the German
Training Scale:
First
TAKT = RHYTHM and REGULARITY
then
LOSGELASSENHEIT = FREEDOM which includes RELAXATION.
then
ANLEHNUNG = CONTACT which includes ACCEPTANCE OF THE
BIT and SEEKING THE CONTACT
then
SCHWUNG = IMPULSION and ENGAGEMENT
then
GERADERICHTUNG = STRAIGHTNESS which includes BENDING
and now we come to
VERSAMMLUNG = COLLECTION including Roundness
As we come closer to the final steps of the Training
Scale, we again realize how all of these steps are interrelated and the earlier
ones are leading to the later ones. You may notice that in this chapter, I
include not only collection, but also roundness. Like the other
steps previously covered, roundness is really another step leading towards
collection. If we go back through our previous chapters we will see that we
have built the foundation for roundness already all along. First
with rhythm and regularity, then with freedom and relaxation, as
without those none of the rest is possible. Then we worked on contact,
acceptance of the bit, seeking the contact and with that
developed impulsion and engagement. Unless you still have it
fresh in your mind, I suggest you re-read the precious chapters (CDW 2003
Feb/March and April/May issues), as much of what we have covered was very
important for the development of roundness. It is all about the proper dance in
which we are engaged with our horses. Like a good dance partner, we are leading
the horse through the reins; the horse is seeking our hand to dance with us; to
be in balance and harmony with engagement and impulsion, working from behind, through his back, and staying straight through his work,
including bending through his turns. What we call roundness is apparent
when the horse has all of this; his nose is on the vertical, or slightly in
front of it, his neck is flexed with the poll being the highest point, his jaw
stays flexible, he is working through his back, and is well engaged. We are
there. So our roundness already comes very much out of proper contact, which
led to develop proper engagement and impulsion. So if we are able to dance with
our horse in harmony along the previous steps of the Training Scale, we have
covered all the requirements of a preliminary dressage test, and provided we
drive the test properly, should get great marks from the judges.
Before we move on to the next level—the intermediate
level which introduces collection—let us make sure that all our previous
lessons are well established. Since probably many of our readers may not plan
to move beyond the preliminary level, let us take a moment to review the
requirements of the two levels up to this point as stated on the dressage
tests. Usually all drivers read and study the movements which they are required
to drive in each particular test, but unfortunately few ever read the other
details on the tests.
Our dressage tests for the training level state:
“Purpose: To establish that the correct foundation
is being laid for the training of the driving horse requiring the green horse
to move freely and energetically forward in a steady rhythm in the working walk
and the working trot, while accepting the bit with relaxation, through
transitions and 40 meter circles. Increased engagement of the hindquarters
(impulsion) cannot be expected yet. This level is also intended to encourage
the inexperienced driver.
Instructions: Transitions are made through
the walk. Longitudinal stretch and moderate lateral bend are required
Gaits and Movements: Working walk,
Free walk on long rein, Working trot, Halt through walk, Rein back” (except
tests 1 and 2), 40 m. circle”
For the preliminary level:
“Purpose: To establish that the horse has
acquired a greater degree of balance and suppleness in addition to the
rhythmical, free forward movement expected at the Training Level. While consistently working towards the bit the horse exhibits more
activity of the haunches in his movement. To be demonstrated in:
Lengthened walk and lengthened trot. The rein back should show a greater degree
of submission than expected at Training Level.
Instructions: Horse must show correct
longitudinal & lateral bend & increased activity of haunches.
Transitions may be made through the walk.
Gaits and Movements: Working walk and
trot; Lengthened walk; Lengthened trot; Halt from walk or trot; 20 m. half
circle; Rein back” (for tests 1 and 3). Add for test 2: 30 m. circle; 20 m.
circle; Serpentine of 3 loops” and add for test 4: “30 m. figure eight; Shallow
serpentine of 3 loops from quarter line to quarter line.”
We have not talked about transitions, nor figures, nor the different gaits as they are not the
direct subject of the Training Scale. They are the details required of how to
drive the tests. The Training Scale’s aim is to help us train a horse how to
use those abilities; to help us develop the tools to execute the details,
although naturally we are using transitions and different figures constantly
during our training. Once we finish this series about the Training Scale, I
might talk about some of those things. In the meantime, I can refer you once
again to “The Manual of Driven Dressage” available from the American Driving
Society, which gives great answers to those questions beyond those which are
already provided in the ADS Rule Book Part V – Rules for Dressage Competitions,
the pink pages as well Part VIII – Rules For Combined Driving, the yellow
pages under Article 2041.
We can see clearly from the above quoted requirements
that we should be well able to handle those tests with the first five steps of
the Training Scale as long as we include roundness.
On to the next goal of Collection
and the next level, Intermediate.
“Purpose: To establish that the horse has
acquired increased suppleness, impulsion, and balance so as to be light in hand
and without resistance. While consistently accepting the bit, the horse
exhibits greater use of the haunches throughout his movement. The rein back
should show a greater degree of submission than shown at the Preliminary Level.
Instructions: Horse must show
increased amount of suppleness, responsiveness, activity of haunches and
accuracy. Transitions no longer through the walk.
Gaits and Movements: Collected trot,
10 m. deviation, 5 loop serpentine (4 loops in Test 3), 20 m. circle, Rein back
2 m. Halt 5 seconds.”
While we see that everything really is only a little
more of what we had already before, the main new item here is the collected
trot.
So then, what exactly is collection? In the
rulebook we find it defined in the pink pages:
“Article 106 – COLLECTION
(a) The aim of the collection of the horse is:
1. To further develop and
improve the balance and equilibrium of the horse, which has more or less been
displaced by the additional weight of the carriage.
2. To develop and increase the horse’s ability to
lower and engage his quarters for the benefit of the lightness and mobility of
his forehand.
3. To add to the ‘ease and carriage’ of the horse.
(b) Collection is, in other words, improved and
effected by engaging the hind legs, with the joints bent and supple, forward
under the horse’s body.
(c) The position of the head and neck of a horse at
the collected pace is naturally dependent on the stage of his training and in
some degree, on his conformation. It should, however, be distinguished by the
neck being raised and unrestrained, forming a harmonious curve from the withers
to the poll the poll being the highest point, with the head slightly in front
of the vertical.”
Now, when we read the above, we do see that collection
really is an aim all onto itself, and is not just limited to a collected trot,
but to some degree it is also present at a good working trot of a well trained
horse with good engagement. Therefore, even if you never plan to move beyond
the preliminary level, working on collection after you have mastered the
previous steps of the Training Scale, will benefit your horse. It is a further
step from, as well as already part of, engagement and impulsion,
as we will find when moving further onto the Collected Trot. So let us see what
we find there in the rulebook.
“Article 100 (a) COLLECTED TROT:
In the collected trot the horse is expected to move
with more impulsion and engagement than in the working trot. Therefore his
haunches must be more compressed, his loins more strongly coiled and his croup
lowered. As a result the horse’s neck and head will be raised higher and his
center of balance will be shifted permanently more towards the rear, thus
enabling the shoulders to move with greater ease and freedom. As the horse’s frame
is shorter than in other trots, his steps will also be shorter but must be more
elevated, and he appears lighter and more mobile throughout. Hollowing and / or
stiffening the back are severe faults. Only a moderate degree of collection
should be expected from a driving horse.”
The horse uses more of his energy to carry himself
more on his hind legs, making his front-end lighter rather than to move his
body forward as in the other gaits. We notice that it says above “his center
of balance will be shifted permanently more towards the rear.” Let us be
careful to understand this properly. Yes, we want his center of balance more
towards the rear, so that his forehand can become light, but in order to do
that, his hind quarters must take up more weight, carry the horse more, and get
more underneath the horse, so his hindquarter moves more forward. This however,
is very much the case for the ridden horse, which must support the weight of
the rider on his back, and in order to carry that with his hindquarters, must
get his hind legs up underneath of himself. We see that the rule states, “Only
a moderate degree of collection should be expected from a driving horse.”
This is exactly one of the reasons, and we will see more as we move along in
this chapter, the center of gravity from a ridden horse is normally near the
girths. With collection we want it shifted backwards to have the hind legs
carry more of that weight and to lighten the forehand. Now look at a driving
horse. He is not carrying the weight of a rider on his back; instead he is
pushing the weight of the carriage with his chest or shoulders. The actual
weight of the carriage is not above him, but far behind him; it needs to be
pushed with his chest and shoulders which are over, and in front of, his front
legs, so the effect of the carriage weight is really in front of him. Now we
want him to lighten his front end. How can he do that? By bringing his hind
legs more up underneath himself as the riding horse? Or, by also having to use
his hind legs to push off from behind, bringing them perhaps even behind
himself?
Let’s look at it this way: for a ridden horse, the
ultimate collection is the Levade, the movement from Airs Above the Ground,
where the horse balances himself just on his hind legs with the front legs
lifted from the ground, and all that with a rider on his back! Clearly carrying both of their entire weights on his hind legs
underneath himself. This could not be done with a horse pulling a
carriage. He would have to lean forward as you and I would when pulling a heavy
load. With that we see the main difference between a ridden and a driven horse
in collection and one of the reasons why only a very moderate amount of
collection can be expected from a driving horse. But we also see why the
heavier the carriage is, the harder it is for the horse to show any of that at
all. Never mind collection, even engagement and impulsion become harder to
reach, the heavier the carriage is that needs to be pulled. Thus for driven
dressage, I strongly urge you to use the lightest vehicle possible. The lighter
the vehicle, the less the horse has to pull, the better he can show impulsion
and engagement, and ultimately, collection. The lighter the load, the easier we
can dance together in harmony. Imagine having to dance with a heavy
backpack, or doing ballet while pulling a heavy hand-truck!
We also see that contrary to what many think, and what
we often see in driving, collection is not simply going slower! Yes, the
carriage would move slower, as the steps become higher and shorter, as each
foot stays also on the ground a very short amount of time longer as the hind
legs coil more, and the joints of it compress more to create the extra energy
required, in contrast to an extension where the amount of suspension, the time
in the air is increased. But the timing of the steps and their tempo should
really not be slower. Even though that is what we often see in driving, and what (unfortunately in my opinion) even the
definition of the Collected Trot under Article 2041 in the Combined Driving
Rules suggest. That definition comes from the FEI Rulebook, and it is my hope
that it might be made more clear in their next issue
of the rulebook.
“Article 2041 (FEI Art.
941) Movements
3. Collected Trot. The pace is slower than the
working trot. The neck is raised enabling the shoulders to move with more ease;
the hocks being well engaged. Impulsion is maintained notwithstanding the
slower movement. The steps are shorter and lighter and more mobile.”
I have no problem with any of these words, except I
think the word “slower” should refer only to the movement of the carriage, as
well as the horse’s body over the ground, but it should be made clear that the
word slower should not be connected to the tempo of the horse’s steps.
We find this difference in the Description of Gaits
under Article 28 of the Pleasure Driving Rules as well. However, there I have
no problems with it, as pleasure driving is another discipline with its own
well-established traditions. Also the requirement is clearly a different gait,
called the Slow Trot:
“Slow Trot: The horse should maintain forward
impulsion while showing submission to the bit. The trot is slower and more
collected, but not to the degree required in the dressage collected trot.
However, the horse should indicate willingness to be driven on the bit while
maintaining a steady cadence.”
So much for our rulebooks, and their
requirements and definitions for collection. In the next issue, we will
talk more about what collection means for us and how to get there. Then later
we will cover the final step, and ultimate goal, of the Training Scale:
DURCHLAESSIGKEIT = SELF CARRIAGE including Confidence
