I regularly publish articles on training in various publications, and have decided to reproduce them in my blog for all to read and enjoy. I hope you find them helpful.
THE PACES
No 1 The Walk
In this series of articles, I have decided to concentrate on the individual paces of the horse, the correct sequence and the basic requirements of each from a judge’s and a rider/trainer’s point of view. Dressage training is about the athletic development of the horse and the freedom and regularity of the paces is a fundamental necessity.
The walk is a pace with a four beat rhythm, that means that within one stride, four clear hoofbeats can be heard at regularly spaced intervals. The sequence of the steps is left hind(LH), left fore(LF), right hind(RH), right fore(RF).
When the hindleg is just about to step down, the corresponding foreleg on the same side is about to pick up. In a good walk, a clear “V” shape can be seen.
Because there are always at least two legs on the ground in walk, the pace is not considered to have impulsion, this is only present where there is an element of suspension , however it must have activity. The FEI rules define it as a “marching pace”, so a lazy or inactive walk, even if it is regular, will be marked down. So if on your dressage sheets you get the comment “lacking purpose” or “needs to march more” that would mean that the steps are correct but that the walk itself needs to be more active.
More commonly with Iberian horses however is the over active walk, or the short steps associated with a tight back or shoulder. Many Iberians tend to hurry and this, paradoxically, makes the steps shorter and quicker, covering less ground and leads to incorrect sequencing, pacing(see below) or jogging.
First of all, let us understand what is required in a good walk, then we will look at some of the possible problems and in finding the solutions we shall add to our repertoire of exercises those that specifically improve the walk.
WHAT ARE THE ELEMENTS OF A GOOD WALK?
There are four important requirements, the degree of which depends on the type of walk.
Rhythm
As already stated, the walk is a four beat pace, the rhythm must be regular , clear and maintained throughout.
Purpose
The walk is a marching pace, it must show a positive forward inclination.
Overtrack
The amount that the hindfeet touch the ground in front of the imprint of the forefeet is called the overtrack. The degree of overtrack depends on the type of walk. One observation however is that a horse with a large overtrack ( many warmbloods) may be difficult to collect, and may find work such as piaffe rather taxing. Horses with naturally shorter walks (many Iberians) find the collection easier, but may not ever be able to show the degree of overtrack of a technically “good” walk. The degree of overtrack depends on the horse and his natural reach.
In collected walk, there may be no overprinting, or there may be some, or in big warmbloods with huge walks, even in collected walk there is some overtrack. In collected walk it is more important that the steps remain active, and higher than in medium walk because of the greater degree of activity.
Overtrack in free or extended walk is expected to be clearly seen. Again it depends on the type of horse, a long backed horse will have a bigger overtrack than a short backed horse, which works against the Iberian. A "good" walk would show an overtrack of 12 to 18 inches, possibly more.
Stretch
This relates to the extended and free walks and demonstrates the relaxation and lengthening of the frame.
THE FOUR TYPES OF WALK
For the purposes of this article, I have concentrated my attention on the four recognised walks within the FEI definitions. In addition there is of course the suspended or Spanish walk, and I have included reference to this later in the article.
MEDIUM WALK
There should be the clear 4 beat rhythm, and the steps are free, regular and unconstrained. On the bit, purposeful steps, with a moderate overtrack.
COLLECTED WALK
In the collected walk, the horse stays in the correct rhythm, he remains active and forward, the neck will be more raised and arched, the poll the highest point, on the bit. The frame of the horse is shorter than in the medium walk and the steps are a little higher, the joints bend more, and there is normally no overtrack. It is important to remember that it is a collected walk, not a slow walk, the activity is greater than that of the other walks. This is the walk where the most irregularities are seen, and so it is vital to maintain the rhythm at all times.
EXTENDED WALK
The horse stretches his frame to its fullest, but retains a contact with the hand. Clear overtrack, head and neck lowers. The lengthening of the neck and freedom of the shoulder allows the opening of the frame and the stretch. It is a mistake to hurry the horse in order to show more purpose as this always results in a shortening of the frame and steps.
FREE WALK
This is where full relaxation is shown, the horse is allowed complete freedom to lower and stretch the head and neck forward. Clear rhythm, good purpose, definite overtrack and maximum stretch. There is little difference between the free and extended walk except that the extended walk remains on the contact.
In the standard dressage tests, at prelim and novice level, only the medium and free walks are required to be shown. Collected and extended walk are shown at the higher levels because they require a greater degree of training to achieve without destroying the walk.
COMMON PROBLEMS IN THE WALK
Number one on the list has to be faults in the rhythm. This is almost always caused by the rider. I wish I had a penny for the number of times I have seen a faulty walk in a test, then as the horse exits the arena he demonstrates the loveliest of walks. As a judge, believe me, it is heartbreaking as the rider will have lost marks in the test and in the collectives under the paces mark. Or how many times have you had issues in the walk, only to watch your horse stride across the field after work in perfect rhythm and balance? Infuriating? Maybe, but more importantly a major training fault.
Faults in the rhythm range from the odd irregular step, to jogging, or worst of all pacing or ambling. This is where the fore and hind limb on the same side move forward at the same time. There is no “V” and the walk becomes almost two time in the rhythm, in extreme cases it IS two time. Almost always caused by tension in the back, or the rider pushing the horse out of his rhythm or using too much rein contact.
Other problems are usually to do with the contact, the horse doesn’t stay on the bit, he nods his head too much, comes against the rider’s hand, or is resistant, curls down in the free walk instead of stretching forward to the contact, snatching at the rein are all examples of contact issues.
Finally even if the rhythm and contact are acceptable, he may still lack purpose, take too short or hurried steps, show no overtrack in all the walks, appear stiff in the shoulders, fail to stretch down in free walk.
EXERCISES TO IMPROVE THE RHYTHM
With a young or very green horse, working on small circles will help, or stepping over correctly spaced ground poles, working to classical music etc.
Walk-halt-walk transitions will help the idle horse to step under a little quicker, and will encourage lightness.
With the horse that takes short hurried steps, slow your body down to encourage him to follow your rhythm. Lengthen the rein and push hands forward to give more freedom in the neck.
With the older horse, lateral work is the most effective way to re establish rhythm. The best advice I was ever given with regard to a poor walk was “never walk in a straight line”.
Shoulder-in, travers, renvers, half pass, walk pirouettes all require the horse to concentrate and place the feet more carefully.
Walk slowly, focus on the correct walk sequence and think of slowing the front legs down.
Start with shoulder-in.
The horse should be on three tracks, with the bend around the inside leg.
Go from a shoulder-in to a half pass to encourage the shoulder to open.
In the half pass the horse retains the bend around the inside leg and looking in the direction he is going, the outside legs cross over in front of the inside legs.
Go from a shoulder-in to a walk pirouette to encourage more activity.
Alternate shoulder-in with travers or renvers to encourage more suppleness in the shoulders and hips.
Alternate the half pass with the leg yield to encourage more suppleness through the shoulders and hips.
Ride a half pass zigzag (counter change of hand) to encourage more suppleness through the ribcage.
EXERCISES TO IMPROVE THE CONTACT
Be sure that you are keeping the bit STILL in the mouth, and allow where appropriate with the hands forward. Always have a “forward thinking” hand, allow the horse to draw your hand forward and down.
In walk, there is always a degree of nodding of the head, the hand must allow for this and not try to restrict it. I try to think of it as the same feeling as when a child takes your hand and leads you to something, you follow and go with the leading hand, not pulling back, but also not losing the connection.
Keep your back swinging and do not restrict the neck.
Make sure the horse has accepted the contact before asking for stretching. When you allow the horse to stretch , as in free walk, or when you give with the rein, it is always a forward movement. You “give” forward, then “take” back to where you were in the first place, not take back and then give to where you were in the first place, which is a common mistake and results in the often seen fiddling or see sawing action of the less sensitive or educated rider’s hand.
Allow the horse to move naturally under you and do not lock your hips or lower back.
Walk – turn on forehand- walk will help to lighten the contact. Alternatively, walk-turn on the haunches- walk for the more advanced horse will not only lighten the contact but also elevate the forehand.
EXERCISES TO IMPROVE THE PURPOSE/STRETCH
Work the horse a little deeper than usual.
Go hacking and encourage him to stretch forward up hills and through muddy tracks.
Follow another horse with a good purposeful walk.
Use your leg aids alternately, to encourage a swing in the back and more forward thrust from hind leg.
Ride on the diagonal across the school, at each wall ride a half walk pirouette, then encourage him to extend the walk to the opposite wall.
The walk is the hardest pace to improve, and the easiest to ruin. A poor walk can always be improved, but a naturally good walk is a gift from God and must be carefully nurtured.
Spanish Walk
I cannot leave this subject without saying a few words about the Spanish walk. It is of course a gait that is very natural to the Iberian horse and has many advantages in training – it frees the shoulders and elevates the forehand – even though it is not a movement required in modern day competitive dressage.
There are many ways to teach it, but most find it easier to start on the ground, encouraging the horse to lift one leg, then the other to a touch with a schooling whip, and progressing to work under the rider.
It is important that the sequence of the walk is maintained whist the foreleg on alternate sides is extended towards the horizontal. The hindleg must not become lazy or grounded, it must remain active and forward. Straightness is paramount, there should be no swaying of the haunches, and the rider must remain still, not showing over exaggerated aids. The horse must use his back, not become hollow, otherwise the exercise loses its benefit as a suppling and strengthening aid.
I have found it most beneficial to use with those horses that do not have a naturally good walk especially where this is due to tension and restriction through the shoulder.
