Tag Archives: Dressage for Jumping

(Another) Clinic with Nancy Guyotte: Keeping your horse in front of the leg

Blogger’s Note: I am grateful to be a recipient of a 2015 Area I USEA eventing scholarship.  In my application, I indicated that this year may be one in which I focus more on training than on competing in the sport, and I asked for funds to help cover the expenses of training sessions with both eventing and dressage experts.  My recent ride with Nancy Guyotte was included as one of these training sessions.  I would like to thank the scholarship committee for awarding me with this funding and I hope that this blog will help to share some of my experience with others who are interested.

I recently had the opportunity to ride once again with Nancy Guyotte, an alumna of the University of New Hampshire Animal Science program, who returned to give a clinic for the UNH Equine Program at the end of the spring semester, 2015.  After working on my own for most of the winter, I welcomed the opportunity for some feedback and fine tuning from such an experienced coach.

Nancy discussing her ideas.
Nancy discussing her ideas.

One of Anna’s qualities, which can be simultaneously both helpful and frustrating, is that she is by and large “ho-hum” about most things.  New events and activities are not necessarily worthy of great energy or reaction.  This is a wonderful attribute in that you can be confident that most of the time she will remain sane and sensible.  However, she has never been one who has had a strong response to any of the forward aids, meaning that it can be incredibly difficult to get and to keep her in front of the leg.

None of us want to be “that rider”, the one who goes around kicking and thumping ineffectively on their horse’s sides, nor do we want to have to use the whip constantly.  We all know that, theoretically at least, we are supposed to use “light” and “invisible” aids.  But doing this is only possible when the horse has been properly conditioned to respond to these cues, which means that we as riders must be able to administer our aids precisely and accurately and then release them immediately, without nagging or holding too long.  Here is where riding well is simultaneously a skill and an art.

I think Nancy might be "helping" us off the ground here!
I think Nancy might be “helping” us off the ground here!

I asked to ride privately with Nancy this time because I have found that in clinic settings I am often riding with people whose horses have the opposite problem of mine—they need to be slowed or steadied, as opposed to moved forward.  The clinician then spends most of the session working on exercises which bring the horse back to the rider.  With Anna, the response to “whoa” is pretty good, especially when she is already behind the leg.  So when you do exercises such as, for example, halting in between two fences in a line, Anna only becomes more and more sucked back, and usually she begins to stop.  What I needed in this session were exercises that asked my horse to go forward and which improved the timing and accuracy of my “go” aids. I know that I am not alone in this, so if you ride a sometimes lazy and unmotivated horse, perhaps some of Nancy’s exercises will help you, too!

In watching Anna warm up, Nancy immediately noticed that she lacked suppleness and was reluctant to stretch through her topline and to let those muscles swing.  These issues can be difficult to improve on when the horse is reluctant to move forward.  Nancy suggested that there are two ways to help motivate a lazy horse during the warm up:  first, go into a canter in two point sooner rather than later and do many forward and back transitions within the gait; second, do lots of transitions between slower gaits (like walk and trot), asking once and if the response is lackluster, using the aids really strongly and then immediately letting them go. It is important to remember in either of these exercises that the response to the downward aids must also be immediate.  The goal is that the horse responds quickly to either the “go” or to the “whoa” aids. Further, one’s application of these aids ideally becomes less and less yet creates a greater response.

Nancy Guyotte 515 and Team Banquet 006

We tried each of these approaches with Anna, and the improvement was excellent.  One of the most critical pieces of guidance Nancy offered was to not worry so much about the position of the horse’s neck during the transitions.  At this point, being above the bit is acceptable.  As the horse becomes more forward thinking and their suppleness increases, they will also become softer in the topline and more willing to seek the contact.  This then creates the roundness in the transitions.  In general, I needed to keep Anna’s neck straighter and to use more outside leg on the turns in order to keep the connection correct.

I admit that I was a bit skeptical of the’ transitions between slower gaits’ exercise.  It has always been counterintuitive to me to come all the way to the walk and then to ask the horse to go forward, since the walk by definition lacks impulsion.  The other thing with Anna which has been challenging is her utter lack of concern regarding the whip.  Most young horses that I have worked with are aware of the whip and most respond to its presence alone by increasing their speed; it is only over time and use that they become desensitized to it, hopefully in a positive way, one which results in their appropriate response to its use.  To say that Anna is unimpressed by a whip is an understatement; even the very first session that I carried one with her resulted in a minimal response.  It takes a significant amount of application before its use elicits any response at all;  to “tickle” her with the whip is not a useful technique.   So when you decide to use the whip to back up your leg aid, the timing of its use is critical, and you have to commit to getting a response.  Years ago, when I was a working student for Lendon Gray, she said it was far more humane to make your point once and be done than to nag a horse with your aids.  This is certainly the case with Anna and the dressage whip.

So what Nancy really had me work on improving through the use of the transitions exercise is the timing of my aids in the transitions.  No sooner had the transition been made than we were working on the next one.  For the first several transitions, Nancy had me take both reins into one hand and use the whip strongly behind the leg, but then immediately let go. It is the letting go that is the hardest part of the transition, I think.  I find that I want to keep supporting or squeezing with the leg aids, even if the response was good, instead of expecting Anna to carry me forward.  But the other place in which it is possible to hold for too long, and therefore dull the horse’s response, is in the downward transition.  This might be in the use of the rein aids, which would seem fairly obvious, but also in the use of the seat.  If you want your horse to maintain their energy through the downward transition, be sure that you aren’t inadvertently holding too much with the seat.  Check to see that your hips and lower back still flow and that you aren’t gripping with any muscles that need to stay soft.  I know all of these things, and I thought I was doing a pretty good job in executing them, but Nancy reminded me that we are always working to be even better and even faster.  The trick for me was figuring out how to be faster at releasing without releasing so much that I was dropping the aids all together.

Anna took great offense to these fake flowers at first!
Anna took great offense to these fake flowers at first!

We also worked on a variation within the warm up, taking advantage of Anna’s ability to do clean flying changes.  After doing some forward and backs in the canter, we then started riding a half circle back to the track with a flying change at the end, followed by a transition forward and back within the canter to another half circle to the rail and flying change in the other direction.  The half circles were smallish, between 12 and 15 meters.  The purpose of this exercise was twofold:  first, to get Anna thinking faster by making a series of changes in gait, direction and balance and second, to improve the turning from the outside aids.

Once we began the actual jumping work, Anna was staying reliably in front of my leg and therefore the exercises felt easy and do-able.  As always, it is impossible to adjust a canter that is not forward thinking, so any attempts to manage timing at the fences are futile without a forward thinking canter.  I think this session was a good reminder of the fact that horses don’t usually have jumping problems so much as they have canter problems.  When you improve the quality of the canter, you then improve the quality of your performance over fences.

At one point, Anna had become so forward that she was starting to motorcycle a bit around corners and turns.  To address this, Nancy had me work on another exercise which combined turning, transitions and improving the responsiveness to the aids.  Starting on the long side in the canter, I rode a transition to the walk and then immediately rode a turn on the haunches followed by a canter transition in the new direction.  Again, the purpose at this time was not to execute a flawless, round, dressage test worthy turn on the haunches but rather to improve the responsiveness to the outside aids as well as increase the suppleness through the inside rib cage.  We progressed to riding the whole exercise in the canter, so the half turn on the haunches became a small circle around the inside leg with a flying change at the rail.

This exercise clearly showed me that Anna is stronger on her left hind than her right, as the turns flowed more easily with the left hind as the strike off phase of the canter stride.  I would never have thought of using this kind of exercise to improve her jumping work, even though I am familiar with it.  I would have assumed that because she isn’t reliably in front of the leg and that the quality of her gaits and connection while doing this exercise would not be good, that it wouldn’t be an appropriate exercise for her at this time.

I was reminded, yet again, that sometimes you have to use the exercises and movements themselves to help to teach the horse how to do them.  Even if the execution is not perfect, or the horse isn’t “round enough”, sometimes it is helpful to use the exercise as a tool and then you can improve the details later.  I remember working with another clinician, Verne Batchelder, with Lee some time ago.  Lee has always struggled with connection issues, and he said that there were many trainers who would just keep her on a 20 meter circle until the connection improved.  His philosophy was to use movements, and to allow the connection to develop as it would through the use of those movements.  Verne said that otherwise what you end up with is a fifteen year old training level dressage horse who can only do twenty meter circles.  His point was that sometimes to get to where you want to go, you have to take another way around.

This particular session left me with new ideas and new inspiration to take back to the laboratory to experiment with.  I will definitely be working to discipline myself to do less with the leg and to be quicker in the timing with my aids.

A Clinic with Nancy Guyotte

On December 15, 2014, the U of New Hampshire Equine Program hosted a jumping clinic with eventing veteran Nancy Guyotte.  Nancy, of Hill, NH, is a graduate of the UNH Animal Science program and was involved with the early years of its now well established horse trials.  Of course, Nancy also went on to great personal success of her own as an eventing rider, coach and breeder.  Our students very much enjoyed having the opportunity to work with her; I was also able to squeeze myself into one of the groups, which was great fun and a positive experience!

Getting Started: Connection and Suppleness

In my personal experience, taking a clinic with someone new can be a nerve wracking undertaking, particularly when the focus is work over fences.  I have absolutely had the experience of riding with a clinician who simply raised the fences higher and higher, assuming I guess that it is everyone’s goal to jump large obstacles, even if they do so poorly.  I like to be challenged and to learn new exercises, but I don’t want to find my horse overfaced with the questions in front of us.

I think it is hard for clinicians as well, especially when they are coming in cold and don’t totally know for sure what the expertise level will be of the riders they are working with or the caliber and training of the horses.

Therefore, I wholly appreciated that after a brief round of introductions and review of equipment, our session with Nancy began working with cavaletti and flatwork.  Nancy wanted our group to focus on suppleness, responsiveness, adjustability and connection in our flat work, which are also important qualities to bring forward into the work over fences.  In my own instruction, I try to help my students to make this association as well—because for many riders who like to jump, flatwork is just what you do to warm up, not the main focus of a ride.

Anna warming up.
Anna warming up.

After a working in phase of work in walk, trot and canter, Nancy began to focus more directly on each horse’s lateral and longitudinal suppleness as well as the overall connection from hindquarters to the bridle.  Two exercises were particularly helpful for me.  The first was using a bit of counter-flexion with a leg yield of just a few steps to the inside to get Anna more even between both reins, as opposed to overflexed in the neck without bend through the ribcage (a favorite evasion).  This mini-exercise is used as a microadjustment, a rebalancing of the aids, and it is super effective.  Another exercise that Nancy had the group work on was turn on the forehand.  I don’t school this movement frequently, though I do use other forms of leg yield and turn on the haunches.  Turn on the forehand can help improve the connection to the outside rein as well as the engagement of the inside hind.  If your horse gets stuck, you should step forward for a few strides and then return to the turn.  You can also think about riding a small circle with the hind legs, and a smaller circle with the front ones, rather than making the turn be completely “on the spot”.

As our group rode the turn on the forehand, most of us would do 180 degrees and then leave the movement.  Nancy reminded us that you can go 360 degrees around, or even just keep your horse in the movement until you are satisfied with the result.

An Eye for Detail

Once the horses had worked in, we began working over a straight row of four cavaletti poles.  If you do not have traditional cavaletti (the kind with an “x” at the end), it is important to try to use square poles which cannot roll or to brace round rails with plastic blocks or other similar tools.

Nancy set up a row of cavaletti at a distance of 4’6” on centerline; we walked through the rails first and then proceeded to the trot. At this distance, the horse should put one trot step in between each of the rails.  The advantage of using centerline is that you can reverse directions after each approach and therefore work the horse equally on both sides.  The challenge is that it then becomes harder to keep the horse straight.

Working through the cavaletti.
Working through the cavaletti.

I have usually allowed my horses to stretch and reach a bit over cavaletti rails, but Nancy pointed out that when Anna did this, she was taking advantage of the rails as an opportunity to become disconnected.  Nancy encouraged me to take a bit more time prior to coming through the rails to really get Anna through and over the back, and then reminded me to keep my lower leg on as we came over the rails.   With successive repetitions through the rails, Anna began to more consistently remain connected and increased her activity.

Next we moved on to work over a fan of three rails.  In a “fan” pattern, the rider approaches the rails with bend through the horse’s ribcage, as opposed to the straighter line taken through rails on the center line.  The inside rails of the fan are closer together, while the outside rails are spread further apart.  In this case, Nancy placed the rails such that the center to center approach was at 9 feet.  This meant that the horses could trot through the rails, taking two steps in between each, or canter through in a bounce stride.  Depending on the horse’s natural length of stride, fading to the inside of the fan or pushing towards the outside might make the exercise easier.  However, Nancy emphasized the importance of being able to create the middle canter, and to be able to maintain the bend, balance, connection and energy through the center of the rails.

Coming through the fan.
Coming through the fan.

Though this sort of exercise sounds as though it should be rather easy, the reality is that to keep each component of the horse’s gait and body position wholly under control of the rider is actually quite difficult.  The horses in our group tended to start over the first rail straight (so, perpendicular to the center of the rail) but then veered off on a tangent, rather than remaining connected, bent and engaged through the inside hind leg.  With successive repetitions, each of the horses became more consistent through the exercise.  Nancy remarked that she actually keeps an exercise like this set up in her arena most of the time, so that it can remain a regular component of her schooling.

Eventually, the center element of the fan became slightly elevated, and we began to approach the first rail in trot but then ask for the canter as we crossed the third rail.  Finding the timing for this aid was most possible when the approach into the exercise was correctly executed.

What I most appreciated during this segment of our session was Nancy’s impressive eye for detail.  It was always the most subtle things which made the biggest difference— for example, lowering the hands slightly or supporting with the lower leg more consistently. As always, the constant focus and attention on basics is essential for success.

Moving on to Jumps

These preparatory cavaletti exercises were actually quite demanding on the horses.  On the one hand, work over cavaletti can be less arduous than actual jumping and therefore represents an excellent method to work on jumping related skills without adding wear and tear on the horse.  On the flip side, these kinds of exercises require the horse to consistently and deliberately flex and then engage the hind limbs, as well as add greater elevation to the forehand and shoulder.  The stress of the exercise is cumulative.  Muscles become fatigued and then mistakes can be made, which is when injury might occur.  So it is important to find the balance.

After our preparatory cavaletti work during this session, we moved on to working over a few fences.  Essentially, we began over the fan, and then maintained the bouncy canter which the exercise had created to a modified oxer.  From there, it was an immediate bending line, then a related distance on the diagonal.

On course!
On course!

Again, few repetitions were necessary but details were important.  Nancy pointed out that though Anna has a lovely flying change, sometimes she uses it as an excuse to not remain connected, and has a tendency to try to swing the haunches.  I have a bad habit of raising my hands on the approach to a fence, which of course just ruins the canter, and Nancy reminded me to keep the hand low and allow Anna to come forward at the fences.

Take Home Thoughts

At this time of the year, when we are stuck indoors and usually are sharing our ring space with other users, it can be a real challenge to keep jumping skills tuned up or set a full course.  The use of exercises such as those which Nancy used in this clinic can be a great way to provide some relief to the monotony of the arena while also helping to polish jumping skills.  In fact, most of the exercises we practiced would be quite appropriate for any horse and rider, whether they jump or not, to help maintain fitness, improve the development of a correct connection and build strength.  I have already begun incorporating one day per week of cavaletti work into my routine and hope that through its use I can further improve Anna’s connection and swing.

The Tamarack Chronicles: Volume V

Even though two of three phases at a horse trials involve jumping, the fact is that to be competitive you must be good at dressage.  It used to be that an accurate, steady test would be enough to put you in the top six after dressage, but now that same performance will usually leave you down the leaderboard, behind those riders who have really learned to embrace the Training Pyramid (and/or who have a better mover than yours, sorry to say).

Another important observation is that if you want to be safe on cross country and to leave the rails up in show jumping, you must be able to rider your horse’s canter.  And to do that, the rider must first understand what kind of canter she is looking for and to teach the horse to work in that place.  Essentially, the canter must be adjustable.  This means that the horse both understands how and is willing to move powerfully forward in a longer stride while maintaining balance and also is able to compress and engage without losing power.  This is not a skill you teach a horse by jumping a million jumps.  This is a skill you teach a horse by riding a million tiny transitions.  ON THE FLAT.

Working on the canter, during warm up.
Working on the canter, during warm up.

While I haven’t yet put away my jumping saddle for good, I will freely admit to the fact that I actually ENJOY riding dressage.  However, I know that for many jumping riders, the “d” word (dressage) is just as much of a swear as some others and they work in the sandbox only under duress.  But the fact is that if you want to be a better jumping rider, you need to also better your dressage skills.  As Denny says, most horses don’t have a jumping problem, they have a canter problem.

Here at Tamarack, we have touched on many different themes during our dressage lessons.  Below is a brief summary of several of them.

Warm Up is the Most Important Part of the Ride

Denny attended a clinic with famed international coach Klaus Balkenhol, where he audited the sessions.  One of the messages he heard there which has stuck with him is that most riders hurry their horse’s warm up.  This is especially true in the dressage, but is also relevant to jumping.  The rider gets on, walks a lap or two of the ring, and then will start to pick up the reins and fuss and fiddle with their horse.  Balkenhol remarked that the warm up is the most important part of the ride, as it confirms that a horse’s muscles are supple and loose and ready for the day’s work.

Most horses living in the northeastern states do not have access to unlimited turnout.  Yet this is a species which has evolved to take thousands of steps per day.  Being stall bound is a necessary evil for many horses, but it is counter to the needs of equine physical and mental health. When we as riders are overly earnest, thinking about an upcoming competition or even just what we want to accomplish in our day’s ride, we do our horses no favors by forcing them into a connection when they are not yet ready.

Here at Tamarack, it is expected that you will walk your horse on a loose rein for about ten minutes before beginning to ask them to connect and work at a stronger pace.  Often times, this “walking warmup” can occur outside of the arena, by going on a short hack.  Once the rider begins her work, it is important to still take time as the horse’s muscles begin to warm up.  For example, Denny often warms up in the canter in a light seat, even when in a dressage saddle, to allow the topline time to loosen.

Hacking out with friends to loosen up prior to a cross country school at Tamarack, 2012.
Hacking out with friends to loosen up prior to a cross country school at Tamarack, 2012.

Don’t think of the warm up as just something to get through.  If breakfast is the most important meal of the day, then your warm up is the most important part of your ride.  Just as we do not expect a child to focus in school when they have not been properly fueled, it is only when the horse’s muscles and mind are properly prepared for the work head of them can we expect their best effort.

Do Not Over Do

The challenge in developing dressage skills comes from finding a balance between asking the horse to push a little harder, engage a little more, be a little bit rounder or more supple, etc., without drilling.  Riders who specialize in dressage are stereotyped to have, shall we say, a bit of an “attention for detail” and this can lead to a habit of drilling movements on their horses.  Horses that associate the dressage arena with dull repetition and unrelenting demands are unlikely to be able to demonstrate the mental and physical relaxation that leads to supple, loose muscles, free forward movement and ultimately schwung, cadence and expression.

DressageArenaLetters

Denny compares the work in the dressage arena to body building at the gym.  If you are looking to “bulk up” your muscles, you will need to start with weights that are just a little bit hard to lift, and do enough repetitions to cause stress but not so many as to cause strain.  From there, you build, slowly and gradually, as the body adapts to the increased demands.  You also don’t usually work the same muscle groups day in and day out—muscles need rest periods in order to repair and grow stronger.

If you use this same philosophy in your dressage work, you will be able to condition your horse’s muscles, tendons and ligaments to be able to handle increased demands and pressure.   The growth will occur in a systematic manner, and the horse should never get to the point of feeling fried.

UNH Event Camp, 2011
University of New Hampshire Event Camp, 2011

Put yourself back in the gym again.  Imagine your least favorite machine or exercise.  Now imagine that, no matter how hard you have pushed, how many reps you have done, or how much your muscles are screaming for a break, your trainer kept demanding more and more and more, well beyond what you were capable of doing that day.  How will your body feel afterwards?  How likely are you to return to that trainer and that gym?  Realistically, you will be miserably sore and the next time you have a notion to go to the gym, you will likely hit the couch instead.

It seems so obvious that this approach is not the best way to improve strength and fitness, yet well intentioned riders do this exact thing to their horses every day by over-doing, repeating exercises too many times, and drilling on movements.

Denny says that if you think of dressage work as body building for your horse, you will be less likely to overdo the work.  The horse must know that the end is in sight and that the goals are attainable.  Work your horse in short sets with rest breaks. Change directions regularly.  Be happy with little and reward often.

Use the Canter to Improve the Trot

Denny says that a common mistake that many riders fall into when practicing dressage is to spend a disproportionate amount of time working in the trot, while disregarding the canter.  If you want your horse to become more adjustable for the jumping work, well, then you need to practice the canter on the flat.

Denny uses the “hoof print game” in his canter work on the flat (as well as when warming up for jumping).  Pick a point out ahead of you and ride actively towards it; Denny suggests using one of the doubtless hundreds of hoof prints in the footing.  Practice getting to that point with a count of 3, 2, 1.  Doing this will cause you to activate the horse’s canter with your leg and also to create balance in the canter by using your seat and upper body.

Anna at her first show, Sept 2010.
Anna at her first show, Sept 2010.

In addition to the benefit this will give you in terms of your horse’s overall adjustability, when the canter becomes connected and energetic, this will transfer over into the trot work.  All horses which demonstrate a true, two beat trot have a moment of suspension in every stride, when the diagonal pairs of legs switch positions.  With increased thrust from the hindquarters and swing in the topline, this moment of suspension becomes slightly longer.  This increased engagement and thrust creates a better quality of gait.  Of the basic gaits of the horse (walk, trot and canter), it is the trot which is most able to be improved upon.  Use your canter work to create the energy you need for better trot work.

If you Want Your Horse to Move Like a Jaguar….

In dressage, it is easy to become overly focused on what the horse’s body is doing, when the reality is that how they move is often a reflection of how the rider is (or isn’t) moving.  I teach my students that in the free walk, the horse should be moving like a jungle cat—supple, loose, slinky.  The challenge is to then take that feeling of losgelassenheit into the rest of the gaits.  But we can always come back to that jungle cat imagery.

"Mountain-lion-01623" by K Fink - NPS. Licensed under Public domain via Wikimedia Commons - http://commons.wikimedia.org/wiki/File:Mountain-lion-01623.jpg#mediaviewer/File:Mountain-lion-01623.jpg
“Mountain-lion-01623” by K Fink – NPS. Licensed under Public domain via Wikimedia Commons – http://commons.wikimedia.org/wiki/File:Mountain-lion-01623.jpg#mediaviewer/File:Mountain-lion-01623.jpg

Many times, if we as the rider imagine a feeling in our body, it is possible to steer our horses towards replicating that movement in theirs.  For example, if you want the horse to move in a specific tempo, that tempo should become your posting beat.

Sometimes the harder we try as riders, the more we impede our horse’s performance.  It is essential that the rider works to create elasticity and suppleness in her own body, in every joint (elbows, shoulders, and hips, especially), while not going to the extreme of being a floppy rag doll.

“If you want your horse to move like a jaguar…then you need to move like a jaguar,” says Denny.

In order to develop this suppleness, riders must also cultivate strength.  Why is it so hard to sit to the trot?  Well, it is a symmetrical gait with a moment of suspension, and the mechanics of its movement cause the horse’s topline to rise and fall with that rhythm.  To appear still on a moving object, in this case the horse, the rider must move their body in perfect coordination with the horse’s body.   Watch a dressage rider sometime—even though they appear to be immobile, look at their joints, and you will see movement.  There is a unique push and pull required between suppleness and strength.  This is not easy to master.

Working on suppleness.
Working on suppleness.

The other piece here is that riders must learn to think of themselves as athletes.  Athletes, by definition, are fit.  Denny isn’t saying that someone needs to be rail thin skinny to be fit—he points out that 300 pound football players are athletes while someone else might be 100 pounds and bedridden.   Riding is an athletic endeavor.  You cannot expect your horse to be an athlete if you are not one yourself.

The “A-Ha” Moment

Just this past week, I had one of my biggest “a-ha” moments on Anna in terms of developing her work on the flat.  Anna gets a lot of points for being “cute” and is the queen of the balanced, steady test—we generally receive comments along the lines of “needs more forward energy” and “needs more suppleness/bend”.

Denny has remarked several times this summer that there are two horses in Anna; one who moves in little pony gaits and another which can move in a more elastic and fancy manner.  He says that I need to become more assertive with my aids, in particular the outside rein, in order to keep her working more honestly over and through her topline.  She has a tendency to bulge her shoulder and push her nose out, just a little bit, and therefore escapes being truly round and connected.

Denny has actually gotten on Anna a few times, and within fairly short order, I see her transform into the fancy mover.  But somehow, when I have gone to work Anna on my own, I am not quite so quick to find this version of my horse.  Instead, she has been resistant, as in my efforts to be more assertive with the outside rein instead I had become restrictive.

The “a-ha” moment came when Denny rode alongside me and said (again) that I needed to have her more onto the outside aids, and to use my ring finger to give the aid.  Hold the presses.  He has said this same thing countless times before, but for whatever reason, at that moment, I realized that instead of using primarily the ring finger, I had tensed my pointer and middle fingers as well.  This had created a pulling pressure on my horse; once I noticed that I was holding too much with all of these fingers, I also noticed that my wrist was locked and forearm muscles tense.  As I released all of this restriction, there came my horse onto the outside rein.  Magic.

The End.
The End.

This experience only serves as an excellent reminder that our bodies do things all the time that we are not aware of, and which impact our horses in a negative way.  It only shows that we riders really DO need to be athletes so that we can continue to develop precise and specific control of our body’s movements.