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Added 1-23-2008
Bob Avila: How to Spot Balance in a HorseLearn how to spot balance in a
horse--and how it can affect athleticism.
By Bob Avila with Sue M. Copeland
If you're shopping for a performance prospect (or any horse), up your odds for success by choosing one that's balanced.
What do I mean by that? I mean all his parts and pieces fit together like a jigsaw puzzle, resulting in an overall picture
that exudes athleticism. It's simple: Balance and athleticism go hand-in-hand.
After all, regardless of what you do with your horse, be it trail riding, reining, or riding the rail, athleticism will
make his job easier for him... and thus for you. When his job is easy, he's less likely to resent it, and more likely to stay
sound.
So how do you spot balance? I'll show you here. I'm going to present three different horses, each showing varying degrees
of balance. I'll explain what I look for from a conformation standpoint, then I'll show each at the lope. I call that the
"money gait"--it tells you right away about a horse's balance and athleticism (or lack therein). Ready? Let's roll.
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| Photos by Cappy Jackson |
HORSE #1
1A. This young stallion has the "X factor," the kind of look that makes you go "Wow!" No small
part of that is due to his exceptional balance; this horse looks like an athlete. If you were to divide his body into three
parts (head and neck, shoulder to flank, and from the flank back), they all fit and blend together beautifully.
His gorgeous head flows into a long, well-shaped neck that ties high into his chest with clear definition. Despite the
fact he's lifted his head in response to our "ears up!" request for this photo, you can see how level his neck comes out of
his withers. That'll make it easy for him to have the flat-necked topline that makes balance natural when he's moving, too.
(My rule of thumb? Low neck equals high back,which means that collection,which requires raising and rounding the back, will
be easy for him.)
He has a short, strong back that ties smoothly into a strong loin and a strong, long hip. Adding to the picture of balance
is the fact his shoulder and hip match in length and proper angle, giving him the drive (from his hind end) and reach (from
his front end) necessary for the kind of flat-kneed, sweepy movement and athleticism that wins.
His hocks are low to the ground and directly beneath the point of his hip, rather than positioned out behind him. (Drop
an imaginary line from his point of hip, down his hock and cannon bone--it's perfectly straight and correct.) When a horse's
hind legs are built like this, it translates into power: It's easy for him to reach beneath his body and propel himself forward,
or to sit down over his hind end for stops and turns. A horse whose hocks are camped out behind him has trouble reaching beneath
his body, making everything harder for him than for a horse like this.
1B. Balance in action! If you thought this horse looked athletic standing still, just look at him here. Talk about
athleticism! His off (left) legs are suspended in the air and nearly touching, and his right front leg is reaching out in
response to the thrust from his powerful hind end. He's floating across the ground.
You can see how easy collection (look how round and elevated his back is) and athletic maneuvers will be for this horse.
He could instantly sit down over his hind end for a pluspoint stop or rollback. And when a horse is this balanced and can
reach beneath his body with his hind legs like this, lead changes are easy for him. This, my friends, is why I'm all about
balance.
HORSE #2
2A. Compare this roan mare to Horse #1. No contest. To me, she's "just a horse," meaning she's average
in her build. Her neck ties into her withers fairly level, but is shorter and lacks the shape of the young stallion's. She
has a nice shoulder and wither, but a long-ish back, which, coupled with her short neck, makes her less balanced than Horse
#1. (It'll also make collection harder for her.)
Her hip has good length, but look at her hocks; they trail out behind her a bit. (They poke out behind that imaginary straight
line dropping down from her point of hip.) That will make it harder for her to reach beneath her body with her hind legs,
for maximum power, collection and athleticism.
2B. I rest my case. Sure this mare is capable of doing her job, but it's not as easy for her as it is for the stallion
(something her expression tells you!). She lacks the drive and reach of that horse (look at the distance between her off hind
legs compared to his). That's because her back is longer and her hocks are farther out behind her. Good riding and training
can help her, but she's just not as balanced--and athletic--as Horse #1.
By Bob Avila with Sue M. Copeland
HORSE #3
3A. Now compare this mare to Horse #1. What a difference! She looks like three different horses stuck
together. While I like her kind, soft eye, her neck ties low into her chest and has no definition. The fact that it's heavy
on the underside means she's going to be naturally high-headed.
To me, a high neck equals a low back, which makes collection (and balance and athleticism) hard for a horse. That kind
of neck tie-in also blocks shoulder reach; her straight, short shoulder won't help it, either.
She has a l-o-n-g back, and a hip that lacks the length she'll need for power. And look at her hocks; they're lagging out
behind her hind end. I know from experience that a good brain, a great heart and trainability can help some horses with less
than ideal builds overcome their deficiencies and be standout performers. But you can see that this mare is going to have
a harder time doing anything athletic than the other two horses here. She's just not built for it.
3B. This is a lack of balance in action. I'm helping this mare every way I can, and she's trying for me, but you
can tell it's not easy. She and Horse #1 are in the exact same phase of their lope strides. But her long back and drag-y hocks
make it impossible for her to round her back and compress her body like a coiled spring, as the young stallion has. Look at
the distance between her off legs compared to his! His right front leg has so much reach it's still suspended, while hers
is already slapping the ground
Look, too, at how soft his expression and my contact are. He doesn't need to lean on the bit to balance, because his conformation
makes balance natural to him. She, however, is leaning on the bit in an attempt to hold herself up. If I were to let go, she'd
tumble onto her over-weighted front end.
Everything is a struggle for her. And when it's like that, even the bestminded horse can become resentful over time. Soundness,
too, can suffer. That's why, when shopping for an athlete, stack the odds in your favor. Buy balance!
Bob Avila's contributions to the Quarter Horse industry were recognized in 1996, when he was named the AQHA Professional
Horseman of the Year. In June 2006, Bob took both All-Around Stock Horse Champion and reserve champion honors at the Magnificent
7 competition at the Western States Horse Expo, which features seven of the world's most skilled horsemen. His Avila Training
Stables, Inc., is located in Temecula, Calif. He is a member of Team Horse & Rider.
This article originally appeared in the May 2007 issue of Horse & Rider magazine
Added 6-27-07
Memorize Those Patterns! Use these step-by-step techniques to help memorize
your horsemanship patterns.By Carla Wennberg
AT HOME
- Collect patterns of your event from past horse shows and/or magazine articles. Practice the maneuvers, especially the
areas of potential weakness, such as turns and transitions. Proficiency in these areas is what makes your patterns flow.
- Select a pattern, and break it down into separate maneuvers. Then abbreviate each maneuver by its first letter or by the
figure it makes. In other words, a jog/circle right/ circle left/turnaround can be J/ Figure 8/360. Write out your code and
memorize it. You can also color code the pattern - pink for walk, yellow for trot/ jog, and blue for lope/canter.
- Close your eyes and mentally "ride" the pattern, actually "seeing" the markers. Visualize lead changes, transitions, moving
forward in your turnaround, and any problem areas you may have. As you do, develop a strategy for keeping your go smooth.
Then verbalize your go to a helper, telling him or her exactly what you're "seeing."
- Walk through the pattern on foot, without your horse.
- Perform the pattern with your horse, recalling the mental imagery you used in Step 3.
- As soon as you have the routine down, time each practice session. Set yourself a limit, and gradually reduce the time
it takes to 15 minutes. This will help your time-management on competition day.
- Bear in mind that training and preparation are homework. Everything you practice helps you work toward perfection.
AT THE SHOW
- When the pattern is posted, write it out yourself, so you can construct an accurate mental picture. Read between the lines.
If a pattern reads, "Back three steps," it means the judge is a stickler for perfection. If cones are used, the judge is looking
for precision in your transitions.
- Don't vary your memorization techniques just because you're at a show. Rehearse the pattern with your personal code and
mental imagery method that you developed at home.
- Familiarize yourself and your horse with the arena environment before you perform. If you can warm up in the show pen,
do so. Learn where the trouble spots are, such as mud, billowing banners, windblown tents, potted plants, and uneven footing.
Prepare yourself for, and desensitize your horse to, these potential distractions.
- Find a quiet place to concentrate for a few minutes before your class. By calming your mind, you'll help your memory.
- If you still blow your pattern, forget it. Don't crucify your horse for any mistakes. Every time you school and "scare"
your horse, you take away the trust you need in the show pen.
- Once you've performed a pattern, eliminate it from your mind, so you can focus on your next class.
Carla Wennberg is a well-respected AQHA judge and former director of reining for the United States Equestrian Team.
Added 1-8-2007
Maintain a Winter Riding Program
Riding during the winter
months will stave off the blues and give you a leg up on the competition when the show season resumes.
By David Wyatt
Yes, the weather is bad, the big shows are over, and spring looks a long way off. But is an extended break from riding
good for you and your horse? Not if you're serious about the sport! Successful trainers and riders maintain winter riding
programs to preserve physical condition and prepare for the coming season, which, in reality, is only weeks away and approaching
fast.
Even if you aren't a pro, maintaining a regular riding schedule, even a modified one, is important for the physical and
mental health of you and your horse. Winter riding is more difficult, especially in the northern states, but four to six hours
in the saddle per week during the winter months will help you stave off the winter blues and give you a leg up on the competition
once the shows start again. This is also important for establishing a work ethic in young horses and children's ponies, who
are especially vulnerable to training roadblocks following long lay-offs. Following are a few things to keep in mind to help
you stay in the saddle during the long stretch of winter.
Plan your riding time wisely. Cold weather means longer driving time to and from the stable. Once there, your horse
will need longer warm-up cooling-out periods. You may also have to compete with others for indoor arena time. Knowing when
the peak times are and strategically working around them can enhance your convenience and success.
Warm-ups. Cold muscles are especially susceptible to injury. This is true for horse and rider. Stretching exercises
and longer warm-ups are important for maintaining physical condition in cold temperatures, even longer if the horses aren't
getting turned out due to weather conditions. Older horses may require more special treatment recommended by your veterinarian.
Sometimes the solution can be simple, such as quarter sheets, which are useful for letting a horse's major muscle groups warm
before strenuous exercise and preserve heat during chilly breaks.
Longeing should be done carefully and kept under control. Letting a horse get his bucks out on a small longing circle
in cold weather can result in a serious injury and a long recovery.
Groom your horse thoroughly. This helps cold muscles "wake up," and prepare for the work ahead. Be sure to check
hooves for packed snow and ice.
Clipping speeds cooling-out time but robs the horse of natural thermal protection. A trace clip (throat, shoulders,
belly, and flanks) helps keep a horse cool during workouts while preserving most of its coat. Clipping, no matter what the
style, makes winter blanketing a necessity.
Warm the bit and saddle before tacking up. Heating pads and hot water bottles are inexpensive and effective tools
for warming frigid tack. Your horse may not tell you, but he will appreciate this simple consideration of his well-being.
Tangling hazards. As always, keep riding areas clear of ropes, halters, tractors, wheel barrows, open doors and
gates can cause injuries in indoor riding areas.
Avoid riding in dusty arenas! Keep dust down with regular watering or safe chemical treatments to prevent breathing
difficulties associated with arena dust. Ride out of doors when weather permits.
Avoid strenuous work below 20 degrees F. Consult your veterinarian about special considerations for your particular
horse.
Water. Make sure your horse is receiving adequate drinking water, that buckets are clean, and not frozen over. Regardless
of the season, a dehydrated horse can't perform, will eventually become ill, and may die.
Trailering. If you trailer to your rides, make sure your equipment is in safe working order. Check all fluid levels
and the condition of tires before setting out on any winter adventure. Make sure trailered horses aren't exposed to drafts.
Wind chill affects animals just as much as people.
Respect others. Indoor riding means working around others, which can mean some delays. Patience is a valuable asset
in the winter months.
Don't overload electrical circuits! Shorter winter days means lights, coffee pots, and heaters will stay on more
than other times of the year, raising the risk of stable fires. Turn unnecessary lights and appliances off when you leave
the stable.
Set goals! Regular lessons, clinics, and schooling shows can keep you focused on riding and staying in the game.
When you stay busy and involved, winter vanishes quickly and you and the new competition season will be better prepared.
Added 11-20-2006
Types of Bits
Most tack stores offer a bewildering array of bits for sale. Knowing what each of them is will help you decide
which type of bit is right for your horse. By Jayne Pedigo
Too Many Choices
A popular feature of
many tack shops is the "Bit Wall". This is usually a rather intimidating array of different types of bit, each with different
features designed to work in a slightly different way. Trying to decide which is the right bit for your horse can be confusing,
but when you look closely, you'll see that there are only two basic types of bit: the Snaffle Bit and the Curb Bit.
Most people assume that because the snaffle is usually
a jointed bit and the curb usually is not, the mouthpiece is what determines whether a particular bit is a snaffle
or a curb. However, according to veteran horse trainer, Jessica Jahiel, the difference between snaffles and curbs has nothing to do with
the mouthpiece. The difference between the two types of bit is that the snaffle is a non-leverage bit and
the curb is a leverage bit.
What Does That Mean?
On a snaffle bit,
the rein attaches directly to the mouthpiece. The bit acts with a nutcracker action (provided it is jointed) on the bars of
the mouth (the area of gum between the front and back teeth), the corners of the mouth and the tongue. As the rider takes
a contact on the rein, the horse feels an equal amount of contact on the bit in his mouth.
On a curb bit, the rein attaches to a shank or cheekpiece which
adds leverage. When the rider takes a contact on the rein, the horse feels a greater amount of contact, depending on the length
of the shank. Following the basic physics of leverage, the longer the shank, the greater the leverage. The curb bit works
on the bars of the mouth, as well as under the chin (by way of the curb chain which is attached to the bit) and over the poll.
Types of Snaffles
The gentlest type of
snaffle bit is the Eggbutt snaffle. The name comes from the somewhat egg-shaped connection between
the mouthpiece and the bit-ring. The mouthpiece of an eggbutt can be made of a variety of materials (as can any bit), including copper and synthetic (either solid
or covered). The reason this bit is so gentle is that it doesn't pinch the corners of the mouth.
Another style of snaffle bit is the D-Ring snaffle. The name is self-explanatory in that the ring of the bit is in
the shape of a "D".
In the Loose-Ring snaffle, the mouthpiece is attached to a full-round ring, and can slide
around on it, allowing the bit to lay in the most natural position, whatever horse it is used on.
Some snaffle bits, such as the Full Cheek Snaffle, have cheek-pieces which prevent the bit from being pulled through
the mouth.
Types of Curb Bit
A basic Western Curb Bit has a gently ported mouthpiece and shanks to which the reins attach.
As the rider takes a feel of the reins, more leverage is exerted on the horse's mouth and also on the poll (where the bridle
goes over the head, behind the ears). By increasing the amount of port on the mouthpiece, pressure is applied to the roof
of the mouth also. Since Western horses are ridden on a loose rein, the longer shank allows the rider to utilize the leverage
by giving extremely light rein aids and attaining the same result as a rider using a snaffle on a firmer contact.
In the English Curb Bit the port can also vary in severity. In general the shanks
on English bits are shorter than on Western bits - four to five inches on an English bit as opposed to up to eight or nine
inches on a Western one. The English Curb bit is often used in a double bridle. In the double bridle, two bits are actually
used. One is the curb, called the Weymouth and one is the snaffle, called the Bridoon. Both of these bits are used together
to refine the aids in the higher levels of dressage competition. Back to the Bit Gallery
Added 4-7-06
This can be ables to all aspects of riding- not limited to Dressage!
Here's How: The Leg-Yield
Dressage trainer Volker Brommann provides an easy
introduction to this basic and useful movement. By Volker Brommann
What the leg-yield is: Walking or trotting, your horse moves forward and sideways by crossing his inside
legs in front of his outside legs while he keeps his body straight (except for a slight flexion at the poll and jaw away
from the direction he's going).
Why you need it: This most basic lateral movement...
gives you the feel of making
your horse go from the inside leg to the outside rein;
- develops your ability to coordinate weight, leg, and rein aids;
- teaches your horse to understand and respond to those aids;
- supples, loosens and straightens your horse;
- encourages him to step farther under his center of gravity and carry himself;
- increases his ability to round his back, stay straight in transitions and follow a track on the flat and while jumping;
- lays the groundwork for more advanced laeral movments, such as shoulder-in, haunches-in, turn on the forehand and haunches,
and half-pass; and
- is a required dressage movement in First Level Tests Two and Three.
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| Photos by Mandy Lorraine |
STEP ONE: ON THE RAIL
Photo 1. In the walk here (later I'll do the same work at the trot), I've cut the
turn to the long side and approached the rail at a 30-degree angle. Now, so that my horse moves fluently into a leg-yield,
the moment his forehand reaches the track, I do three things simultaneously:
- I weight my inside seat bone (the right here) a little more than the left by turning my right hip slightly forward and
bringing my outside (left) leg back behind the girth, where I can use it both as a driving aid and to keep his haunches from
swinging out.
- I move my inside-right-leg (inset A) behind the girth just this much (less than my left leg on the outside) to
begin pushing him sideways (later, in the open, I'll begin pushing him forward and sideways).
- And to ask him to look right (inset B), I flex my right hand inward just enough that I can see his inside nostril,
much as if I wanted him to look around the arc of a 20-meter circle.
Once he begins leg-yielding, I use my inside hand normally (as I'm doing in photos 4 and 5 below) and apply only as much
inside-leg pressure as I need to keep him moving steadily and rhythmically down the rail. I control the amount of bend and
keep his neck straight with consistent feel on my outside (left) rein. I'll ask for a few steps of leg-yield, then give him
a break by straightening and walking or trotting forward, then ask for more leg-yield on the next long side. When he's really
comfortable with this much angle and I feel the rhythm and balance are good...
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| Photos by Mandy Lorraine |
Photo 2. ...I ask for a little more angle.
Photo 3. This is the maximum angle I'd want; more and we'd risk losing the quality of his rhythm and balance.
STEP TWO: IN THE OPEN
Photo 4. Working now in the trot, this angle--slightly greater than we had on the
rail--is about the one you'd want for the First Level tests. To produce it, I use a little more inside (right) leg and (so
my horse doesn't hurry from my leg) a little more outside rein. My focus is on keeping the rhythm and balance; as long as
I can feel him stepping forward and sideways evenly, I can ask for this much angle. Here the evenness of the pairs of legs
tells me the rhythm is good: His right front and left hind are stepping leftward and...
Photo 5. ...now the other pair follows. The important thing to remember is that your horse must go easily forward
and sideways, so that you feel you're swinging along with him. Apply just enough leg and hand to get this result; when he
responds, lighen your aids until you need to add them again. (The moment you press him sideways beyond his ability to keep
his rhythm and balance, you'll feel him push you onto your outside seat bone, fall through your outside leg and rein and get
strong in your hand. Go straight ahead to regroup; then try again with less angle.)
Volker Brommann passed his Bereiter exams in Germany in 1980 under the tutelage of German professional champion Walter
Christensen. He came to the U.S. in the early 1980s, continuing to return to Germany regularly to ride with Walter and, after
Walter's death, with Klaus Balkenhol. Tannenluck Dressage, his training and sales business, is based out of Reno, Nev.
Excerpted from "Here's How: The Leg-Yield," which first appeared in the September 1995 issue of Practical Horseman
magazine.
Stopping a Grass SnatcherGrass-snatching is irritating and distracting
for both you and your horse. Use this mind-over-matter approach from Clinton Anderson's book Training on the Trail
to reprogram your horse's attitude.
By Clinton Anderson with Jennifer Forsberg Meyer
This article is excerpted from Clinton Anderson's Training on the Trail. Visit HorseBooksEtc.com to order the book for only $9.95.
To Get the Most from this Lesson:
- Don't take your horse out when he's famished, but do arrange to ride when his appetite will tempt him at least a little.
- Select terrain with wide, flat expanses, rather than narrow or confined trails. You'll need plenty of room to move your
horse around when needed.
- Don't expect to cure your horse of grass-snatching in just one lesson. Ideally, schedule training rides several times
a week, for as many weeks as necessary. Remember, training is as important for a trail horse as it is for a show horse. You
don't expect a show horse to automatically know what you want, or to "get it" in just one or two lessons. Take the time necessary
to turn your horse into a well-schooled trail companion.
Munching on scenery is the ploy of a food-obsessed horse that doesn't have enough to think about. The typical muncher is
not a big troublemaker, he just loves to eat. Strolling down the trail gives him the opportunity to think about--and act upon--his
desire. Horses have one-track minds. If they're truly focused on what you're asking of them, they tend not to get into mischief.
But too often riders engage in what I call the "recipe trail ride"--ambling down the trail, swapping recipes. When you leave
your horse to his own devices like this, you open the door to grass-snatching.
People generally think prevention is the key. They ask, "How can I keep my horse from snatching at grass?" I tell them
this is the wrong approach. Instead, they must re-program their horse's attitude about munching by letting him do it--then
making him pay the price. That price is serious exertion--circles, serpentines, sidepasses and other exercises that cause
him to move his feet, change direction and work hard.
How does this work? Think of your favorite pizza, or any food you find irresistible. Now, imagine trying to eat it while
you're running at a brisk trot and continuously changing direction. You wouldn't be able to enjoy that pizza, would you? Well,
neither can your horse enjoy his stolen mouthful when you're making him think and work hard.
With repetition, eventually a light will turn on in his head. "Hmmm...every time I open my mouth, I get awfully busy."
This is not a desirable option, especially for a lazy horse--the stereotypical grass-snatcher. Thus, over time, he learns
to forego the bite to avoid the work. It's mind over munching.
(And, there's a bonus: As you're teaching your horse to eschew chomping, you're also schooling him to be more supple and
responsive overall. It's a win-win proposition.)
1. As you ride in areas where your horse will be tempted to grab a bite, give him every opportunity to take the bait. Remember,
you're not keeping him from munching, you're letting him do it, but taking the pleasure out of it so he gives it up of his
own accord. So, the instant he does wrap his lips around a mouthful...
2. ...put him right to work. In this case, I'm asking for a sidepass to my right by tipping my mare's head to the left
with my left rein, and applying left-leg pressure just behind the cinch to ask her to step laterally to the right (note her
hind leg stepping under her belly). After you've taken a few sidepass steps to the right...
3. ...reverse these cues to sidepass your horse to the left. Go back and forth a few times--making him work!--then resume
your ride. Sidepassing isn't as energetic as some of the other exercises we'll do, but because it involves lateral movement,
horses do find it demanding, so it still serves nicely as negative reinforcement for grass-snatching.
4. The next time your horse swipes a bite, try a small (say, seven- to eight-foot-diameter) circle to the left. Do this
by sliding your left hand eight to 10 inches down the rein, then taking that hand back toward your hip (or, as I like to say,
the place where the seam of your jeans meets your belt), as I am here, in a pull-and-release pressure. Leave slack in your
right rein to allow your horse's head to come around, and apply pressure at the cinch with your left leg, to arc your horse's
body around that leg. Move your horse briskly, and after two or three revolutions...
 |
| All photos by Darrell Dodds |
5. ...reverse these cues for a few small circles to the right. Repeat the circles in each direction, then let your horse
move off down the trail again, allowing him to relax until he tries to grab another bite.
When he does snatch again, if the terrain allows, move him forward at an extended trot for 50 feet, then bend him onto
a circle, then trot on for 50 feet and then circle again, for two or three cycles. This combination of brisk trotting and
repeated bending and turning is particularly demanding. You can vary the pattern to make it interesting, too--ride serpentines,
zig-zag up and down rises, or even circle around some bushes or trees. Don't work your horse until he's dripping sweat--that's
overdoing it. But push him hard enough to establish the connection in his mind between illegal eating and exertion. With time,
he'll give up the one to avoid the other.
1-22-2006
Lessons in Liability
for Equine Professionals
Protect yourself legally when participating in horse-related
activities and transactions. By Harriet Tramer
 |
A liability insurance policy can help protect commercial establishments that offer
lessons, shows or other activities.
|
Whether acquired through college study, on-the-job experience or years of dedicated ownership, an awareness
of potential legal issues involving horses can yield productive and protective practices for industry professionals and more
casual participants alike.
Precautionary measures commonly are implemented to document a transaction, clarify the parameters of
an agreement and reduce the risk of personal injury or property damage wherever horses and people are gathered or are interacting.
They can be produced by a business or legal professional, and they take a variety of forms, such as:
- a bill of sale when a horse is being sold to reflect the amount paid by the buyer, the seller's receipt
of the payment and the identity of the horse who's changing hands.
- a comprehensive contract when a horse is being leased to outline the type and quality of care he receives,
his approved uses and restrictions, and the course of action if he becomes ill or lame or if he injures someone during the
term of the arrangement.
- a liability insurance policy--available to private horse owners as well as commercial establishments
and horse professionals--to guard against financial ruin in the event that an animal accidentally harms a person or damages
property.
In most instances, a heightened awareness of the unpredictable nature of horses and the situations
involving them can motivate individual owners, professionals and stables to rectify situations where they might be seen as
negligent. Lawsuits citing negligence arise when a person suffers an injury because a horse has dangerous propensities or
is otherwise unsuitable for a rider. They also occur when an injury stems from a rider not receiving proper supervision or
through the use of defective equipment.
In all matters involving horses, forethought and commonsense judgment can help to keep what's pleasurable,
exciting and fulfilling from suddenly turning disastrous. It pays to know your horse, your equipment and your property and
surroundings. It's also vital to recognize your intentions and expectations as well as the extent of your experience whenever
you're entering into an agreement or dealing with the public.
For more information on legal issues covered in many college equestrian programs, check out "Lessons
in Liability" in the December 2005 issue of EQUUS magazine. |
       
1-21-2006
Teach Your Horse Turn on the ForehandFrom international dressage trainer
Leslie Webb, a clear explanation of how to school the turn on the forehand.
By Leslie Webb
What's the clearest, simplest way to introduce your horse to the idea of moving sideways? With turn on the forehand.
From the halt, you'll use this schooling movement to teach your horse to respond to your direct inside leg pressure by
moving his haunches around his forehand in an arc. He'll do this by crossing his inside hind leg diagonally forward in front
of his outside hind. Once he masters this skill, he'll be better able to take on such show ring movements as leg yield and
shoulder-in, and you're going to find that your control over the shape of turns, circles, and figures is much improved.
Find a spot near the center of your area where you and your horse have plenty of elbow room to make a turn. You're going
to move him sideways off your left leg as I talk you through the pattern.
First, check your position. Make sure you're sitting balanced on both seat bones, with a tall upper body and your weight
dropping down into your heels. Because you're going to move sideways to the right, ask for a slight inside, left flexion by
turning the knuckles of your left hand toward your right hip. At the same time, sink a penny's worth more weight onto your
left seat bone and down into your left leg.
Slightly soften the contact on your outside right rein to give him room to turn to the right, and allow your right leg
to lie passively on his side--ready to be a wall that keeps his haunches from overreacting and swinging wide, or taking more
than one step at a time.
Bring your left inside leg back just a little bit behind the girth and squeeze and press with your calf to ask your horse
to move his haunches one step to the right in an arc around his forehand. As soon as he starts to take that first step with
his inside left hind, tell him that's all the sideways movement you want. "Catch" his foot in mid-air by simultaneously relaxing
your inside left leg and half-halting on your outside right rein. Your horse should respond by putting his foot down and completing
the single stride of turn by squaring up his other feet.
Because this is very much an obedience exercise, stand at the halt and let your horse relax and settle. You always want
a prompt response to your leg aid, but you don't just want him spinning around his forehand haphazardly. After three to five
seconds, ask for another step, repeating the sequence no more than one or two more times. Then give him a long rein and do
some free walk around the arena. Gather up your reins, work your way back to the center and start over again, this time asking
for a turn on the forehand to the left.
When you and your horse can execute this movement consistently in both directions, you'll be better equipped to enjoy riding
the gymnastic pattern below that I teach you in "Counterbend On a Serpentine" in the November 2005 issue of Practical Horseman.
Counterbend on the serpentine
You prepare to ride the pattern by schooling your horse in a turn on the forehand, this time flexing him softly to one
side and asking him to move his haunches around his forehand in the direction of his flexion and bend.
11-20-2005
Are Your Horse's Vaccinations Up to Date?This free download from EQUUS
magazine provides information you need to know to protect your horse against disease.
Print out and save this download from the editors of EQUUS magazine. The PDF provides critical information on equine vaccines,
how they protect your horse and a suggested vaccination schedule for horses of varying ages and activity levels, produced
in cooperation with the American Association of Equine Practitioners.
 EQUUS' Vaccination Download
Added 9-5-05
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Topline Talk with Bob Avila
What does a horse's topline tell you about his performance potential? Plenty, says
world champion Bob Avila. Here he evaluates two reiners and two pleasure horses.
By Bob Avila with Sue M. Copeland
When it comes to looking at toplines, I have a saying: head down, back up; head up, back down.
That's because how a horse naturally carries his head and neck has a huge impact on his back. And his back has a huge impact
on how well he can use his hindquarters...which in turn has a huge impact on his movement and athletic ability.
When a horse carries his neck and head level (or nearly level) with his withers, his back
is elevated. That means his entire topline will be nearly level, with no major peaks or valleys. And that means he's able
to coil up his body, reach deep beneath himself with his hind legs, and propel himself forward in a balanced, athletic--and
attractive--frame. That's key whether you're riding cutters or hunters, reiners or Western pleasure horses.
Plus, I personally like the look of "flat-necked" horses, regardless of event. When you're
loping circles, these horses give you the look of a bird dog pointing in a field--their topline is beautifully level.
Contrast that with a horse that goes around with his head and neck in the air. When he does,
his back hollows. That means he'll drag his hocks out behind his hind end, losing power. To understand how this works, picture
a cardboard shoebox, set upside down, with the two long sides cut out so it's resting on the two short sides.
Now imagine the lengthwise surface of the box to be your horse's back, and the short sides
to be his legs. Imagine pressing down on his "back," to mimic the hollowing that occurs when he raises his head. Then picture
what that will do to his front and hind legs--it pushes them out, away from his body. And that destroys his balance, movement
and athleticism.
In the following photos, I'll help you identify a good topline from a less-good one in two
reiners and two pleasure horses. As you'll see, an imperfect topline doesn't mean a horse can't perform, but a good one sure
makes it easier for him to do his job--and for you to ride him.
The Reiners
1. Here's an example of a terrific topline (and living proof of
my "head down, back up" theory). This young stallion's neck comes flat out of his wither, which I love. Now look at the distance
between his flank and wither--it's short, meaning his back is short. Plus, his back is level, both of which translate into
strength. The result? Look how easy it is for him to lift it, so he can reach deep beneath his body with his hind legs, for
maximum power--and he's just walking!
This colt rides exactly how he looks, meaning he's easy. When I lope him off, all I do is
bring his nose in a bit to keep him soft--he packs his head and neck exactly like this, every time. This horse would have
to work at raising them--it wouldn't be comfortable for him.
2. Compare this mare's back and neck to the stallion's in Photo 1. She's longer in her back
(note the distance from flank to wither), and her neck is built to go up, not lie flat. You can see how deeply it ties into
her chest, and how it naturally sticks up, out of her wither, rather than emerging level with it. And look what all that does
to her back--it hollows it.
I can tell you, she's tough to ride. I'm not saying she can't do anything, but I'm constantly
trying to get her to bridle up comfortably. I don't try to get her neck as low as the black colt's, because she's not made
to go that way. When I do bridle her up, her neck bows up like a loaded spring. Whenever I release her, it shoots back up
in the air, because that's how she's built.
And look at what that does to her legs. Her hollowed back and raised neck cause her to drag
her hocks out behind her. That means she has to work harder than the colt does to sit down and stop. She can still stop well,
but she sticks her head up high to do it--and she's not as pretty to look at as the black colt is.
The Pleasure Horses
3. I know this veteran mare well, and I can tell you she
goes around with her topline just like this, with a rider and without, all the time. She's built to go that way. She has a
long, lovely neck that comes out flat from her withers, and a strong, level back. You can see how that enables her to reach
deep beneath her body with her hind legs.
As with many flat-necked horses, she may naturally carry her head a bit lower at the walk
and jog (as she's doing here), but when you kick her into the lope (what I call the "money gait"), her topline levels perfectly,
which is a sign of balance.
4. This is my "caveat shot." I put it in to demonstrate that you have to look past circumstances
to get a true topline evaluation. This young mare is trotting around with her head in the air. I know her, so I know she's
not naturally high-headed. In fact, you can see by the way her neck comes out of her chest (more like the mare's in Photo
3, than that in Photo 2), and how level her back is, that she's built to hold it relatively flat.
This mare was just hauled to a strange place and put in the round pen. Naturally, she's high-headed
and "looky" here because everything's new. When evaluating young horses at liberty, give them a chance to relax and settle
before making a decision. I have people haul horses over for me to look at, and they expect the horse to be perfect in 5 minutes.
That's not going to happen.
When people haul in young prospects for me to evaluate, I'll usually turn the youngsters loose
in the round pen for a half-hour, so they can run around and gawk at the new surroundings. Only when a horse looks relaxed
will I go back and move him around. That way I get a true read on his potential--not a false impression.
Bob Avila has ridden home with American Quarter Horse Association world championships
in cutting, reining, working cow horse, Western riding and halter. He also captured the 1994 National Reining Horse Association
Futurity championship on Lenas Wright On. His Avila Training Stables, Inc., is located in Temecula, Calif.
--Photos by Darrell Dodds
This article originally appeared in the August 2005 issue of Horse & Rider magazine. |
Added 8-24-05
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Is Your Horse the Weight He Needs to Be?
You can determine whether your horse is too fat, too thin, or just right using
these weight guidelines from Dane Frazier, DVM, a past president of the American Endurance Ride Conference.
By the Editors of Practical Horseman magazine
Photos by Mandy Lorraine |
You can size up whether your horse is carrying enough body weight, too little, or too much
by checking out his six fat storage areas with your eyes and your fingers:
- crest of his neck
- along his withers
- behind his shoulder
- his ribs
- along his spine
- in front of his tailhead
When feeling for fat, you can differentiate it from muscle because fat has a soft, non-fibrous
feeling, as if you're pressing into an even mass. (Muscle, by contrast, feels like bundles of substantial fibers that lie
in the same direction.) A thin layer of fat over bone or conditioned muscle feels like a layer of foam upholstery over a firmer
surface. Where fat is thicker (as on a fat horse), you can move its mass around independently of bone or muscle underneath.
He's too thin if...
When you stand back and look at a thin horse, the planes
of his neck and shoulder appear flat and you're aware of the bony structures beneath. His withers and pelvic bones are noticeable
and you probably see the outline of all his ribs under his skin. A "poverty line" may be visible on the side of his upper
hind leg, and the muscles on either side of the line look flat. His spine may protrude above the level of his back muscles;
you can see the tips of individual vertebrae.
Palpate this horse's fat storage areas and you'll still be able to find some fat at his tailhead
and in a thin covering over his ribs. His neck and withers, however, feel hard and flat. It's difficult to feel the fat stored
along his spine, where your fingers can easily explore the tips of the vertebrae. If you see a vertical line in his haunches
and have any doubt whether it's a poverty line, your fingers can let you know. The muscles beside a poverty line feel flaccid,
not full and resilient as they do in the haunches of a fit horse.
He's too fat when...
A fat horse's muscle definition disappears as fat fills
the contours between muscle masses. His ribs vanish, his neck appears thick or meaty (unless he's a natural "pencil neck")
and the outline of his withers blurs. A pad of fat behind his shoulder muscle blends the shoulder smoothly into his rib cage.
Fat fills in around his spine; he may even have a crease down his back deep enough to cradle an egg safely.
When you palpate an overweight horse, your fingers can surround the masses of fat in any of
his six storage areas and wiggle them. As the bundles of fat cells pile up, this tissue takes on the texture of gelatin--and
you can feel a thin layer of fat overspreading his muscles. You can, however, still detect his ribs by probing.
He's just right when...
If you're an amateur rider whose horse is in the amateur
hunter or low jumper divisions, or through novice-level eventing or First Level dressage, the best body condition for him
is the "moderately fleshy" range. His back may be level--his spine and the band of muscle (and fat) on each side form a flat
surface--or may have a slight crease down the center. His neck is well filled out--the sides and topline are convex
rather than flat--but it still looks muscular, not meaty. His withers are defined but appear rounded, not sharp, and you can
see the muscle of his shoulder.
You can't see your horses ribs when he's in this condition, but you can easily feel them--and
you can feel fat in the spaces between them and in the girth area behind his shoulder. You can feel some fat over his withers
and behind his shoulders, and there's a softness to the fat around his tailhead.
If your horse's condition falls not at this happy medium but at the too-thin or too-fat end
of the scale, you need to adjust his diet accordingly. Reduce a fat horse's grain by half and keep his hay ration constant,
substituting grass or timothy for any alfalfa in his diet. Give a thin horse all the hay he will eat and subsitute alfalfa
for as much as half of the hay. Boost his carbohydrates with increased grain or (if he gets hot) with soaked beet pulp, oil
and/or rice bran. If a just right horse tends to be high, replace corn or mixed sweet feed in his diet with oats. If he's
sluggish, substitute mixed sweet feed or corn by weight for any plain oats in his diet.
Excerpted from "Why Weight? Fat, Fitness & Your Horse," originally published in the November
1997 issue of Practical Horseman magazine. For an explanation of how excess fat can predispose your horse to laminitis,
see "Laminitis Battle Stations" in the magazine's July 2005 issue. Order back issues by calling 301-977-3900. |
Added 8-8-05
Horse Show Mental Preparation
Ten tips from trainer Shannon MucCulloch-Verdier that'll help you quiet your nerves and mentally prepare for
the horse show ring.
By Shannon McCulloch-Verdier with Patty Roll Brumley
Mental strategies can help you focus for success.
Photo by Darrell Dodds |
In the June 2005 issue of Horse & Rider magazine, Carol Metcalfe shared her stay-cool strategies for the horse
show ring. Here are 10 more tips to add to your pre-ride routine to help you mentally prepare:
1. Think of your mental energy as liquid in a bottle and never waste it. Don't sweat the small stuff, or you'll be using
up your mental energy on things that don't matter, when you should be reserving your energy for the show ring.
2. Don't compare yourself to the competition. It takes your focus off your own performance.
3. The playing field is always equal. If you're worried about bad footing, for example, remind yourself that everyone
else will be facing the same problem.
4. Control what you can, let go of what you can't. You can control how much sleep you get, how much time you have to
warm up your horse and how organized you are.
5. Get organized and use a game plan. Waiting until the last minute creates unnecessary stress. Make a to-do list, laminate
it and post it where you can see it and check off what you've done.
6. Compete with yourself. Establish a standard of excellence and strive for it. Remember, the judge's approval of your
performance isn't the ultimate barometer of your success.
7. Never stop showing. If you make a mistake, correct it and ride on like nothing ever happened.
8. Take ownership of the outcome. Make yourself responsible for your performance.
9. Set realistic goals. Goals must be specific, measurable and attainable.
10. Surround yourself with a positive environment. Block out negativity and distraction. If anyone affects you negatively--whether
it's your spouse, a friend or even your trainer--find a way to confront that person and overcome that affect, even if it means
avoiding the person until you're able to regain your focus.
These tips were excerpted from an article that ran in the January 1997 issue of Horse & Rider magazine.
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