Training in the Right Way: The Importance of In-Hand Work

Many riders think of dressage as an activity that is solely performed from the saddle. But, in truth, good dressage training often happens on the ground, and adding correct in-hand work to your training program can be a game-changer.

Dressage training is supposed to be the process of training ANY horse to be a better riding horse. The more the horse learns, in theory, the easier it is to communicate with and therefore complete more complex tasks with. Although competition dressage training often is more focused on training for the dressage test, that is not what the original intention (and original judging requirements) were for competitive dressage. Initially, it was designed to give riders and trainers a way to determine how their training measured up to the theoretical ideal of the training process. That said, it is critically important to understand the meanings and reasons for some of the terms we use to describe dressage training and what to look for when observing training and competition (and videos and photos), regardless of whether you intend to compete or just train your horse to be a better whatever you do with him. That, ultimately, is the main purpose of my articles. To provide education and knowledge for riders to understand and improve their eye and understanding of what dressage training is supposed to be. While there will always be some differences in practice and theory, good horse training is always recognizable to the educated eye. That said, it absolutely is necessary that we remember and understand that limited knowledge is limited judgment.

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I’d like to write about my thoughts on what I saw at a dressage competition this weekend, but because it seems to cause a kerfuffle when I tell the truth, instead I’m going to talk about in-hand work and why it’s important.

Most riders think of dressage as an activity that is solely performed from the saddle. But, in truth, good dressage training often happens on the ground. One of my most favorite teachers often said that “dressage begins in the stall.” Simply put, how we handle the horse on the ground is the beginning of how we train him from the saddle. Correct ground work lays the foundation for correct work under saddle. These intermediary steps further the horse’s understanding of the aids so that they are better prepared to respond appropriately when ridden.

The three options are:

Longeing: When the horse moves in circle around the human, attached by one longe line that is attached to the bridle or longing cavesson.

Dio, “burning off some jet fuel” on the longe line at his first competition. Photo (c) Gwyneth McPherson

Long lining: When the horse has two long lines attached to each side of the bit and the trainer follows the horse from behind, on one side or the other.

Michael Poulin demonstrating long lining at the American Dressage Institute in Saratoga NY. Year unknown. Photo (c) Gwyneth McPherson

 In-hand: When the handler stands to one side of the horse, near its head, and works the horse through movements from this position.

Gwyneth schooling Queen’s Moody Blues (Puck) in-hand in piaffe. Photo (c) Gwyneth McPherson

The simplest form of in-hand/ground work in dressage is longeing. The purpose of longing is often misunderstood. Longeing is not meant to be the manner in which we wear horses out enough to get on them, although sometimes longing does help horses burn off a little jet fuel before we ride them. Mostly longeing is meant to give the horse an opportunity to move in contact, in the walk, trot, and canter without the weight of the rider. It allows for very young horses to learn contact and wearing tack, and older, more trained horses, to become more supple and forward without a rider on their back. Longeing can be performed with or without side reins or draw reins, but it loses value without the use of these pieces of equipment due to the lack of contact.

Long-lining is a natural next step from longeing. To long line, the trainer has two long-lines that attach to each side of the bit. This type of work requires more physical fitness and better understanding of contact on the part of both horse and rider to be productive. In this technique, the trainer can perform all the movements of the Grand Prix from slightly behind and beside the horse. Again, the value is that it helps the horse learn how to perform the movements before adding the weight of the rider.

Lastly, we have “in-hand work,” where the trainer stands to the left of the head/shoulder of the horse and holds the snaffle reins in both hands along with a whip (usually held in the right hand). Most often this method is used to train piaffe, but it can also be used to train passage and canter pirouettes. Again, the value in this method is that the horse can learn how to perform the movements without the rider’s weight.

All three methods of training from the ground are most valuable in training the horse to what is expected of him without the weight of the rider interfering with the horse’s balance. Horses can learn suppleness, contact, and bend on the line. They can also learn all the exercises in the Grand Prix on the long lines, and in both instances can more easily transfer the understanding of the exercises to the aids of the rider because of the lack of rider interference.  In addition, when used regularly and skillfully, in-hand work helps the horse become better balanced and more collected in the high collection work, again without the weight of the rider, and before he learns the actual aids for the exercises. This makes teaching the horse the specific movements and the corresponding aids easier as he is not struggling as much physically to perform them.

All this said, it takes a great deal of education and practice to become proficient in even one of these techniques. Generally speaking, it requires a good human instructor and often a good schoolmaster so that you can learn the appropriate timing and the correct effect of the aids you’re looking for. Sometimes sussing that out is tricky, but taking the time to find a knowledgeable instructor is well worth it and adding effective ground work to your training program could very well be a game changer in bringing your partner up the levels.

And remember: limited knowledge is limited judgment.

Gwyneth and Flair in competition at Grand Prix. (c) flatlandsfoto.

Gwyneth McPherson has over 35 years experience competing, training, and teaching dressage.  She began her education in in the late 1970s, riding in her backyard on an 11 hh pony. Her first instructor introduced her to Lendon Gray (1980 and 1988 Olympian). who mentored Gwyneth for a decade during which she achieved her first National Championship in 1984, and her Team and Individual Young Rider Gold Medals in1987.

In 1990 Gwyneth began training with Carol Lavell (1992 Olympian) who further developed Gwyneth as an FEI rider and competitor. Gwyneth achieved a Team Bronze in 1991 and a Team Silver in 1992 in the North American Young Riders Championships, and trained her stallion G’Dur to do all the Grand Prix movements while riding with Carol.

In 2008, while Head Trainer at Pineland Farms, Gwyneth began training with Michael Poulin (Olympian 1992). Michael was trained by Franz Rochowansky (Chief Rider for the Spanish Riding School 1937-1955). Michael has shared much of Rochowansky’s knowledge and wisdom with Gwyneth, completing her education as a Grand Prix rider, trainer, and competitor.

Gwyneth’s teaching and training business, Forward Thinking Dressage,is based in Williston, FL. In addition to teaching riders and training, Gwyneth also loves sharing her knowledge of the sport and art of dressage as well as discussing relevant topics pertaining to the training itself and the current competitive landscape.