Training the Extended Trot on an Andalusian Horse

In dressage, the extended trot is one of the exciting and beautiful highlights of a dressage test. Demonstrating the ability through correct training to fully lengthen the gaits as well as collect them is fundamental to proving the complete training of the horse. For the Baroque breeds (Andalusians, Lippizzans, Friesians, and Lusitanos) the extended trot can be a weaker point in the test, but that does not always need to be the case.

Dressage is a sport where the movement of a horse is critical to its success in performing to a high standard. While the traditional European Warmblood horse is still the standard choice for competitive riders, Baroque breeds particularly Andalusians or Spanish Horses are gaining in popularity as competitive mounts. Their merits are being recognized. However, the "Baroque Movement" they are noted for is different than the "Sport Movement" typical of a Warmblood horse and therefore poses some challenge in demonstrating a good extended trot.

Sport Movement vs. Baroque Movement:

Sometimes referred to as medium movement, sport movement is characterized by long, ground covering strides that demonstrate some articulation of the knee and hock. This gives the gait a rounder appearance than that of a long low mover where the legs seem to stretch straight out with flat knees while the hooves remain near to the ground as the leg swings forward. A sport mover can show a clear range of extended gaits with good collection too. All while exhibiting a slower cadence as the articulation of the joints increase. European Warmbloods are bred for this type of movement, but it can be seen in some other breeds including Arabians.

Baroque movement is so named because it is characteristic of the Baroque breeds like Andalusians. The strides are higher and rounder than is seen in a sport mover. The joints noticeably flex with each stride, but not the maximum as seen in a high action mover like an American Saddlebred or Hackney. Baroque movement lends itself to the ability to collect and elevate the strides, but in doing so, the back can become tighter and the steps less elastic which is ultimately the inhibiting factor in demonstrating a good extended trot if such a horse is not trained and ridden to the best advantage.

What is the Extended Trot?

It is a trot where the horse shows the maximum extension or length of step. The aims of the extended trot (and the extended canter) are:

- to make the strides as long as possible

- to generate active impulsion from the hindquarters

- to demonstrate that the horse remains calm and light in the forehand

- to keep the horse on the bit and "over its back"

- to maintain the tempo of the trot so that it does not become rushed

Typical development of the extended gaits:

At the medium levels, second through fourth in USEF competition, horses are asked to show both medium and extended gaits. However, the process of training them begins much earlier as a young horse is first taught to lengthen its steps while also lengthening the frame. The degree of uphill balance necessary for an extended trot is not expected of a young horse. In order to achieve a good lengthening and set the foundation for understanding and strength to accomplish an extended trot, the horse should be reliably on the bit with a good reaction from the rider's leg both moving forward from it while stretching out to the hand.

Special Considerations for the Baroque type mover:

The most fundamental element to keep track of when riding a baroque mover is to keep the horse working actively over its back. At any time the rider feels any horse become tight in the back develop tension or choppy strides, the rider should note the flaw in the connection and re-establish it. Closing the leg, then accepting the energy into a yielding hand will both engage the horse and lengthen the neck. In all the work, pay close attention to the tempo of the gait. Be careful not to confuse speed with forward energy. Sometimes a slightly slower tempo will allow the back to swing better so that the hind legs step farther under the body thereby creating more forward energy.

Just as with all horses, the rider's seat has a significant influence on the way the horse moves. Work to keep an independent seat with a quiet leg that rests at the horse's side encouraging it to lift through the ribcage. In order to develop sufficient push or thrust to the stride, remember that the horse must work through your seat and through the reins. To keep your seat elastic by imagine rubber bands connecting your joints. When you want the horse to push harder, think of those bands as being fairly strong, not loose and floppy. This way, when the trot wants to become too fast, you can resist within the motion as if the horse had to trot through thick mud which would keep it slow.

Exercises:

Asking for the extended trot after a shoulder-in can be very useful. Naturally, the shoulder-in creates a good connection to the outside rein and uphill balance. Check in the shoulder-in that you can yield the inside rein. Ideally, the horse should be stretched to the hand to begin with, but this moment of release will help to lengthen a neck that is retracting away from the bit as the result of a tight back. Ride then a shoulder-in to the middle letter marker of E or B taking care to yield the inside rein for 2-3 steps before approaching the letter. From E or B, then ride a short diagonal to the corner in extended trot. Every horse will lose the balance somewhere within the movement. Rather than waiting for it to happen, ride proactively and anticipate using a half-halt with your seat to maintain the rhythm and balance of the extended trot.

Extending the trot on a 20-meter circle can also help a horse that wants to get tight and rush away in tempo that is too hurried. The bend of the circle encourages the tempo to stay the same. Think of building the trot over half of the circle rather than going for the abrupt depart you would have onto a diagonal. As you build the size and scope of the stride, feel the connection. The moment that it starts to slip away, half-halt back to a medium trot, push the horse a little off the inside leg until it meets the outside rein then go again. Though you will take a long distance to build to the extended strides, do not stay in them for very long. Get 3-4 good strides then coast back again. This is not an exercise for sharpness. Take your time in the transitions focusing on the feeling of suppleness and connection.

An addition to this exercise is to go back to a working trot rising allowing the horse to chew the reins from the hands into a long and low stretch for a circle. Pick the reins back up and develop a collected trot for half of a circle, then build to extended again for another half to whole circle before coming back to working trot and stretching down. By riding such an exercise you keep the horse thinking of reaching forward down and out even after he collects back from the extension. This exercise also develops suspension in the trot.

With these tips and concepts in mind you should be able to feel your Baroque horse making more extended steps in trot while keeping the uphill balance, rhythm, and connected feeling required of the movement.