Glossary of Judging Terms Flashcards
(162 cards)
1
Q
ABDUCT
A
To move a limb aware from the horse’s midline
2
Q
ABOVE THE BIT
A
A head position in which the horse avoids acceptance of the contact by putting the muzzle forward and upward, also usually retracting the poll.
3
Q
ACCEPTANCE
A
Used in reference to the horse’s willingness to allow the maintenance of a steady contact, the application o the aids, and/or the placement of the rider’s weight. Absence of evasion or resistance.
4
Q
ACTIVITY
A
Energy, vigor, liveliness - especially with reference to the motion of the hind legs.
5
Q
ADDUCT
A
To move a limb towards or across the horse’s midline.
6
Q
AGAINST THE BIT
A
The horse presses again the bit with a rigid or unyielding neck/poll/jaw.
7
Q
ALIGNMENT
A
1.) Referring to the horse, the lining up on the horse’s body parts from tail to poll. One of the four aspects of straightness (the other three are parallelism to line of travel, parallelism to line of reference, and directness of line of travel).
2.) referring to the rider
a. Vertical alignment refers to the side view of the
rider in which the ear, shoulder, hip and heel are
in a vertical line.
b. Lateral alignment refers to the front or rear view
of the rider in which the weight appears to be
evenly distributed on the left and right sides and
the rider’s body does not collapse in the
waistline/core in either direction.
c. Rotational alignment refers to the orientation of
the front of the rider’s body relative to the horse’s
line of travel or line of reference.
See Quadrille Judging Terms in the Quadrille Rules and Guidelines for special application to judging the quadrille.
8
Q
AMPLITUDE
A
Magnitude of range of motion. Same as Scope.
9
Q
BALANCE
A
Relative distribution of the weight of horse and rider upon the fore and hind legs (longitudinal balance) and the left and right legs (lateral balance). In dressage training, the horse learns to move with the base of support narrowed laterally and shortened longitudinally, which makes the balance less stable but at the same time makes it more mobile (especially the forehand) and susceptible to small external influences (of the rider).
10
Q
BASICS
A
The basics form the correct foundation of the progressive training of the horse, independent of the execution of specific test movements. the basics include: pure rhythm with suitable tempo/relaxation/suppleness elasticity/looseness; correct contact/connection; impulsion, straightness, and longitudinal balance suitable to the level and exercise - in other words, all criteria of the Pyramid of Training/Training Scale.
Correctness of the basics is indicated by the preservation and /or improvement in:
- the purity and quality of the gaits and paces
- the gymnastic ability and physique of the horse, &
- the horse’s attitude and rideability
11
Q
BEAT
A
Footfall of a hoof or a diagonal pair of hooves that strike the ground virtually simultaneously. The timing of the footfalls determines the rhythm of the stride. The walk has four beats per stride (only two of which are emphasized beats perceived by the rider), the trot has two beats per stride, and the canter has three beats per stride (only one of which is emphasized beat perceived by the rider).
12
Q
BEHIND THE BIT
A
An evasion in which the horse retracts or shrinks back from the bit/contact. The head may or may not be behind the vertical.
13
Q
BEHIND THE LEG
A
Slow to react to the leg, or sluggish or unwilling to forward, especially while accepting the contact/connection.
14
Q
BEND
A
The lateral curved position in which the horse’s body, as would be viewed from above, appears to form a uniform arc from poll to tail. Components of bending include lateral flexion at the poll, stretching of the outer side of the body, lowering of the inner hip, and adduction of the inner hind and outer fore legs (see Flexion for more in-depth discussion of the elements of bending). Examples of faulty bend are: bending only in the neck, bending only at the base of the neck or bent toward the wrong direction.
15
Q
BIOMECHANICS
A
The application of the principles and techniques of mechanics (the branch of physics that deals with the motion of material bodies and the phenomena of the action of forces on bodies) to the structure, function and capabilities of living organisms (Webster)
16
Q
BLOCKED
A
Impaired in the connection due to sustained muscular contraction, creating rigidity.
17
Q
BPM
A
Beats per minute, as may be measured by a metronome.
18
Q
BRACED/BRACING
A
The horse defensively setting/ holding its muscles contracted against an opposing force or an expected opposing force, such as the rider’s disturbing
legs, seat or hands.
19
Q
BROKEN NECKLINE
A
The position of the neck in which there is excessive longitudinal flexion at the joint between the second and third cervical vertebrae, so that the topline of
the neck does not form an even, smooth arc and the poll is not the highest point of the skeleton.
20
Q
CADENCE
A
The marked accentuation of the rhythm and emphasized beat that is a result of a steady and suitable tempo harmonizing with a springy impulsion.
21
Q
CARRIAGE
A
The posture of the horse, most easily evaluated when viewing the horse’s profile or outline from the side.
22
Q
CENTER OF MASS (CENTER OF GRAVITY)
A
The point at which the mass of the body can be considered to be concentrated, and around which its weight is evenly distributed or balanced. The
horse’s center of mass is located at the 13th or 14th rib and just below the line from the point of the shoulder to the point of the hip. This puts it below
the seat of the saddle. In collection, the horse’s body rotates around the center of mass.
23
Q
CHEWING THE BIT
A
The movements of the horse’s mouth—gently and softly mouthing the bit—showing mobility and relaxation of the jaw and causing secretion of saliva
for a “wet mouth.” Not to be confused with snapping, clacking or grinding of the teeth.
24
Q
CLARITY/CLEAR
A
The correct rhythm (sequence and timing of the footfalls and phases of a gait). Often-used in relation to maintenance of the correct rhythm of the
gaits before and after a transition.
25
CLEAN
Referring to a flying change, the change of lead is from a pure canter on one lead to a pure canter on the other lead. A clean flying change takes
place during the suspension phase, without trot steps or disunited strides.
26
CLOSED HALT
A posture at the halt in which the horse is secure in balance with a shortened base of support achieved by positioning the hind legs forward
underneath the body.
27
COLLECTION (BALANCE AND LIGHTNESS OF THE FOREHAND FROM INCREASED ENGAGEMENT)
The horse shows collection when he lowers and engages his hindquarters, shortening and narrowing his base of support, resulting in lightness and
mobility of the forehand. He shows shorter, but powerful, cadenced steps and strides. The increased elevation must be the result of and relative to
the lowering of the hindquarters. (See Pyramid of Training for complete explanation)
28
CONFIDENCE
The boldness and self-assurance with which the horse performs, and the trust in his partnership with the rider.
29
CONNECTION/CONNECTED
State in which there is no blockage, break, or slack in the circuit that joins horse and rider into a single, harmonious, elastic unit. A prerequisite for
throughness.
30
CONSTRAINED
Forced or compelled against the will - the horse’s forward or sideways movement, bend, and/or execution of the required exercise not appearing
voluntary.
31
CONSTRICTED
Limited by constraint, restraint, or sustained muscular contraction. Held together, forcefully shortened, or physically tight.
32
CONTACT (CONNECTION AND ACCEPTANCE OF THE BIT THROUGH ACCEPTANCE OF THE AIDS)
The energy generated in the hindquarters by the driving aids must flow through the whole body of the horse and is received in the rider’s hands. The
contact to the bit must be elastic and adjustable, creating fluent interaction between horse and rider with appropriate changes in the horse’s outline.
(See Pyramid of Training for complete explanation).
33
CORRECTNESS
The straightness of the action of the limbs (e.g., faults would be winging, paddling, twisting hocks). Not the same as Purity. Dressage judges deal
with correctness only indirectly, that is, to the degree that it affects the purity or quality of the gait. Correctness is addressed directly in breeding
classes.
34
COUNTER CHANGE OF HAND (USEF DEFINITION)
A movement containing two (2) half passes and the horse should be straight for a moment before changing direction.
35
CROOKEDNESS
Aspects of crookedness:
1. Misalignment of the horse’s body parts from tail to poll (e.g. popped shoulder or twisted neck).
2. On straight or curved lines, lack of parallelism of the horse’s longitudinal axis to the line of travel (, e.g., haunches left or right of centerline or
circle line).
3. In two track/lateral work, lack of parallelism of the horse’s longitudinal axis to the line of reference (e.g., haunches leading or trailing in leg
yielding).
4. Lack of directness of line of travel – the horse deviating or wandering left &/or right of the desired path of travel (e.g., as in weaving).
36
CROSS-CANTER
The fore and hind legs are on different leads. Same as Disunited.
37
DEFINITION/DEFINED
Used in reference to transitions between paces (within a gait) to indicate a well-demarcated change in length of stride.
38
DISOBEDIENCE
Willful determination to avoid doing what is asked, or determination to do what is not asked.
39
DIAGONAL DISSOCIATION (ALSO DIAGONAL ADVANCED PLACEMENT OR DAP)
The hooves of a diagonal pair of limbs (in trot or canter) do not contact the ground at the same moment. The dissociation may be hind-first, which is
also called positive DAP, or front-first, which is also called negative DAP. In the trot, hind-first dissociation is usually associated with the horse being
uphill. In canter, hind-first dissociation occurs, for instance, in the bounding canter of a young horse and in the pirouette canter.
40
DISUNITED (CANTER)
The fore and hind legs are on different leads. Same as Cross-Canter.
41
DOWNHILL
Poor longitudinal balance, with failure to elevate the withers and/or lower the haunches. Same as On The Forehand.
42
DRAGGING
Refers to dragging of the hind feet or inactivity of the hind legs or failure to lift the hooves clear of the ground.
43
ELASTICITY
The ability or tendency to stretch and contract the musculature smoothly, giving the impression of stretchiness or springiness.
44
ELEVATION
Raised position of the forehand (head, neck, and ribcage). The neck is elevated from its base with the poll as the highest point and the face slightly
in front of the vertical.
45
ENGAGEMENT
Increased flexion in joints of the hind legs during the weight-bearing (stance) phase of the stride, lowering the croup relative to the forehand, enabling the back to assist in elevating the forehand, and providing a springboard for upward thrust/impulsion. Engagement is carrying power, rather than pushing power.
At canter and piaffe, there is additional flexion at the hip joints and also greater flexion at the lumbosacral joint, which contribute to the horse’s ability to lower the haunches.
Note: Engagement is not flexion of the hocks or “hock action” when the leg is swinging forward (as seen most clearly in gaited horses and hackneys), nor does it describe the forward reach of the hind leg under the horse’s body.
46
EVASION
Avoidance of the difficulty, correctness, or purpose of the movement, or of the influence of the rider, often without active resistance or disobedience
(e.g. tilting the head, open mouth, broken neckline, etc.). Bit evasions are means of avoiding correct contact with the bit.
47
EXERCISE
A designated task that may include movement(s), transition(s), figure(s), and/or pattern(s) to be performed at designated gaits and paces and
sometimes at specific places in the arena, e.g. 20-meter circle at working trot, half-pass at collected canter, or simple change of lead.
48
EXPRESSION
Increased impulsion, with harmony, balance, lightness, and cadence, giving artistic or dramatic effect.
49
EXTENSION/EXTENDED (WALK, TROT, OR CANTER)
At trot and canter, a pace that shows maximum length of stride, frame, and phase of suspension. The uphill balance is greater than in the lengthening pace. The tempo remains nearly the same as in the collected pace.
At walk, a pace with maximum length of stride and frame, and showing the natural longitudinal oscillation of the neck (while still remaining on contact). The hind feet touch the ground clearly in front of the prints of the forefeet.
50
FALLING IN, FALLING ON INSIDE SHOULDER, FALLING OUT, FALLING OVER OUTSIDE SHOULDER, POPPED SHOULDER
Lateral deviation of the forehand/foreleg(s) associated with a loss of balance.
51
FIGURE
Geometrical component, such as a circle, change of rein, or figure of eight. A figure is not the same as a movement. Refer to Movement.
52
FLEXIBILITY
Range of motion of joints and the ability to move the joints freely. Also described as Suppleness.
53
FLEXION
In the limbs—articulation of a joint or joints so that the angle between the bones becomes smaller.
At the poll, there are three directions of movement, the first two of which are described as flexions and involve motion of the atlanto-occipital joint:
- Direct or longitudinal flexion brings the chin toward
the underside of the neck.
- Lateral flexion closes the angle between the cheek
and the side of the neck.
- Rotation (twisting) occurs at the atlanto-axial joint
and causes tilting of the head.
In the rest of the spine, movements occur in the same three directions as at the poll: flexion-extension (rounding-hollowing); lateral (left-right) bending, and twisting. The combination of these movements creates carriage, bend, displacement of the ribcage, etc.
54
FLUENT/FLUENCY
Flowing or moving smoothly and easily. Same as fluid.
55
FOOTFALL
A hoof striking the ground.
56
FORWARD
Moving or tending to move toward the direction in which the horse is facing (in contrast to sideways, backward, or standing still); it does not indicate
how he gets there. References to specifics such as impulsion, energy, freedom, reach, length of stride, into the contact, responsiveness to the leg, and tempo more accurately express how the horse should proceed in a forward direction.
57
FRAME
The outline of the horse, which should change according to the length of stride (shorter frame for collection, longer for extension) and which shows
degree of uphill versus downhill carriage.
58
FREEDOM
The reach, scope and lack of constriction in the horse’s movement.
59
FREE WALK
A pace in which the horse freely lowers and stretches out its head and neck, and shows the natural longitudinal oscillation of the neck. The hind feet
touch the ground clearly in front of the prints of the forefeet, with strides longer than in the medium walk. Can be performed or required on a long rein
(maintaining contact) or a loose rein (with a loop in the rein – no contact).
60
FROM BEHIND
Shorthand for “energy/activity/thrust from the hind legs” (as in “needs more…‘from behind’”).
61
GAIT
Characteristic limb coordination pattern recognized by the sequence and timing of the footfalls. Gaits used in dressage are walk, trot, and canter.
62
HALF-HALT
A momentary effect of the aids that increases the attention and improves the balance of the horse.
63
HARMONY
Used in reference to the relationship between the horse and rider, the partners’ positive physical as well as mental/emotional connection, showing
rapport, trust, and confidence in one another and resulting in a sense of synchrony, contentment and unity.
64
HASTY
Refers to the tempo (strides per minute) unless otherwise noted.
65
HOLLOW BACK
Sagging or depressed back caused by slackness of the back and belly muscles (passive) or by sustained contraction of the back muscles, impeding
swing and elasticity (active).
66
HORIZONTAL BALANCE
A longitudinal balance between downhill and uphill.
67
HOVERING TROT
See Passage-Like Trot.
68
HURRIED
Refers to the tempo (strides per minute) unless otherwise noted.
69
HYPERFLEXION (ROLLKUR)
Exaggerated flexion of the horse’s neck, with a low poll and the face far behind the vertical. There is a spectrum from humanely riding the horse
behind the vertical to forcefully or aggressively riding the horse in a hyperflexed position and /or sustaining the hyperflexion for more than a few
minutes. There may be a gray area between the acceptable and the abusive that is a matter of judgment.
70
IMPULSION (ENGAGEMENT AND THE DESIRE TO GO FORWARD)
Used to describe the transmission of an eager and energetic, yet controlled, propulsive thrust generated from the hindquarters into the athletic
movement of the horse. (See Pyramid of Training for complete explanation).
71
INSIDE, INNER, INWARDS
1. The direction toward which the horse should be positioned (laterally) or bent.
2. The side of the horse that is toward the center of the ring.
72
IRREGULAR
Impure, unlevel, or uneven. Can be momentary or pervasive, and may or may not be due to unsoundness. Should not be used to mean unsteadiness of tempo.
73
LATE
Execution after the aids or after the prescribed place or letter. Usually applied to flying changes and transitions.
74
LATE BEHIND
In flying changes, the hind legs change leads after the forelegs change.
75
LATE IN FRONT
In flying changes, the fore legs change leads after the hind legs change.
76
LATERAL
1. To the side, as in flexion, bend, suppleness, or direction of movement.
2. Impurity of the gait in which the lateral pairs of legs swing forward somewhat synchronously. If the lateral pairs of legs move totally synchronously, this is called pacing.
77
LEANING IN
The horse tilts to the inside of a turn or circle, like a motorcycle.
78
LENGTHENING OF STRIDE
A pace at trot and canter in which the stride, frame and phase of suspension are longer than in the working pace, but the degree of uphill balance
required in the medium pace is not expected. The tempo remains nearly the same as in the working pace.
79
LEVEL BALANCE
A longitudinal balance between downhill and uphill. Same as Horizontal Balance.
80
LIFT
Applied in piaffe and passage to address the height to which the forelegs are raised.
81
LIGHTNESS
Refers to one of the following:
1. Horse’s lightness on its feet.
2. Lightness of the rider’s aids/horse’s responsiveness to light aids.
3. Lightness/lift of the forehand.
82
LONG AND LOW
Carriage in which the horse lowers and stretches out its head and neck, reaching forward and downward into contact on a longer rein.
83
LONGITUDINAL
In the lengthwise, as opposed to lateral, dimension, that is from front-to-back or back-to-front.
84
LOOSENESS
Freedom from negative physical and mental/emotional tension; relaxation.
85
MARCHING
Taking purposeful steps in the walk.
86
MEDIUM (WALK, TROT, OR CANTER)
At trot and canter, a pace of moderate lengthening, with a longer stride than in the collected or working paces but shorter than in the extended pace.
The uphill balance is greater than in the working or lengthening pace, and the length of frame and suspension are between that of the collected and
extended paces. The movement produced is rounder than that of extension. The tempo should remain nearly the same as in the collected pace.
At walk, a pace of moderate lengthening, with a length of stride and frame between that of the collected and extended walks, and showing the natural
longitudinal oscillation of the neck.
87
METHODOLOGY
The system that a judge uses to give scores in a consistent and standardized fashion. This results in the correct and logical placement of the
competitors in each class.
88
MOBILITY
Easy maneuverability/nimbleness of the shoulders/forehand/forelegs, made possible by a narrowing and shortening of the horse’s base of support.
89
MOVEMENT
1. The manner in which the horse moves over the ground: way of moving.
2. Test movement: a section of a dressage test to be evaluated with one score on a score sheet.
3. Dressage Movements: these are: leg-yield, rein back, shoulder-in, travers, renvers, turn on haunches, half pass (trot or canter), flying change(s), pirouette (walk or canter), piaffe, and passage.
For the purpose of the current freestyle tests, forbidden movement(s) refers to #2.
90
MPM OR MPH
Meters per minute or miles per hour – measures of speed.
91
NODDING/BOBBING
A rhythmic up-and-down or backward and forward action of the horse’s head and neck which is not part of the normal mechanic of the gait. It may be
caused by the past use of gadgets, by constraint, or by lameness.
92
OBEDIENCE
Submission in reference to the accurate performance of the required exercise, in contrast to submission in regard to the basics. The horse may demonstrate resistance or evasion (lack of submission in the basics), yet still be “obedient.”
For example, if the horse performs a series of flying changes without mistakes and in the correct place but is behind the vertical, tilting his head and swishing his tail, he performs the exercise obediently, but is not submissive in regard to the basics.
93
ON THE AIDS
The horse reacts to the rider’s aids willingly, confidently, immediately, and correctly.
94
ON THE BIT
Acceptance of contact (without resistance or evasion) with a stretched topline and with lateral and longitudinal flexion as required. The horse’s face
line is, as a rule, slightly in front of the vertical.
95
ON THE FOREHAND
Poor longitudinal balance, with failure to elevate the withers and/or lower the haunches. Same as Downhill.
96
OUT BEHIND
Hind legs operating too far behind the horse, which favors pushing at the expense of carrying.
97
OUTLINE
The profile or silhouette of the horse, showing the horse’s carriage or posture.
98
OUTSIDE, OUTER, OUTWARDS
1. The direction away from which the horse should be positioned or bent.
2. The side that is away from the center of the arena.
The former takes precedence if the two are not the same (as in counter-canter or renvers).
99
OVERBENT/OVERBENDING
Excessive lateral displacement of the neck relative to the horse’s body, occurring in the neck itself or at the base of the neck, causing lack of apparent uniformity of the lateral curve of the “bent” horse.
Note: In the U.S., the term overbent is based on the amount of lateral bending, and the term over-flexed is based on the amount of longitudinal
flexion (rounding). In other countries, overbent is often used to indicate excessive longitudinal flexion at the poll and/or upper joints of the neck.
100
OVERFLEXED
Behind the vertical, due to excessive longitudinal flexion at the poll and/or upper joints of the neck.
101
OVERSTEP, OVERSTRIDE, OVERTRACK
Placement of the hind foot in front of the print of the forefoot.
102
OVER THE BACK OR TOPLINE
The horse stretching and rounding the back or topline.
103
OVER-TURNED
Turned more than 180 degrees in a half-pirouette or more than 360 degrees in a full pirouette.
104
PACE(S)
1. Variations within a gait. The named paces are: at walk: collected, medium, extended, free; at trot and canter: collected, working, lengthening of
stride, medium, extended. Each named pace is characterized by a given length of stride as well as by other attributes listed under their individual definitions.
A horse can go at any pace on the spectrum from highly collected to fully extended (the named paces are points on that continuum), corresponding to slower or faster MPM. Optimally, any stride length is performed in the horse’s ideal tempo.
2. Gait in which the lateral pairs of legs move in unison (not considered a dressage gait). If the lateral pairs move somewhat but not entirely synchronously, this is sometimes called “pacey” or “pacing tendency” or “lateral” or “lateral tendency.” This faulty lateral tendency may be seen in walk or canter.
Note: The U.S. uses the terms “gait and pace” where the FEI uses the terms “pace and variation.”
105
PASSAGE-LIKE OR PASSAGEY TROT
A trot in which there is a hesitation in the forward swing of the diagonal pairs of legs, so that they appear to hover momentarily.
106
PHASE
Limb Phases are part of the cycle of limb movement.
- Stance phase: foot on the ground
- Swing phase: foot moving through the air
Support Phases are differentiated according to
which limbs are in the stance and swing phases.
- An aerial or suspension phase occurs when none of
the limbs is in contact with the ground (all limbs are
in the swing phase).
- Each gait has a characteristic sequence of support
phases:
o The walk has 8 support phases in each stride.
o The trot has 2 support phases and 2 suspension
phases in each stride.
o The canter has 5 support phases and 1
suspension phase in each stride.
107
PIVOTING
Failure to pick up a foot in the rhythm of the gait, such that the horse swivels around the grounded (or “stuck”) foot. Used in reference to pirouettes or
turns on the haunches or forehand.
108
POLL
The highest point of the horse’s skull (the occipital crest). In common dressage usage, however, “flexion at the poll” refers to the longitudinal or lateral flexion at the joint between the skull and the first cervical vertebra, the atlanto-occipital joint. See Flexion
109
POSITION
1. Lateral flexion at the poll so that the horse “looks” to
the side, e.g., “positioned right” or “positioned left.”
2. Posture of the rider
110
PURITY
Referring to the gait, the correctness of the rhythm as determined by the sequence and timing of the footfalls and phases of the gait.
111
PUSHING OUT
Hind legs operating too far behind the horse, which favors pushing at the expense of carrying.
112
PYRAMID OF TRAINING
To ensure that classical principles and traditions are honored and adhered to in our present day culture, the Pyramid of Training (Training Scale) evolved as a means to illustrate the different steps/concepts, which are essential ingredients in the correct training of a horse. It is important to realize that these “steps” are interrelated.
113
QUADRILLE
Team riding; choreography traditionally performed by four horses, though groups may have six, eight, ten or even twelve horses. For special terminology related to this, see Quadrille Rules and Guidelines available on the USDF website.
114
QUALITY (OF GAIT)
The quality of a gait refers to its freedom, elasticity, flexibility, looseness, fluency and amplitude.
Not the same as purity or correctness.
115
QUICK
Refers to the tempo (strides per minute) unless otherwise noted.
116
RAPID
Refers to the tempo (strides per minute) unless otherwise noted.
117
REACH
Refers to forward or lateral reach of the fore limbs, hind limbs, neck/poll, muzzle, or one side of the horse (as in “needs reach into outside rein”). May be used to refer to any of these individually.
118
REGULARITY
Purity of the gait. At walk and trot, denotes symmetry in terms of evenness of the length of the steps, levelness of the height of the steps, and equality of the time interval between the steps of the left and right forelimbs, or the left and right hind limbs.
Note: In the first collective mark on a dressage test, “Gaits (freedom and regularity),” regularity is used to address purity and soundness, not to address the horse’s tempo.
119
RELAX/RELAXATION
1. Referring to the horse’s mental/emotional state: calm, without anxiety or nervousness.
2. Referring to the horse’s physical state: commonly used to indicate the absence of muscular contraction other than that needed for optimal carriage, strength, and range and fluency of movement.
Usually the physical and mental/emotional states go hand in hand.
120
RELEASE
As used in the tests, the brief release of the contact, wherein the rider in one clear motion extends the hand(s) forward along the crest of the horse’s
neck, then rides for several strides without contact. Its purpose is to demonstrate that, even with loose rein(s), the horse maintains its carriage, balance, pace, and tempo. This corresponds to the German expression “Überstreichen.”
121
RESISTANCE
Active or rigid opposition to the connection or to the aids of the rider (e.g. against or above the bit). Not the same as disobedience or evasion. The horse can be resistant, yet still obedient (perform the exercise). Can be momentary or pervasive, willful or unintentional.
122
RESTRAINED/ RESTRAINT
Prevention (of the horse by the rider) from moving freely in any direction – usually a function of pulling backward on the reins.
123
RHYTHM (REGULARITY AND TEMPO)
The characteristic sequence of footfalls and timing of a pure walk, pure trot, and pure canter. The rhythm should be expressed with energy and in a suitable and consistent tempo, with the horse remaining in the balance and self-carriage appropriate to its level of training.
(See Pyramid of Training for complete explanation).
124
ROCKING/ROCKING HORSE CANTER
A canter in which the neck/forehand goes too much up and down as a result of lack of sufficient ground coverage, lack of sufficient engagement, or
interference by the rider.
125
ROUNDNESS
1. The convexity of the profile of the horse’s topline, which is accompanied by concavity of the underline of the neck.
2. The circular (as opposed to linear or flat) quality characterizing the movements, action, or trajectory of the horse’s limbs.
3. Shape of figure (such as a circle).
126
RUNNING
Increased speed (MPM) due to quickening the tempo rather than lengthening the strides with appropriate periods of suspension.
Usually used in reference to lengthened, medium or extended trot or canter, or quickening the trot tempo before a canter depart.
127
RUSHED
Refers to the tempo (strides per minute) unless otherwise noted.
128
SCOPE
Magnitude of range of motion. Same as Amplitude.
129
SEAT
The rider’s trunk, which includes the pelvis, spine, and rib cage, with supporting musculature. The control of the seat determines the dynamic influence and balance of the rider and harmony with the horse’s movement within each gait and exercise.
130
SELF-CARRIAGE
State in which the horse carries itself in balance without taking support or balancing on the rider’s hand.
131
SLACK
1. Used in reference to the reins: without contact.
| 2. Used in reference to the condition of the musculature (e.g. “slack loin”).
132
SNATCHING
1. Horse attempting to jerk the reins through the rider’s hands.
2. Picking up the leg(s) jerkily and sometimes excessively high.
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SPEED
Meters per minute or miles per hour, i.e. how much ground is covered per unit of time. The horse’s speed can be changed by adjusting the length of stride, adjusting the tempo, or both. Increased tempo does not necessarily mean increased speed. Not to be confused with impulsion or tempo.
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STEP
Referring to either the front or hind pair of legs, the movement that involves transfer from one limb to the other. Steps are measured (in time or
distance) between the footfall of one hoof and the footfall of the other hoof of the pair. For counting purposes, the steps of only the front OR rear pair
of limbs are counted.
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STIFF/STIFFNESS
Inability (as opposed to unwillingness) to flex the joints or stretch the musculature to the degree and in the way required to perform the task at hand.
The opposite of suppleness. Not to be confused with tension, resistance, or bracing.
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STRAIGHTNESS (IMPROVED ALIGNMENT AND EQUAL LATERAL SUPPLENESS ON BOTH REINS)
A horse is said to be straight when the footfalls of the forehand and the hindquarters are appropriately aligned on straight and curved lines and when
his longitudinal axis is in line with the straight or curved track on which he is ridden.
(See Pyramid of Training for complete explanation).
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STRIDE
Cycle of movements that is completed when the horse’s legs regain their initial positions. Length of stride refers to the amount of ground covered by
the entire cycle.
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STRUNG OUT
Outline too elongated -- horse sprawled out rather than gathered up into connection with good carriage and balance.
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STUCK
Instead of being raised in the rhythm of the gait, a foot remains on the ground throughout the entire stride. Usually applied to pirouette and turn on
the haunches.
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SUBMISSION
The horse’s willing cooperation and harmony with the rider, demonstrating an attentive and confident attitude. Willingness to perform the required
exercise as well as operate with correct basics. (see Basics).
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SUPPLENESS (ELASTICITY AND FREEDOM FROM ANXIETY)
Suppleness indicates the absence of negative muscular tension, allowing the joints to move with harmonious flexibility. Elasticity describes the horse
who is able to stretch and contract the musculature smoothly and fluently.
(See Pyramid of Training for complete explanation).
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SUSPENSION
The moment or phase of the trot, canter or passage in which the horse has no feet on the ground.
143
SWINGING
In series of flying changes, piaffe, or passage, the alternating left and right lateral displacement of the shoulders and/or haunches.
144
SWINGING BACK
The springy motion that occurs when the thrust off the hind legs is transmitted through a stretched topline with trunk muscles that contract and
release rhythmically rather than remaining either rigid or slack
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SWINGING HEAD
The horse’s muzzle moves left-and-right or in circles, indicating constraint or incorrect acceptance of contact/connection. Same as head wagging.
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TEMPO
Rate of repetition of the strides as may be measured by a metronome.
Tempo is measured by counting the number of times per minute that one of the hooves touches down (indicating completion of one full stride).
Alternatively, at walk and trot, both emphasized beats of the stride may be counted.
Note: Tempo is often confused with rhythm, speed, pace, or cadence.
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TENSE/ TENSENESS/TENSION
1. Referring to the horse’s mental/emotional state -- anxious or nervous.
2. Referring to muscular tension, the state in which the muscles are contracted. Too much muscle tension or sustained muscular tension is not desirable, but a certain amount of positive tension is needed for postural support and locomotion.
Often physical and mental/emotional states go hand in hand.
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THROUGHNESS/THROUGH
An equestrian term which means the supple, elastic, unblocked, connected state of the horse’s musculature and a willing mental state that permits
an unrestricted flow of energy from back to front and front to back (circle of the aids), which allows the aids/influences to go through all parts of the
horse.
(See Pyramid of Training for complete explanation).
149
THRUST
Propulsive forward and upward drive from hindquarters. Required at First Level to achieve improved balance and throughness; at Second Level
required to be in a more uphill direction.
150
TILTING
Tipping or cocking the head (lowering one ear)—an evasion.
151
TOPLINE
Profile from the poll to the tail along the top of the crest of the neck and along the spine. The horse lengthens or stretches its topline by rounding its
neck and back and lifting its thorax and belly. The horse can stretch its topline irrespective of the height of its neck.
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TRACK/TRACKS
1. The line(s) of hoof prints laid down as the foot or feet travel their individual path(s). There are two different versions of how to count tracks:
a. to address the line of travel of each leg in
determining the number of paths of travel, as
viewed by the observer as the horse approaches
him (e.g. three tracks for shoulder-in, four tracks
for travers).
b. to address front or hind legs as pair(s), such that
lateral movements are considered to be “on two
tracks,” in contrast to when a horse
tracks straight.
2. Direction of travel, as in “track right” (when all corners are right turns, and the right hand is toward the center of the arena).
3. Path next to the rail in an arena.
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TRACKING UP
The hind feet step into the prints of the forefeet.
154
TRAILING
1. In half-pass and leg-yield, refers to lack of parallelism to the long axis of the arena (as in trailing haunches).
2. The hind legs operating too far behind the horse, which favors pushing at the expense of carrying, especially in the lengthened, medium and extended paces (as in trailing hind legs).
155
TRAJECTORY
The line of travel of the hoof from its lift-off to landing -- the reach, height, and shape of the flight arc of the hoof.
156
UNEVEN
An irregularity in walk or trot in which the front or hind pair of legs does not move symmetrically, the right leg making a different length of step than the left leg.
157
UNLEVEL
An irregularity in which the front or hind pair of legs does not move symmetrically, the right leg making a different height of step than the left leg.
158
UPHILL
Good longitudinal balance, with elevated forehand and lowered croup (engaged hindquarters). The degree of engagement of the hind limbs is balanced with the degree of elevation of the forehand.
159
WAGGING
The horse’s muzzle, head and/or neck moves left-and-right or in circles, indicating constraint or incorrect acceptance of contact/connection.
160
WIDE BEHIND
The horse travels with the hind feet further apart than the fore feet. This is an evasion of engagement which occurs most commonly in piaffe, halting,
and lengthening of stride in trot.
161
WORKING (TROT OR CANTER)
A pace in which the horse goes forward energetically but calmly, with a length of stride between that of the collected and medium paces. A working trot should have at least a level balance (in contrast to the uphill balance of a collected trot).
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ZIG -ZAG
Three or more half passes connected by changes of direction.
