I have often compared the horse to a sensitive instrument, but I had not fully realized the significance of this analogy until now, here at Stromsholm (Sweden). Here, we are told every day by Major Wikne to have our horse in between our legs and hands; it sounds so simple, but it isn't. Anyone who has tried it realizes that, without question, the most difficult thing in dressage is to "tune your horse between your legs and hands." The tune-up never ceases. It's not something you do when you first get on your horse and then forget about; no, it continues the entire time you work with your horse, every minute, every stride. Having achieved positive results from the tune-up, one cannot sit back and enjoy the ride; no, continual checking and, if necessary, correcting is required in order to keep your horse tuned between your legs and hands. It's definitely not for the lazy rider.
Well, in theory it's simple to coordinate your foremost driving aids (your seat and legs) with your restraining aids (your hands) in order to keep your horse in the proper frame for his level of training, with the proper contact (i.e., light and steady at all times, during all the movements). To achieve this the rider must keep the horse "tuned" between seat and legs and hands every stride, all the time, while working. Let's become "horse tuners!"
In order to do so effectively, it is absolutely necessary to sit correctly at all times, i.e., the vertical, or dressage seat. That means that the shoulders, hips and heels are in a straight, vertical line. The rider should sit well down in the saddle without tension in the seat (seat bones and surrounding muscles) and with the entire width resting in the saddle, in the middle of the horse's centerline. The stomach should be pushed slightly forward and the hips vertically over the seat. The inside thigh should be close to the saddle with the knees pointing forward in steady contact with the side flaps of the saddle. The knees should be slightly bent, without tension, and placed so that the rider can envelop the horse with the entire leg. The lower legs should be in close contact with the sides of the horse, without tension, and the heel should be slightly lower than the toe, whereby the knee sinks and the rider can better envelop the horse. The foot ought to be pulled back enough so that the toe is vertically below the knee.
The rider's back should be straight, without tension. No swayback or rounded back is acceptable. Shoulders should be slightly lowered and somewhat back without tension. Carry the head and neck free and natural; avoid tension in the neck and pushing the jaw forward. Eyes, as a role, should be looking ahead, not down, and attention should be focused on the surroundings. The upper arms should be hanging freely down near the body, kept steady, without tension in the shoulders. Lower arms; elbows back by the body and the wrist forms a straight line with the reins to the horse's mouth. The outside of the hand with the wrist very slightly arched, forms a straight line with the lower arm. As a rule, the hands should be close together, without touching, with the middle fingers and knuckles turned toward each other.
The foremost important issue in everyone's mind should always be to sit correctly, because only then can one effectively ride and "tune" the horse between the legs and hands. If you are too loose and inconsistent in your seat, so will your aids be, and your horse will show it in many ways.
Development of a steady and independent seat is essential before we can attempt to train our horses. Having accomplished this, we can communicate clearly and correctly with our horse and can start to "tune" and develop our own feel, which is imperative. Everyone has to develop this feel. However, one can be shown the road there, step-by-step, so that when the rider's goal is reached, whether it be third level or Grand Prix, the rider can hopefully, by means of knowledge, feel and experience, retrace and re-do these accomplishments on other horses.
The thing to remember is that the basics are with us from training to Grand Prix. The aids are the same; the seat is the same. However, the form of the horse changes, and there is a difference in the basics and half the battle is won. They are here to stay, and it's a comfort to know that you don't have to suddenly learn a whole new set of aids when you get to higher levels. Instead, one utilizes the same, firmly entrenched, aids. Just think, the high point of Grand Prix, Piaffe, consists mainly of the two most basic aids; the combination of the forward driving and the restraining aids, very finely applied. It sounds easy, but, of course, it isn't. No worthwhile goal is easy to reach.
So, let's tune our horses between legs and hands, and start "playing that tune." Learn to feel how much forward driving you have to apply toward your restraining aids, in order for each horse to carry himself with a light and steady contact at all times. Keep playing with the aids until you feel it is right; light and steady, supple in the poll, and moving freely forward into the bit. Then, and only then, can you start practicing collective movements. We have gone through the accomplishment of this, both in theory and practice. Start by letting the horse go forward and down, and when he is loose and supple, bring the horse back to the appropriate working frame for his level of training. Then, "tune" every step and don't be satisfied until it is right. Ride every stride, feel every stride. Until you get used to this concentration, you will tire, both mentally and physically, but it's the only way to achieve harmony between horse and rider. Ride short periods, then rest, giving the horse a long rein. Think ahead, feel and "tune!"
The rewards are great, the feeling of accomplishment is great and the feeling of closeness with your horse--greater than ever. So, let's play that tune. All together now!
Special thanks to Patricia Kinnaman for permission to reprint this article by Lilian Signe Van Dahn. Lilian was a co-founder (with Patricia) of T.E.S. and Van Dahn International. She passed away on January 17, 1989, after a courageous battle with cancer. She was an inspiration to all dressage riders who learned from her.
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