Counter control for better navigation of the jumping course
When I was a younger rider in the show jumping arena with a horse, I felt like I could see all the distances perfectly, yet I could still have 8 faults.
I watched the rounds of other riders, and sometimes their distances were either very long or very deep, yet they jumped clear rounds.
The reason was that they built a good canter and gave their horses the opportunity to gauge the jumps.
In my opinion, the biggest misconception in the American system is that one must find perfect distances.
From a young age, we become so focused on finding the ideal "X" point on the ground for the horse to take off that we are willing to completely lose the canter just to reach it.
This is not the best way to succeed.
The result of working on impulsion in groundwork and jumping over poles is a smooth and balanced jump; just as "Idol H and H," known as "Billy," a 7-year-old Dutch Warmblood from the Itasca group, demonstrates it here.
If you watch top riders on course, you will see that they are completely in control of the canter.
They start with a canter that has good balance and impulsion; that is, the energy that is harnessed and collected in the heart of this gait; and they maintain that until the first jump.
When they jump a line that requires them to open the horse's stride, they immediately collect the horse again right after to return to that base canter.
When they jump a line that requires the horse's stride to be more collected, they immediately push the horse forward afterward to return to the base canter.
On the other hand, I see rounds that become chaotic because the rider forgets the canter in search of distances.
A rider may take a very forward line and then, instead of returning to the base canter, over-collect the horse.
Similarly, if a rider slows down too much and then suddenly throws the horse forward to find a long distance, the base canter disappears.
This pendulum effect causes the horse to focus on the rider instead of the jump in front of it.
To jump a course, the horse must maintain a canter with good balance and impulsion to transfer its weight onto the hind end and jump.
A horse with good impulsion is active and moves forward.
It feels like it is generating power with its hind legs, and it appears as if it is going uphill in the canter or as if it wants to lift its front off the ground.
Less experienced riders often mistakenly equate speed with impulsion.
Just because a horse is galloping in a straight line does not mean it has impulsion.
If you have ever been on a boat, you know that when the engine at the back of the boat engages, the back of the boat dips in the water, and you see and feel the bow rise.
This is the feeling I want the rider to create in every stride they are in; whether in walk, trot, and especially in canter and when jumping.
To cultivate this feeling for jumping a course, you must: learn how to create a good base canter, understand how this canter relates to the lines of the course, and know how to return to it.
When you learn these steps well, you will have a better chance of having a better round in show jumping.
In this article, I will show you how to achieve this goal.
Every time you ride a horse, you must establish the impulsion for that day.
Your horse should be in front of your leg, working correctly and having good, active energy in its strides.
The first step is to engage your leg and ask it to come underneath with its hind legs.
When the horse is in front of your leg, ask it to accept your hand by taking a feel of the reins.
As soon as you feel it soften a bit, give back by reducing the amount of contact.
In the process of taking and giving, try to stretch the horse along the top line of its body, from the base of the tail to the tip of the nose.
However, do not focus too much on its appearance; all horses show different shapes of form, and this is secondary to how the horse works from behind to the front.
When applying aids, always remember this: first ask, then give the horse a chance to respond.
If it does not respond, apply more pressure the next time you ask.
When your horse moves forward, you can begin practicing transitions between movements to improve its impulsion.
Remember, whether you ask the horse to take a step forward or to collect, the order of using the aids should always be: leg, then seat, then hand.
This is very important in the process.
Imagine that after landing from a jump, you need to fit a long stride at a measured distance to the next obstacle.
If you just pull on the reins, the horse will fall on your hand, and its ability to collect on its hind legs when reaching the obstacle will be severely diminished.
Instead, you should first engage your leg to activate its stride, then collect it with your hand by taking and giving.
This allows it to sit on its hindquarters and shorten its stride so that when it approaches a tall vertical or a big oxer, it can collect on its hind legs and push off the ground with the right force to jump well.
Exercise 1: Eight on Flatwork My favorite flatwork exercise for teaching impulsion and understanding how to create a good counter is executing the eight pattern using the whole arena.
This exercise is a great way to simulate the feeling you should have in the process.
You practice coming forward in the turn and entering the diagonal of the arena, then on the diagonal, you collect the horse so it becomes like a spring and can sit on its hind legs.
This is the feeling you want to have when approaching an obstacle.
This exercise can be done in all three gaits and with different shapes.
After warming up the horse, start the exercise from sitting trot to rising trot.
When you reach the short side of the arena, the horse should be in front of your leg and moving forward.
Enter the diagonal and using both legs, drive it forward evenly for a few strides to ensure it is moving straight and forward.
Then go to sitting trot and try to maintain the driving energy you created in the turn and while in sitting trot so that you can harness the horse's energy and bring it back onto its hindquarters.
When collecting, always keep this order in mind: first leg, then softness of the seat, then tightening of the core, and finally, to complete these aids, just make slight contact with the hand; and then always soften the hand again.
Your seat is a help for creating calmness and balance in the horse.
It should not be used as a driving aid; this is the job of the rider's legs.
When you have at least passed the halfway point of the diagonal, transition to the walk with the same aids mentioned above.
Even though the horse is slowing down, it still keeps its hindquarters engaged, brings its hind legs forward under its body, and shifts its weight back.
You should always ensure that before transitioning down to the walk, you have gone at least to the halfway point of the diagonal, because you want to make sure the horse moves forward in the same way it should after exiting the turn and heading towards the jump.
When the horse consistently and reliably returns to the walk, vary this exercise so that it does not anticipate the next movement; it should think about your aids and stay with you, not be a step ahead of you.
For example, from the walk you can go to a halt, take a few steps back, and then immediately move to the short side of the arena in canter, then enter the next diagonal and repeat the exercise.
To perform this exercise in canter, keep the horse moving forward in the turn and then on the diagonal for a few strides, and then ask it to collect as you would when sitting in canter.
You can hold the horse on the opposite hand or transition to walk or canter for a simple change, or stop it and bring it back before moving forward again.
If you perform the exercise correctly, the horse should first come forward, then collect and shift its weight onto the outside hind leg; this also prepares it well for the flying change.
I usually only take the flying change as a reward at the end of this exercise.
If this exercise is overused to achieve the flying change, the horse may become overly eager to change legs.
In all steps, I prefer to start by collecting the horses on a straight line; that is why I collect the horse on the diagonal in this exercise.
I do not want the horse to confuse lateral movements with collection.
If you are approaching a jump and need to adjust the number of strides, the horse should not first think that it can shift its body left or right to do this.
1.
On the short side of the arena, I work in sitting canter going forward and then enter the diagonal; while using both legs, I keep the horse straight and forward to move it evenly in front of me.
2.
When I reach at least the halfway point of the diagonal, I go to sitting canter and maintain the driving force I have created in the turn to contain the horse's energy by employing my legs; at the same time, I keep my seat soft and firm my core to bring it back onto its hindquarters.
As can be seen, it shortens its stride and works in a more collected canter.
3.
Then, by employing my legs, keeping my seat soft, and firming my core, along with establishing a gentle connection with my hands, I move to a forward and energetic walk.
4.
Then I perform the same exercise this time in canter.
Just like in canter, I enter the diagonal with a forward stride and then, around the middle of the diagonal, I ask it to collect; just as I am doing here.
5.
When the horse consistently returns to the walk, I vary the exercise so that it does not anticipate the next movement.
Here I stop him and take two to three steps back.
Then, by allowing him to move forward in the step, I reward him.
6.
Throughout the turn, I keep Aydel on the opposite hand to emphasize that he must stay on my outside leg and cannot decide to change hands himself.
Exercise 2: Changing stride length over ground poles crossing over three ground poles placed in a straight line is a very good starting point for feeling the horse's driving force and finding the counter base before the jump.
I like to use ground poles so that these concepts can be better felt without putting unnecessary pressure and pounding on the horse's legs.
In many cases, it is necessary to repeat this exercise several times to learn to perform it correctly.
Layout: In the middle of the arena, place three raised or ground poles in a row, so that there is a distance of 54 feet between each pole (or if you are measuring the distance on foot, 18 three-foot steps).
This exercise gives you a better understanding of the horse's counter stride length.
Your goal should be to adjust the stride length well before entering the line of poles, not after you have crossed over the first pole in the counter.
If you have a good counter, the amount of adjustment needed to reach the appropriate distance to the pole should be very little.
To set up this exercise, place three ground cavalettis in a line; so that there is a distance of 54 feet between each two cavalettis.
Start by creating a good counter base; so that the horse stays in front of your leg.
Once this position is established, pass through the turn and head towards the line of cavalettis.
Just like in the English exercise eight, be careful that the horse stays in front of your leg throughout the entire turn.
Cross over the first cavaletti with the counter and reach the second cavaletti with 5 steps, then again with 5 steps to the third cavaletti.
This counts as adding one step.
At the end of the arena, make a circle and then move again along the line of cavalettis with the counter from the other side.
Be sure to practice on both leads.
When you feel that you can consistently cover the distance between the cavalettis with 5 good steps, repeat the exercise but this time do it with 4 steps.
When executing 4 steps to 4 steps and 5 steps to 5 steps, you should strive for each step to be uniform.
There should not be a significant change in your riding style over the cavalettis.
Just ask the horse to stretch the counter base more with your leg.
Your goal should be to make the counter taller while still maintaining the correct balance and driving force of the horse's counter.
When you can execute 4 steps and 4 steps well, go 4 steps between the first and second cavaletti and then 5 steps between the second and third cavaletti.
This is the more advanced version of the exercise.
The horse should increase its stride length to cover the distance in 4 steps and then, after crossing over the second cavaletti in the counter, gather under your body to fit in the next 5 steps.
Try to get closer to the second cavaletti in the 4-step section so that the horse starts compressing its stride from there to fit 5 steps between the second and third cavaletti.
When gathering, you should have the feeling that you can come towards the cavalettis with the same counter and if they were 1.60-meter obstacles, you would still successfully pass over them; not just fitting in an extra step at the last moment.
When this stage becomes normal and smooth, take 5 strides between the first and second cavaletti, and then 4 strides between the second and third cavaletti.
Before I go towards the cavaletti in the above photos, I have created a good base counter.
I pass over the first cavaletti with the counter and reach the second cavaletti with 5 strides, and then again with 5 strides to the third cavaletti.
When I can consistently cover the distance between the cavaletti with 5 good strides, I repeat the exercise but this time I do it with 4 strides and increase the stride length with more pressure from my leg.
When this section goes well, for a greater challenge, I go 4 strides between the first and second cavaletti and 5 strides between the second and third cavaletti.
Exercise 3: Adding Curved Lines This exercise is very useful for working on collecting the counter and then returning to the base counter.
This exercise encourages you to drive the horse forward in the first part of a line and then collect the counter to finish that line.
After that, you change direction with a half-turn and within a short time, you need to establish the base counter again that you need to enter the line from the opposite direction; with the same forward rhythm that you started with.
Layout: In the middle of the arena, place four ground poles in a line.
The distance from the first pole to the second should be 42 feet, or if you measure the distance on foot, 14 strides of 3 feet; the distance from the second pole to the third should be 54 feet, or 18 strides of 3 feet; and the distance from the third pole to the fourth should also be 42 feet.
Then, from the two middle poles, set up two curved lines in opposite directions and on one side of the arena, with a distance of 54 feet.
To set up this exercise, pay attention to the diagram above.
Place four ground poles in a straight line in the center of the arena.
The distance between the first and second poles should be 42 feet, between the second and third poles 54 feet, and between the third and fourth poles 42 feet.
Then from the two middle poles, create two curved lines in opposite directions along the same long side of the arena, with a distance of 54 feet.
Start with a counter on the straight line of three distances; with a base counter that has a collected stride, so that you take 4 strides from the first pole to the second, 5 strides from the second to the third, and finally 5 strides to the pole placed in the curved line.
I call this "extra stride" because your horse moves on a collected stride throughout the line.
At the end of the arena, make sure to return to the same base counter you started with, look at the exercise again, make a half-turn, and cover the straight line from the opposite direction with the counter.
The idea is to perform the exercise continuously, each time in one of the two directions and alternately, twice.
After that, you can give the horse a break at the walk so that both you and the horse have a chance to digest the information.
I really like this exercise because it includes both right and left bends and requires the ability to lengthen or shorten the stride on straight and curved lines; while you must return to the base counter before repeating the exercise.
This exercise is similar in execution to Exercise 2, but adds more layers of complexity to it.
When your horse consistently and steadily passes over the poles with the counter, this time try to go 3 strides from the first pole to the second, 4 strides from the second to the third, and 4 strides to the curved line.
I call this "forward stride."
At the end of the curved line, bring the horse back to the counter base, go in a half-circle, and repeat the exercise in the opposite direction.
Then repeat the exercise once more in each direction.
1.
Starting on the right lead, with the same aids I used in exercise 2, I pass over the first three poles in the counter.
Initially, I take four steps from the first pole to the second.
From the second pole to the third, I take five steps.
When passing in the counter over the third pole, I prepare to turn right and complete the curved line in five steps.
2.
Then, by looking in the direction and bending the idol around my inside leg, I traverse the curved line to the right in the counter.
3.
I pass over the last pole in the counter, then look back and resume the exercise in the opposite direction; this means passing over the three poles in the counter and finishing with a curved line to the left.
Utilizing exercises in jumping with a show jumping horse is just a pause in your flatwork.
The difficult part of the work is accepting that the concept is the same as what you have in working with ground poles.
I like to design courses that ask the rider to lengthen, collect, and turn the horse's stride, and at all these stages, return the counter to the base between the obstacles.
The goal of this course is to apply the exercises you have done in exercises 1 to 3 in practice and assess how much progress has been made and what still needs more work.
As you did in previous exercises, your focus should be on creating a base counter.
The work should be as simple as allowing the jumps to come to you from the heart of the counter, rather than seeking the ideal distance to take off the horse.
When you allow a horse to assess the obstacle with a steady counter, most of the time the horse itself shows you the take-off point.
Note: Developing the sense of riding is a complement to the aids of the legs, seat, and hands that the rider gradually develops over time.
There is no fixed or ideal percentage for the use of legs, seat, or hands; everything depends on the situation.
The use of these aids in this way and with varying amounts and correct timing develops over time.
Working with a professional coach to strengthen this skill is beneficial, but it is also something you should consciously pay attention to yourself.
You should never feel that the horse is indifferent to your aids.
Engage your leg and give the horse the opportunity to respond to it.
If it does not, and it is necessary to apply more leg pressure, go back and repeat the same action.
The same goes for the hands.
If you only want to stand and pull on a strong horse, the horse will always win.
I enjoy watching the riding of slender riders like Meredith Michaels-Beerbaum, Margie Engle, and Beezie Madden with their large horses.
They have complete control of the horse not because of brute strength, but due to their finesse and understanding of riding.
Instead of clinging to the strong horse and trying to force it back, it is better to give and take the hand in a gentler manner ten times than to try to fix everything at once with a strong and dramatic pull.
About Andrew Welles Andrew Welles, originally from Minneapolis, Minnesota, developed his interest in horses from a young age.
He grew up in the sport of equestrianism and trained under Missy Clark, an equitation and show jumping specialist, and Chris Kappler, an Olympic gold medalist.
He experienced his first appearances in the Nations Cup in 2009, where he represented the United States in Linz, Austria, and Lisbon, Portugal.
He also competed for the U.S. in the 2018 Masters Spruce Meadows CSIO*** and the 2019 FEI Nations Cup show jumping in Canada, held in Langley, British Columbia.
In recent years, Wells reached second place in the FEI Longines World Cup show jumping in Washington with Primo Troy, a 10-year-old Irish gelding of the Irish Sport Horse breed owned by Itasca Group LLC, and also won the CSI 1.45-meter CaptiveOne Advisors Classic with Brindis Bogibo, a 14-year-old Dutch gelding of the Dutch Warmblood breed, which is also owned by Itasca Group LLC, with a prize of $37,000.
Wells, who is based in Wellington, Florida, and Metamora, Illinois, trains horses and riders in show jumping to the highest levels.
This article was first published in the Spring 2020 issue of Practical Horseman.
Source: Practical Horseman – Training