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What to Do Instead It is in fact easier to teach such a nervous horse to do a diagonal, elevated (“school”) walk. When reducing the diagonal walk steps, the horse enters into a more sitting position. The “walking piaffe” stays slow and calm, the lifted diagonal gets higher and more cadenced in a high degree of contained energy. The bounce gets re-intro- duced later by doing trot departs from a square halt and square halts from the trot (the Decarpentry method), until the first and last stride of trot are in place. Every time the short trot gets too quick, the trainer returns to the diagonal walk. All these elements must be taught to the horse sepa-
rately so he understands the mechanics. The following steps must be taught long before trying to put any kind of expressiveness in the movement: (1) Take diagonal walk steps in the shoulder-in circle.
By touching the hind leg at the exact moment the horse lifts his front leg, the hind is quickened until it matches the front leg action. Because the front leg always lifts first in the walk, it is easiest to make the hind leg match the front and not the other way. When the circle tightens, the inside front foot may become too slow, so it is the moment to activate it by touching the horse behind the knee. (2) Progressively bring the horse to the wall in shoul- der-in and ask for the same diagonally timed steps, until
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the horse can perform them on a track parallel to the wall.
(3) Perform alternate reinback and forward departs
until they are seamless. (4) Work at the wall with two people. As demon-
strated in photo #5, Cedar is holding Toti straight at the wall with both reins. I hold a rein hooked on the outside snaffle ring, coming across his withers and draped down the inside (away from the wall). I activate him delicately by swishing the lunge whip to create a very general form of activity, but I can also time it with the slower diagonal to make the action more symmetrical. (5) Practice trot to halt to trot transitions, back and
forth, to insure that the forwardness is not lost. (6) Every time the horse is animated into piaffe, I
stopped his activity by pressing the whip on his back and saying whoa! Pressure from either whip (or legs later on) must guarantee the immobility. (7) Always reward the horse with a calm moment
allowing his head down. We are very pleased that Toti has shown great talent
in this early work. We will follow his progress with the piaffe in the coming month and see how it impacts his general work under saddle.
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