OBJECT AND GENERAL PRINCIPLES OF DRESSAGE AND
PARA DRESSAGE.
Wherever possible the Para Dressage Athlete should follow the object and general principles ofDressage. However, as Athletes with impairments do not have the use of the entire body, allreferences to the aids must be interpreted to include the use of other parts of the body and/or
appropriate and approved compensating aids.
1.

The object of Dressage is the development of the Horse into a happy Athlete throughharmonious education. As a result, it makes the Horse calm, supple, loose and flexible, butalso confident, attentive and keen, thus achieving perfect understanding with the Athlete.
These qualities are demonstrated by:••••

The freedom and regularity of the paces.
The harmony, lightness and ease of the movements.
The lightness of the forehand and the engagement of the hindquarters, originating froma lively impulsion.
The acceptance of the bit, with submissiveness/throughness (Durchlässigkeit) without
any tension or resistance.

2.

The Horse thus gives the impression of doing, of its own accord, what is required. Confident
and attentive, submitting generously to the control of the Athlete, remaining absolutely straightin any movement on a straight line and bending accordingly when moving on curved lines.

3.

The walk is regular, free and unconstrained. The trot is free, supple, regular and active. The
canter is united, light and balanced. The hindquarters are never inactive or sluggish. The Horse
responds to the slightest indication of the Athlete and thereby gives life and spirit to all the restof its body.

4.

By virtue of a lively impulsion and the suppleness of the joints, free from the paralysing effects
of resistance, the Horse obeys willingly and without hesitation and responds to the various aids
calmly and with precision, displaying a natural and harmonious balance both physically andmentally.

5.

In all the work, even at the halt, the Horse must be “on the bit”. A Horse is said to be “on thebit” when the neck is more or less raised and arched according to the stage of training and theextension or collection of the pace, accepting the bridle with a light and consistent soft
submissive contact. The head should remain in a steady position, as a rule slightly in front of
the vertical, with a supple poll as the highest point of the neck, and no resistance should beoffered to the Athlete.

6.

Cadence is shown in trot and canter and is the result of the proper harmony that a Horse shows
when it moves with well-marked regularity, impulsion and balance. Cadence must be
maintained in all the different trot or canter exercises and in all the variations of these paces.

7.

The regularity of the paces is fundamental to Dressage.

8.

Execution of Movement at Certain Point. In a movement which must be carried out at a certain
point of the arena, it should be done at the moment when the Athlete's body is above thispoint, except in transitions where the Horse approaches the letter from a diagonal or
perpendicular to the point where the letters are positioned. In this case, the transitions must
be done when the Horse’s nose reaches the track at the letter so that the Horse is straight inthe transition. This includes the execution of flying changes.
1|PageTHE HALT1.

At the halt the Horse should stand attentive, engaged, motionless, straight and square withthe weight evenly distributed over all four (4) legs. The neck should be raised with the poll as
the highest point and the noseline slightly in front of the vertical. While remaining “on the bit”
and maintaining a light and soft contact with the Athlete’s hand, the Horse may quietly chew
the bit and should be ready to move off at the slightest indication of the Athlete. The halt must
be shown for at least 3 seconds. The halt should be shown throughout the salute.

2.

The halt is obtained by the displacement of the Horse’s weight to the hindquarters by a properly
increased action of the seat and legs of the Athlete, driving the Horse towards a softly closed
hand, causing an almost instantaneous but not abrupt halt at a previously fixed place. The halt
is prepared by a series of half-halts (see transitions).

3.

The quality of the paces before and after the halt is an integral part of the assessment.



THE WALK1.

The walk is a marching pace in a regular and well-marked four (4) times beat with equalintervals between each beat. This regularity combined with full relaxation must be maintained
throughout all walk movements.

2.

When the foreleg and the hind leg on the same side move almost on the same beat, the walktends to become an almost lateral movement. This irregularity, which might become an ambling
movement, is a serious deterioration of the pace.

3.

The following walks are recognised: Collected walk, Medium walk, Extended walk andFree walk. There should always be a clear difference in the attitude and overtracking in thesevariations.
Collected walk. The Horse, remains “on the bit”, moves resolutely forward, with its neckraised and arched and showing a clear self-carriage. The head approaches the vertical position
and a light contact is maintained with the mouth. The hind legs are engaged with good hockaction. The pace should remain marching and vigorous, the feet being placed in regularsequence. The steps cover less ground and are higher than at the medium walk, because all
the joints bend more markedly. The Collected walk is shorter than the Medium walk, althoughshowing greater activity.
2|PageMedium walk. A clear, regular and unconstrained walk of moderate lengthening. The Horse,
remaining “on the bit”, walks energetically but relaxed with even and determined steps, thehind feet touching the ground in front of the hoof prints of the fore feet. The Athlete maintains
a light, soft and steady contact with the mouth, allowing the natural movement of the Horse’s
head and neck.

Extended walk. The Horse covers as much ground as possible, without haste and without
losing the regularity of the steps. The hind feet touch the ground clearly in front of the hoof
prints of the fore feet. The Athlete allows the Horse to stretch out the head and neck (forwardand downwards) without losing contact with the mouth and control of the poll. The nose must
be clearly in front of the vertical.

Free Walk. The free walk is a pace of relaxation in which the Horse is allowed complete
freedom to lower and stretch out the head and neck. The degree of ground cover and lengthof strides, with hind feet stepping clearly in front of the footprints of the front feet, are essential
to the quality of the free walk.

The walk is a pace in four (4)-beat rhythm with eight (8) phases(Numbers in circles indicate the beat).
4.

Stretching on a long rein. This exercise gives a clear impression of the "throughness" of theHorse and proves its balance, suppleness, obedience and relaxation. In order to execute theexercise "stretching on a long rein" correctly, the Athlete must lengthen the reins as the Horsestretches gradually forward and downward. As the neck stretches forwards and downwards,
the mouth should reach more or less to the horizontal line corresponding with the point of theshoulder. An elastic and consistent contact with the Athlete's hands must be maintained. The
pace must maintain its rhythm, and the Horse should remain light in the shoulders with thehindlegs well engaged. During the retake of the reins the Horse must accept the contact without
resistance in the mouth or poll.

3|Page

THE TROT1.

The trot is a two (2)-beat pace of alternate diagonal legs (left fore and right hind leg and viceversa) separated by a moment of suspension.

2.

The trot, always with free, active and regular steps, should be moved into without hesitation.

3.

The quality of the trot is judged by general impression, i.e. the regularity and elasticity of thesteps, the cadence and impulsion in both collection and extension. This quality originates froma supple back and well-engaged hindquarters, and by the ability to maintain the same rhythm
and natural balance with all variations of the trot.

4.

The following trots are recognised: Collected trot, Working trot, Medium trot,
Lengthening of steps, and Extended trot.
Collected trot. The Horse, remaining “on the bit”, moves forward with the neck raised andarched. The hocks, being well-engaged and flexed, must maintain an energetic impulsion,
enabling the shoulders to move with greater mobility, thus demonstrating complete selfcarriage. Although the Horse’s steps are shorter than in the other trots, elasticity and cadence
are not lessened.



Working trot. This is a pace between the Collected and the Medium trot, in which a Horse’s
training is not yet developed enough and ready for collected movements. The Horse shows
proper balance and, remaining “on the bit”, goes forward with even, elastic steps and goodhock action. The expression “good hock action” underlines the importance of an impulsion
originating from the activity of the hindquarters.

Medium trot. This is a pace of moderate lengthening compared to the Extended trot, but“rounder” than the latter. Without hurrying, the Horse goes forward with clearly lengthened
steps and with impulsion from the hindquarters. The Athlete allows the Horse to carry the heada little more in front of the vertical than at the Collected and the Working trot, and to lower
the head and neck slightly. The steps should be even, and the whole movement balanced andunconstrained.



Lengthening of steps. In the test for four (4)-year-old Horses "lengthening of steps" isrequired. This is a variation between the Working and Medium trot in which a Horse’s training
is not developed enough for Medium trot.

Extended trot. The Horse covers as much ground as possible. Without hurrying, the steps arelengthened to the utmost as a result of great impulsion from the hindquarters. The Athlete
allows the Horse to lengthen the frame and to gain ground whilst controlling the poll. The fore
feet should touch the ground on the spot towards which they are pointing. The movement of
the fore and hind legs should reach equally forward in the moment of extension. The whole
movement should be well-balanced and the transition to Collected trot should be smoothly
executed by taking more weight on the hindquarters.

5.

All trot work is executed “sitting”, unless otherwise indicated in the test.

6.

Stretching on a long rein. This exercise gives a clear impression of the "throughness" of theHorse and proves its balance, suppleness, obedience and relaxation. In order to execute theexercise "stretching on a long rein" correctly, the Athlete must lengthen the reins as the Horsestretches gradually forward and downward. As the neck stretches forwards and downwards,
the mouth should reach more or less to the horizontal line corresponding with the point of theshoulder. An elastic and consistent contact with the Athlete's hands must be maintained. The
pace must maintain its rhythm, and the Horse should remain light in the shoulders with thehind legs well-engaged. During the retake of the reins the Horse must accept the contact
without resistance in the mouth or poll.

4|Page

The trot is a pace in two (2)-beat rhythm with four (4) phases(Numbers in circles indicate the beat)

THE CANTER1.

The canter is a three (3)-beat pace where, in canter to the right, for example, the footfall is asfollows: left hind, left diagonal (simultaneously left fore and right hind), right fore, followed bya moment of suspension with all four (4) feet in the air before the next stride begins.

2.

The canter, always with light, cadenced and regular strides, should be moved into without
hesitation.

3.

The quality of the canter is judged by the general impression, i.e. the regularity and lightnessof the steps and the uphill tendency and cadence originating from the acceptance of the bridle
with a supple poll and in the engagement of the hindquarters with an active hock action – andby the ability of maintaining the same rhythm and a natural balance, even after a transition
from one (1) canter to another. The Horse should always remain straight on straight lines andcorrectly bent on curved lines.

4.

The following canters are recognised: Collected canter, Working canter, Medium canter,
Lengthening of strides, and Extended canter.
Collected canter. The Horse, remaining “on the bit”, moves forward with the neck raised andarched. The hocks, being well-engaged, maintain an energetic impulsion, enabling theshoulders to move with greater mobility thus demonstrating self-carriage and an uphilltendency. The Horse’s strides are shorter than in the other canters, without losing elasticity
and cadence.



Working canter. This is a pace between the Collected and the Medium canter, in which a
Horse’s training is not yet developed enough and ready for collected movements. The Horseshows natural balance while remaining “on the bit”, and goes forward with even, light andactive strides and good hock action. The expression “good hock action” underlines theimportance of an impulsion originating from the activity of the hindquarters.

Medium canter. This is a pace between the Working and the Extended canter. Withouthurrying, the Horse goes forward with clearly lengthened strides and impulsion from thehindquarters. The Athlete allows the Horse to carry the head a little more in front of the verticalthan in the Collected and Working canter, and at the same time allows the Horse, to lower thehead and neck slightly. The strides should be balanced and unconstrained.



Lengthening of strides. In the test for four (4)-year-old Horses "lengthening of strides" isrequired. This is a variation between the Working and Medium canter in which a Horse’s training
is not developed enough for Medium canter.

5|PageExtended canter. The Horse covers as much ground as possible. Without hurrying, the strides
are lengthened to the utmost. The Horse remains calm, light and straight as a result of great
impulsion from the hindquarters. The Athlete allows the Horse to lengthen the frame with acontrolled poll and to gain ground. The whole movement should be well-balanced and thetransition to Collected canter should be smoothly executed by taking more weight on thehindquarters.
The cadence in the transitions from medium canter as well as from extended canter to collectedcanter should be maintained.

Counter–canter. The Counter canter is a balancing and straightening movement that must
be executed in collection. The Horse canters in correct sequence with the outside foreleg
leading with positioning to the side of the leading leg. The foreleg should be aligned to thesame track as the hind leg.

Simple change of leg at the canter. This is a movement in which, after a direct transitionout of the canter into a walk, with three (3) to five (5) clearly defined steps, an immediatetransition is made into the other canter lead.



Flying change of leg. The flying change is performed in one (1) stride with the front and hindlegs changing at the same moment. The change of the leading front and hind leg takes place
during the moment of suspension. The aids should be precise and unobtrusive.
Flying changes of leg can also be executed in series at every 4th, 3rd, 2nd or at every stride.
The Horse, even in the series, remains light, calm and straight with lively impulsion,
maintaining the same rhythm and balance throughout the series concerned. In order not to
restrict or restrain the lightness, fluency and groundcover of the flying changes in series,
enough impulsion must be maintained.
Aims of flying changes: To show the reaction, sensitivity and obedience of the Horse to theaids for the change of leg.
The canter is a pace in three-beat rhythm with six (6) phases.

6|Page

REINBACK

1.

Reinback is a rearward diagonal movement with a two (2)-beat rhythm but without a momentof suspension. Each diagonal pair of legs is raised and returned to the ground alternatively,
with the forelegs aligned on the same track as the hindlegs.

2.

During the entire exercise, the Horse should remain “on the bit”, maintaining its desire to move
forward.

3.

Anticipation or precipitation of the movement, resistance to or evasion of the contact, deviationof the hindquarters from the straight line, spreading or inactive hind legs and dragging forefeet
are serious faults.

4.

The steps are counted as each foreleg moves back. After completing the required number ofsteps backward, the Horse should show a square halt or move forward in the required pace
immediately. In tests where a Reinback of one (1) Horse’s length is required, it should beexecuted with three (3) or four (4) steps.

5.

Reinback series (Schaukel) is a combination of two (2) reinbacks with walk steps in between.
It should be executed with fluent transitions and the required number of steps.

THE TRANSITIONS
The changes of pace and variations within the paces should be exactly performed at theprescribed marker. The cadence (except in walk) should be maintained up to the moment when
the pace or movement is changed or the Horse halts. The transitions within the paces must be
clearly defined while maintaining the same rhythm and cadence throughout. The Horse should
remain light in hand, calm, and maintain a correct position.
The same applies to transitions from one (1) movement to another, for instance from passage
to piaffe or vice versa.

THE HALF HALTS
Every movement or transition should be invisibly prepared by barely perceptible half halts. The
half halt is an almost simultaneous, coordinated action of the seat, the legs and the hands of
the Athlete, with the object of increasing the attention and balance of the Horse before theexecution of the movements or transitions to lower and higher paces. By shifting slightly moreweight onto the Horse’s hindquarters, the engagement of the hind legs and the balance on the
haunches are improved for the benefit of the lightness of the forehand and the Horse’s balance
as a whole.

7|Page

THE CHANGES OF DIRECTIONS

1.

At changes of direction, the Horse should adjust the bend of the body to the curvature of theline it follows, remaining supple and following the indications of the Athlete, without any
resistance or change of pace, rhythm or speed.

2.

Changes of directions can be executed in the following ways:
a.
b.
c.
d.
e.
f.

Right-angled turn including riding through the corner (one -1- quarter of a volte of
approx. six -6- metres).
Short and long diagonal.
Half voltes and half circles with change of rein.
Half pirouettes and turn on the haunches.
Serpentine loops.
Counter-changes of hand (in zig-zag)*. The Horse should be straight for a moment
before changing direction.

*Zig-zag: A movement containing more than two (2) half-passes with changes of direction.

THE FIGURESThe figures asked in Dressage tests are the Voltes, the Serpentines and the Figuresof eight.
Figures with one (1), two (2) or three (3) loops on the long side or either side of the centre
line are called shallow loops. Shallow loops leave/join and cross the lines diagonally, unlike
Serpentines which must cross the lines at ninety degrees (90°).

1.

Volte
The volte is a circle of six (6), eight (8) or ten (10) metres in diameter. If larger than ten (10)metres it is a circle.

2.

Serpentine
The serpentine with several loops touching the long side of the arena consists of half circles
connected by a straight line. When crossing the centreline, the Horse should be parallel to theshort side (a). Depending on the size of the half circles, the straight connection varies in length.
Serpentines with one (1) loop on the long side of the arena are executed with five (5) metresor ten (10) metres distance from the track (b). Serpentines around the centre line are executed
between the quarter lines (c).

8|Page

a)

b)

3.

c)

Figure of eightThis figure consists of two (2) voltes or circles of equal size as prescribed in the test, joined at
the centre of the eight (8). The Athlete should make the Horse straight an instant beforechanging direction at the centre of the figure.



WORK ON TWO (2) TRACKS

1.

A distinction must be made between the following movements: Leg-Yielding, Shoulder-in,
Travers, Renvers and Half-pass.

2.

The aim of movements on two (2) tracks is:

2.1.

To improve the obedience of the Horse to the cooperative aids of the Athlete;

9|Page2.2.

To supple all parts of the Horse, thereby increasing the freedom of the shoulders and the
suppleness of the quarters, as well as the elasticity of the bond connecting the mouth, the poll,
the neck, the back and the haunches;

2.3.

To improve the cadence and bring the balance and pace into harmony.



LEG-YIELDING1.

The aim of leg yielding: To demonstrate the suppleness and lateral responsiveness of the Horse.

2.

Leg-yielding is performed in Working trot in FEI Competitions. The Horse is almost straight,
except for a slight flexion at the poll away from the direction in which it moves, so that the
Athlete is just able to see the eyebrow and nostril on the inside. The inside legs pass and crossin front of the outside legs.
Leg-yielding should be included in the training of the Horse before it is ready for Collected work.
Later on, together with the more advanced shoulder-in movement, it is the best means ofmaking a Horse supple, loose and unconstrained for the benefit of the freedom, elasticity andregularity of its paces and the harmony, lightness and ease of its movements.
Leg yielding can be performed “on the diagonal” in which case the Horse should be as nearlyas possible parallel to the long sides of the arena, although the forehand should be slightly inadvance of the hindquarters. It can also be performed “along the wall” in which case the Horseshould be at an angle of about thirty five (35) degrees to the direction in which it is moving.



LATERAL MOVEMENTS

1.

The main aim of lateral movements – except leg-yielding - is to develop and increase theengagement of the hindquarters and thereby also the collection.

2.

In all lateral movements - shoulder-in, travers, renvers, and half-pass, the Horse is slightly
bent and moves on different tracks.

3.

The bend or flexion must never be exaggerated so that it does not impair the rhythm, thebalance and fluency of the movement.

4.

In the lateral movements, the pace should remain free and regular, maintaining a constant
impulsion, yet it must be supple, cadenced and balanced. The impulsion is often lost becauseof the Athlete’s preoccupation with bending the Horse and pushing it sideways.


Shoulder-in. The shoulder-in is performed in Collected trot. The Horse is ridden with a slightbut uniform bend around the inside leg of the Athlete maintaining engagement and cadence
and a constant angle of approx. thirty (30) degrees. The Horse’s inside foreleg passes andcrosses in front of the outside foreleg; the inside hind leg steps forward under the Horse’s bodyweight following the same track of the outside foreleg, with the lowering of the inside hip. The
Horse is bent away from the direction in which it is moving.



Travers. Travers can be performed in Collected trot or Collected canter. The Horse is slightly
bent round the inside leg of the Athlete but with a greater degree of bend than in shoulder-in.
A constant angle of approximately thirty five (35) degrees should be shown (from the front
and from behind one -1- sees four -4- tracks). The forehand remains on the track and thequarters are moved inwards. The Horse’s outside legs pass and cross in front of the inside legs.
The Horse is bent in the direction in which it is moving.
To start the travers, the quarters must leave the track or, after a corner or circle, are notbrought back onto the track. At the end of the travers, the quarters are brought back on the
10 | P a g e

track (without any counter-flexion of the poll/neck) as one (1) would finish a circle. Aims oftravers: to show a fluent Collected trot movement on a straight line and a correct bend. Frontand hind legs are crossing, balance and cadence are maintained.


Renvers. Renvers is the inverse movement in relation to travers. The hindquarters remain on
the track while the forehand is moved inward. To finish the renvers the forehand is alignedwith the quarters on the track. Otherwise, the same principles and conditions that apply to thetravers are applicable to the renvers.
The Horse is slightly bent around the inside leg of the Athlete. The Horse’s outside legs passand cross in front of the inside legs. The Horse is bent in the direction in which it is moving.
Aims of renvers: to show a fluent Collected trot movement on a straight line with a greater
degree of bend than in shoulder-in. Fore and hind legs cross, balance and cadence are
maintained.



Half pass. Half-pass is a variation of travers, executed on a diagonal line instead of along thewall. It can be performed in Collected trot (and in passage in a freestyle) or Collected canter.
The Horse should be slightly bent around the inside leg of the Athlete and in the direction inwhich it is moving. The Horse should maintain the same cadence and balance throughout thewhole movement. In order to give more freedom and mobility to the shoulders, it is of great
importance that the impulsion be maintained, especially the engagement of the inside hind leg.
The Horse’s body is nearly parallel to the long side of the arena with the forehand slightly inadvance of the hindquarters.
In the trot, the outside legs pass and cross in front of the inside legs. In the canter, themovement is performed in a series of forward/sideways strides.
Aims of half-pass in trot: to show a fluent collected trot movement on a diagonal line with agreater degree of bend than in shoulder-in. Fore and hind legs cross, balance and cadence are
maintained.
Aims of the half-pass in canter: to both demonstrate and develop the collection and supplenessof the canter by moving fluently forwards and sideways without any loss of rhythm, balance orsoftness and submission to the bend.

Leg yielding along the wall

Leg yielding on the diagonal

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Shoulder inTravers

Renvers

Half-Pass



THE PIROUETTE, THE HALF-PIROUETTE AND TURN ON THE HAUNCHES

1.

The Pirouette (half-pirouette) is a turn of three hundred and sixty (360) degrees (hundred andeighty -180- degrees) executed on two (2) tracks, with a radius equal to the length of theHorse and the forehand moving around the haunches.

2.

Pirouettes (half-pirouettes) are usually carried out at Collected walk or canter, but can also be
executed at piaffe.

3.

At the pirouette (half-pirouette) the forefeet and the outside hind foot move around the insidehind foot. The inside hind leg describes a circle as small as possible.

4.

At whatever pace the pirouette (half-pirouette) is executed, the Horse, slightly bent in the
direction in which it is turning, remains “on the bit” with light contact, turning smoothly around,and maintaining sequence and timing of footfalls of that pace. The poll remains the highest
point during the entire movement.

5.

During the pirouettes (half-pirouettes), the Horse should maintain its activity (walk also
included) and never move backwards or sideways.

6.

In executing the pirouette or the half-pirouette in canter, the Athlete should maintain lightnessof the Horse while accentuating the collection. The Horse’s hindquarters are well engaged andlowered and show a good flexion of the joints. An integral part of the movement is the qualityof the canter strides before and after the pirouette. The strides should show an increased
12 | P a g e

activity and collection before the pirouette and the balance should be maintained at the end of
the pirouette.
Aims of the pirouette and half-pirouette in canter: to demonstrate the willingness of the Horse
to turn around the inside hind leg on a small radius, slightly bent in the direction of the turnwhile maintaining the activity and the clarity of the canter, the straightness and the balance
before and after the figure and clear canter strides during the turn. In the pirouette or halfpirouette in canter, the Judges should be able to recognize a real canter stride although thefeet of the diagonal – inside hind leg, outside front leg – are not touching the groundsimultaneously.

Pirouette and half-pirouette in canter
7.

The quality of the pirouettes (half-pirouettes) is judged according to the suppleness, lightness
and regularity, and the precision and smoothness of the entrance and exit. Pirouettes (halfpirouettes) in canter should be executed in six (6) to eight (8) strides – full pirouettes – andthree to four (4) strides – half-pirouette.

8.

Half-pirouettes in walk (one-hundred and eighty -180- degrees) are executed out of Collected
walk with the collection being maintained throughout the exercise. When the Horse exits thehalf-pirouette it returns to the initial track without crossing the hind legs.

Half-pirouette in walk9.

Turn on the haunches from walk.


For younger Horses that are still not able to show Collected walk and for Athletes riding Tests
in Grades where collected walk is not asked for, the “turn on the haunches” is an exercise toprepare the Horse for collection. The “turn on the haunches” is executed out of Medium walk
prepared by half halts to shorten the steps a little and to improve the ability to bend the jointsof the hindquarters. The Horse does not halt before or after the turn. The “turn on the
haunches” can be executed on a larger radius (approx. ½m) than the pirouette in walk, but
the demands of the training scale concerning rhythm, contact, activity and straightness are thesame.
13 | P a g e

10.

Turn on the haunches from halt to halt (one-hundred and eighty -180- degrees). To maintainthe forward tendency of the movement one (1) or two (2) forward steps at the beginning of
the turn are permitted. The same criteria apply as for the turn on the haunches from walk.



THE PASSAGE

1.

Passage is a measured, very collected, elevated and cadenced trot. It is characterised by apronounced engagement of the hindquarters, a more accentuated flexion of the knees andhocks, and the graceful elasticity of the movement. Each diagonal pair of legs is raised andreturned to the ground alternately, with cadence and a prolonged suspension.

2.

In principle, the height of the toe of the raised forefoot should be level with the middle of thecannon bone of the other supporting foreleg. The toe of the raised hind foot should be slightly
above the fetlock joint of the other supporting hind leg.

3.

The neck should be raised and gracefully arched with the poll as the highest point and the noseline close to the vertical. The Horse should remain light, and soft “on the bit” without altering
the cadence. The impulsion remains lively and pronounced.

4.

Irregular steps with the hind or front legs, swinging the forehand or the hindquarters from one(1) side to the other, as well as jerky movements of the forelegs or the hind legs, dragging thehind legs or double beat in the moment of suspension are serious faults.

5.

The aim of passage is too demonstrate the highest degree of collection, cadence and suspension
in the trot.

6.

It is not allowed to be performed in Para Dressage Competitions.


1.

1.1.

THE PIAFFE
Piaffe is a highly collected, elevated, rhythmical diagonal movement giving the impression ofremaining in place. The Horse’s back is supple and elastic. The hindquarters are lowered; thehaunches with active hocks are well engaged, giving great freedom, lightness and mobility to
the shoulders and forehand. Each diagonal pair of legs is raised and returned to the groundalternately, with spring and regularity.
In principle, the height of the toe of the raised forefoot should be level with the middle of thecannon bone of the other supporting foreleg. The toe of the raised hind foot should reach justabove the fetlock joint of the other supporting hind leg.

1.2.

The neck should be raised and gracefully arched, with the poll as the highest point. The Horseshould remain “on the bit” with a supple poll, maintaining soft contact. The body of the Horseshould move in a supple and harmonious movement.

1.3.

Piaffe should show true commitment and must always be animated by a lively activity andcharacterised by perfect balance. While giving the impression of remaining in place, there may
be a visible inclination to advance, this being displayed by the Horse’s eager acceptance tomove forward as soon as it is asked.

1.4.

Moving even slightly backwards, irregular or jerky steps with the hind or front legs, no clear
diagonal steps, crossing either the fore or hind legs, or swinging either the forehand or thehindquarters from one (1) side to the other, getting wide behind or in front, moving too muchforward or double-beat rhythm are all serious faults.
The aim of piaffe is to demonstrate the highest degree of collection while giving the impressionof remaining in place.

2.

It is not allowed to be performed in Para Dressage Competitions.
14 | P a g eTHE IMPULSION / THE SUBMISSION

1.

Impulsion is the term used to describe the transmission of an eager and energetic, yet
controlled, propulsive energy generated from the hind quarters into the athletic movement of
the Horse. Its ultimate expression can be shown only through the Horse's soft and swinging
back guided by gentle contact with the Athlete's hand.

1.1.

Speed, of itself, has little to do with impulsion; the result is more often a flattening of thepaces. A visible characteristic is a more pronounced articulation of the hind leg, in a continuous
rather than staccato action. The hock, as the hind foot leaves the ground, should first move
forward rather than being pulled upwards, but certainly not backwards. A prime ingredient of
impulsion is the time the Horse spends in the air rather than on the ground. Impulsion is,therefore, seen only in those paces that have a period of suspension.

1.2.

Impulsion is a precondition for a good collection in trot and canter. If there is no impulsion,then there is nothing to collect.

2.

Submission does not mean subordination, but an obedience revealing its presence by aconstant attention, willingness and confidence in the whole behaviour of the Horse as well as
by the harmony, lightness and ease it is displaying in the execution of the different movements.
The degree of the submission is also demonstrated by the way the Horse accepts the bit, withlight and soft contact and a supple poll. Resistance to or evasion of the Athlete’s hand, being
either “above the bit” or “behind the bit” demonstrate lack of submission. The main contact
with the Horse’s mouth must be through the snaffle bit.

2.1.

Putting out the tongue, keeping it above the bit or drawing it up altogether, as well as grinding
the teeth or agitation of the tail, are mostly signs of nervousness, tension or resistance on thepart of the Horse and must be taken into account by the Judges in their marks for every
movement concerned, as well as in the collective mark..

2.2.

The first thought when considering submission is willingness, that the Horse understands what
is being asked of it and is confident enough in the Athlete to react to the aids without fear or
tension.

2.3.

The Horse’s straightness, uphill tendency and balance enable it to stay in front of the Athlete’s
legs and go forward into an accepting and self-carrying contact with the bit. This is what really
produces the picture of harmony and lightness.
The fulfilling of the main requirements/movements of a Dressage test is the main criterion for
submission.


1.

2.

THE COLLECTION
The aim of the collection of the Horse is:

To further develop and improve the balance and equilibrium of the Horse, which has been moreor less displaced by the additional weight of the Athlete.



To develop and increase the Horse's ability to lower and engage its hindquarters for the benefitof the lightness and mobility of its forehand.



To add to the “ease and carriage” of the Horse and to make it more pleasurable to ride.
Collection is developed through the use of half-halts and the use of lateral movements
shoulder-in, travers, renvers and half pass.
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3.

Collection is improved and achieved by the use of the seat and legs and containing hands toengage the hind legs. The joints bend and are supple so that the hind legs can step forward
under the Horse’s body.

4.

However, the hind legs should not be engaged so far forward under the Horse, that they shorten
the base of support excessively, thereby impeding the movement. In such a case, the line of
the back would be lengthened and raised too much in relation to the supporting base of thelegs, the stability would be impaired and the Horse would have difficulty in finding a harmonious
and correct balance.

5.

On the other hand, a Horse with an over-long base of support, which is unable or unwilling toengage its hind legs forward under its body, will never achieve acceptable collection,
characterised by “ease and carriage” as well as a lively impulsion originating from the activityof the hindquarters.

6.

The position of the head and neck of a Horse at the collected paces is naturally dependent on
the stage of training and, to some degree, on its conformation. It is distinguished by the neckbeing raised without restraint, forming a harmonious curve from the withers to the poll, whichis the highest point, with the nose slightly in front of the vertical. At the moment the Athlete
applies the aids to obtain a momentary and passing collecting effect, the head may become
more or less vertical. The arch of the neck is directly related to the degree of collection.

THE POSITION AND AIDS OF THE ATHLETE - DRESSAGE

1.

All the movements should be obtained with imperceptible aids and without apparent effort of
the Athlete. The Athlete should be well-balanced, elastic, sitting deep in the centre of thesaddle, smoothly absorbing the movement of the Horse with the loins and hips, supple thighswith the legs steady and stretched well down. The heels should be the lowest point. The upper
part of the body should be tall and supple. The contact should be independent from the Athlete’sseat. The hands should be carried steadily close together, with the thumb as the highest point
and a straight line from the supple elbow through the hand to the Horse’s mouth. The elbows
should be close to the body. All of these criteria enable the Athlete to follow the movements ofthe Horse smoothly and freely.

2.

The effectiveness of the Athlete’s aids determines the precise fulfilment of the required
movements of the tests. There shall always be the impression of a harmonious co-operation
between Horse and Athlete.

3.

Riding with both hands is obligatory at FEI Dressage Events. When leaving the arena at a walkon long rein, after having finished the test the Athlete may, at their own discretion, ride with
only one (1) hand. For Freestyle tests, see also Directives for Judges – Freestyle tests andDirectives for assessing the degree of difficulty in a Freestyle test available at www.fei.org.
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3.1

Apart from the halt and salute, where the athlete must take the reins in one hand, riding withthe reins in both hands is obligatory at FEI Dressage Events, but a discreet 'pat on the neck'for a well performed exercise, or for reassurance, is perfectly acceptable (as is the situation of
an athlete needing to wipe a fly from their eye, or other situations such as adjusting clothing,saddle pads etc).
However, if the rider intentionally takes the reins into one hand in order to use either the reinsor the other hand to produce more impulsion from the horse, or to promote applause from thespectators during the test, it will be considered a fault and will be reflected in the mark for boththe movement and the collective mark.
For the Freestyle tests, see also Directives for Judges - Freestyle tests and Directives forassessing the degree of difficulty in a Freestyle.



THE POSITION AND AIDS OF THE ATHLETE – PARA DRESSAGE

1.

The Athlete will try to be well balanced and steady in the saddle, conforming as far as possible
to the FEI definition of the Athlete’ position. This position makes it possible for the Athlete toschool/ride the Horse progressively and correctly showing that all the movements andtransitions can be obtained with as little effort of the Athlete as possible. The aids which
communicate the Athlete’s wishes to the Horse are of great importance in Dressage.

2.

Where possible, Athletes will ride with both hands at all Para Dressage Events, not only when
executing any of the Official Para Dressage Tests published by the FEI but also when executing
any National Test that might be inserted in the program of the same event. However, whenleaving the arena at a walk on a long rein, after having finished their performance, the Athletemay, at their own discretion, ride with only one (1) hand.

2.1

A discreet 'pat on the neck' for a well performed exercise, or for reassurance, is perfectly
acceptable (as is the situation of an Athlete needing to wipe a fly from their eye, or othersituations such as adjusting clothing, saddle pads etc).
However, if the rider intentionally takes the reins into one hand in order to use either the reinsor the other hand to produce more impulsion from the Horse, or to promote applause from thespectators during the test, it will be considered a fault and will be reflected in the mark for boththe movement and the collective mark for 'Rider'. If foot reins are used, neither the hands norarms may be used.

3.

Voice – Athletes in Grades I, II and III may use their voice as an aid, provided they do so inmoderation. Athletes in Grades IV and V may not use their voice at any time during theexecution of their Test. Once a Test has started the Athlete shall not speak to any other person,
unless spoken to by the Judge. Such a fault will be penalized by the deduction of at least two(2) marks by each Judge from those that would otherwise have been awarded for the
movement where this occurred.

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