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Printable Rider Exercise Cards
Short-format cards for quick use in sessions. Use the matching Exercise Library page for full coaching explanation, progressions, simulator interpretation and transfer.
Exercise Card
Where used: Stationary simulator or suitable quiet horse at halt. Controlled walk progression where safe.
Useful for: Difficulty identifying seat bones; fixed or tipped pelvis; restricted/uneven hip movement; upper-body substitution; and over-reliance on feet, stirrups or reins.
Quick method: Knees up in front with feet out of stirrups at halt, find seat-bone clarity and functional neutral, then introduce controlled walk and finally lower legs slowly while preserving organisation.
Main coaching cue: Find both seat bones, stack ribs over pelvis, and let movement happen through alternating hip opening and closing.
What to watch: Seat-bone clarity, pelvic neutral, hip timing, trunk substitution, and whether organisation is retained after legs lower.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator and suitable horse work at halt and walk, with controlled progression where safe.
Useful for: Stirrup reliance, side-to-side asymmetry, and leg independence under movement.
Quick method: Use one-foot-out side comparison at halt and walk with controlled resets and before-after reassessment.
Main coaching cue: Let the free leg hang, stay over centre, and keep supported stirrup soft while movement is received through both hips.
What to watch: Pelvis shift, supported-side bracing, free-leg behaviour, rein dependence, and whether organisation improves after both feet return.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Lateral pelvic mobility, seat bone awareness, side bend control
Quick method: Lower one side of pelvis gently and return to centre, then repeat opposite side.
Main coaching cue: Lower through pelvis, not shoulder. Stay long through both sides of waist.
What to watch: Trunk side bend, pushing through one foot, or sliding across seat.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Seat bone awareness, asymmetry, sensory feedback
Quick method: Place Franklin ball or peanut under seat per safety guidance for short halt/walk exposures.
Main coaching cue: Notice, do not push. Breathe and allow the seat to receive movement.
What to watch: Pressing down, breath holding, fixation, or painful/sensitive responses.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Ribcage over pelvis, breathing, trunk awareness
Quick method: Place one hand front rib/abdomen and one hand posterior ribcage; maintain awareness in walk.
Main coaching cue: Feel expansion front and back. Keep ribs over pelvis.
What to watch: Chest lift, back hollow, breath holding, or forced posture with hands.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator and suitable horse; canter-focused with walk/trot preparation and transition checks.
Useful for: Canter following, transition quality, and whole-body organisation under higher movement demand.
Quick method: Canter-following progression with left-right comparison, demand management, and transition recheck.
Main coaching cue: Receive canter rhythm, keep upright timing reference, and avoid creating movement with pelvis.
What to watch: Drive-versus-follow pattern, lead asymmetry, transition quality, and horse response.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator at halt/walk; short trot where suitable; then horse transfer without ball.
Useful for: One-sided seat awareness and asymmetrical pelvic-hip coordination.
Quick method: Place one partially inflated ball under the less available seat-bone side, establish clarity, remove, and retain.
Main coaching cue: Find, follow, and retain target-side awareness without lean or push.
What to watch: One-side clarity gains, compensation patterns, and post-removal retention.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Thigh release, knee flexion, hip extension awareness
Quick method: Stationary: bend one knee and hold ankle only if comfortable, keep knees aligned and pelvis neutral.
Main coaching cue: Keep knees close. Stay tall. Do not pull aggressively.
What to watch: Pain, anterior pelvic tilt, knee drifting out.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first at halt, then controlled walk where appropriate, with safe horse transfer.
Useful for: Leg independence, anti-gripping strategies, and stable pelvis-trunk organisation under reduced support.
Quick method: Remove both feet, make small bilateral and unilateral leg-away movements from hips, return softly, then reassess with both feet in.
Main coaching cue: Small hip-led movement, no leaning, soft reconnection, and stable ribcage-over-pelvis.
What to watch: Trunk compensation, gripping patterns, side asymmetry, and quality after feet return.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first, then transfer to horse once ankle availability is present without visible circling.
Useful for: Ankle availability, stirrup contact quality, and lower-leg adaptability.
Quick method: Small ankle circles out of stirrup, side comparison, return to stirrup support, and transfer under gait demand.
Main coaching cue: Small ankle-led movement, soft toes, quiet trunk, and forefoot support on return.
What to watch: Toe/arch behaviour, knee-hip compensation, left-right control, and transfer to gait stability.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse first, then simulator, then horse with boots on.
Useful for: Forefoot support, foot-pressure awareness, and lower-leg stability transfer.
Quick method: Use off-horse foot-support reference, single-support challenge, simulator transfer, and gait reproduction with boots on.
Main coaching cue: Support under forefoot, soft available ankle, no push-down strategy, and consistent reproduction.
What to watch: Toe/arch compensation, pressure strategy, side asymmetry, and gait-transfer consistency.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator at halt to canter progression and horse transfer where appropriate.
Useful for: Lower-leg stability and coordinated whole-body support changes.
Quick method: Controlled sit-stand-sit transitions from halt through gait progression with emphasis on smooth return and stable lower leg.
Main coaching cue: Slow rise, quiet leg, soft hands, organised trunk, and controlled return.
What to watch: Leg shove/grip, rein dependence, trunk compensation, and landing quality.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Hip rotation, leg alignment, knee release
Quick method: Allow one heel to turn out and in gently with soft knee; movement comes from hip not ankle twist alone.
Main coaching cue: Let the hip turn the leg. Keep the knee soft. Do not force the foot straight.
What to watch: Pelvis turning, knee lifting, foot rolling to edge, or inner-thigh gripping.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator and suitable quiet horse. Begin at halt or walk. Progress through trot, canter and transitions where appropriate.
Useful for: A small alternating pedalling action with both feet out of the stirrups to explore movement through the hips, knees and ankles, followed by an invisible cycling thought with the feet supported.
Quick method: Baseline with both feet in, remove both feet, introduce small alternating cycling action, then return feet and use invisible cycling in walk/trot/canter and transitions.
Main coaching cue: Make the cycle smaller. Let the movement pass through the joints. Keep the ribcage organised. Let the horse move you.
What to watch: Pelvis rocking/rotation, upper-body compensation, asymmetry between sides, fixed joints under demand, and bracing in transitions.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Stirrup dependence, hip release, leg independence
Quick method: Briefly work with one foot out, one stirrup shortened, or one foot hovering according to rider level.
Main coaching cue: Stay over centre. Keep supported foot light. Let free leg lengthen.
What to watch: Pelvic shift, gripping, unilateral pressure spikes, or trunk disorganisation.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Hip abductor function, lateral stability, single leg control
Quick method: Standing tall, lift one leg slightly to side with toes forward and pelvis level.
Main coaching cue: Stay tall on standing leg. Move from hip. Keep pelvis level.
What to watch: Trunk lean, toe turnout, hip hike, standing-knee lock.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Hip mobility, knee release, leg independence
Quick method: Lift one knee slightly and draw small circles from the hip in both directions.
Main coaching cue: Circle from hip. Keep pelvis centred. Lower leg soft.
What to watch: Pelvic hike, trunk lean, oversized circles, foot tension.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Hip stability, adductor and abductor awareness, knee control
Quick method: Apply gentle inside/outside knee pressure and resist lightly while keeping pelvis level.
Main coaching cue: Meet pressure without stiffening. Keep pelvis level. Breathe.
What to watch: Foot pushing, breath hold, pelvic rotation, max-effort strategy.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Hip mobility, leg release, front and back balance
Quick method: Swing one leg gently forward/back in small comfortable range, pelvis facing forward.
Main coaching cue: Swing from hip. Keep trunk quiet. Small range.
What to watch: Lumbar arch, pelvis rotation, standing-knee lock, forcing.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator and suitable quiet horse. Begin at halt or walk. Progress through trot, canter and transitions where appropriate.
Useful for: A small alternating pedalling action with both feet out of the stirrups to explore movement through the hips, knees and ankles, followed by an invisible cycling thought with the feet supported.
Quick method: Baseline with both feet in, remove both feet, introduce small alternating cycling action, then return feet and use invisible cycling in walk/trot/canter and transitions.
Main coaching cue: Make the cycle smaller. Let the movement pass through the joints. Keep the ribcage organised. Let the horse move you.
What to watch: Pelvis rocking/rotation, upper-body compensation, asymmetry between sides, fixed joints under demand, and bracing in transitions.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse. Use before simulator or ridden work, then transfer the awareness into seat bone use, leg stability, circles and lateral work.
Useful for: Off-horse single-leg pelvic drop and return exercise for assessing and improving supporting-side hip control and pelvic organisation.
Quick method: Stand on one leg on a firm block, lower unsupported pelvis side slightly, then return toward level using supporting hip while controlling pelvis orientation and trunk organisation.
Main coaching cue: Let the pelvis drop; use the hip underneath to return; keep ribs organised; avoid twisting.
What to watch: Foot grip, knee strategy, pelvic twist, trunk tip, shoulder compensation, and left-right asymmetry.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Trunk organisation, shoulder mobility, reliance on reins
Quick method: Raise both arms to available range without rib flare or lumbar arch; lower slowly.
Main coaching cue: Grow up without lifting ribs. Keep pelvis available.
What to watch: Lumbar extension, rib flare, shoulder elevation, weight shift, or leg gripping.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then add walk and controlled increases in movement. Off horse can be used for the basic rotation awareness. Transfer the organisation into ridden circles, transitions and canter.
Useful for: Ribcage-shoulder-trunk organisation exercise using Helicopter arms and optional light weighted pole to expose and improve controllable rotational range.
Quick method: Use Helicopter arms at halt, rotate left-right through controllable range, add light pole progression, then transfer back to reins in walk/circle/canter work.
Main coaching cue: Turn from ribs, keep pole level, keep seat bones available, avoid tipping, and control the return.
What to watch: Shoulder-line asymmetry, pole level loss, trunk tipping, pelvic rotation, breath-holding, and left-right strategy differences.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse before simulator or ridden work; then transferred to circles, bend, and canter tasks.
Useful for: Ribcage-shoulder organisation, turn symmetry, and bend preparation.
Quick method: Off-horse circle walk with ribcage tactile awareness, left-right comparison, and figure-eight transfer.
Main coaching cue: Ribcage leads the turn, shoulders follow responsively, and direction differences are compared without force.
What to watch: Rib lag/collapse, shoulder takeover, direction asymmetry, and transfer to riding tasks.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then add walk and controlled increases in movement. Off horse can be used for the basic rotation awareness. Transfer the organisation into ridden circles, transitions and canter.
Useful for: Ribcage-shoulder-trunk organisation exercise using Helicopter arms and optional light weighted pole to expose and improve controllable rotational range.
Quick method: Use Helicopter arms at halt, rotate left-right through controllable range, add light pole progression, then transfer back to reins in walk/circle/canter work.
Main coaching cue: Turn from ribs, keep pole level, keep seat bones available, avoid tipping, and control the return.
What to watch: Shoulder-line asymmetry, pole level loss, trunk tipping, pelvic rotation, breath-holding, and left-right strategy differences.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse and simulator. Begin at standstill, then transfer the awareness into walk, trot, canter, circles and contact work where appropriate.
Useful for: Ribcage sitting noticeably in front of or behind the pelvis; Rider lifting the chest to look upright; Ribs flaring forwards as the rider breathes or tries to sit taller; One side of the ribcage appearing more mobile than the other
Quick method: Stage 1: Stand Naturally and Observe Begin with the rider standing naturally. Do not immediately ask them to pull the shoulders back, tuck the pelvis or tighten the abdomen. Look at where the ribcage sits over the pelvis before adding any breathing cue. I want to see their normal organisation first. Do the lower ribs sit noticeably forwards of the pelvis? Does the rider lean backwards and leave the ribs behind? Is one side of the waist shorter? Does one shoulder already sit higher or further forwards? Is the rider bracing through the abdomen? Are they already holding the breath while being observed? Ask the rider simply to notice where they feel their ribs in relation to their pelvis. This is a baseline, not a correction. Stage 2: Hands on the Front and Back of the Torso Ask the rider to place one hand across the lower front of the ribcage and the other hand on the lower back of the ribcage at a similar level. The exact hand position can be adjusted so the rider can clearly feel the rib movement. Keep the stance comfortable. Knees remain soft. The rider does not need to flatten the back or pull the ribs down. Ask for a normal comfortable breath in and out. Do not ask for a maximum breath. I might say: Can you feel the ribs move underneath both hands? Can you feel anything at the back as well as the front? Does one hand move much more than the other? What happens to your shoulders when you breathe in? Do your ribs expand or do you lift your whole chest? What happens to your pelvis underneath you? Stage 3: Notice the Shape Change The aim is not to produce a perfect breathing pattern. I want the rider to notice that the ribcage changes shape as they breathe. Some riders feel movement very clearly at the front but very little at the back. Others lift the upper chest and shoulders rather than allowing the lower ribcage to expand. Some push the ribs forwards and increase the arch through the back. Do not immediately tell them to breathe into a particular place. Let them recognise their normal strategy first. Then ask them to explore whether the breath can be felt more widely through the ribcage while the ribs remain organised over the pelvis. Useful cues: Let the ribs change shape without lifting the whole chest. Keep the pelvis underneath you. Can you feel the back hand move as well as the front? Keep the shoulders quiet rather than pulling them down. Let the breath move the ribs. Do not force it. Stay tall without becoming stiff. Stage 4: Swap the Hands Swap which hand is at the front and which is at the back and repeat. Sometimes the rider feels one position more clearly than the other simply because the hands are giving different sensory information. Ask whether the experience changes. The aim is to improve awareness of the whole ribcage rather than to make both hands move by exactly the same amount. Stage 5: Add the Expandable Breathing Ball Give the rider the expandable breathing ball and ask them to hold it comfortably in front of the body. Keep the shoulders soft and the elbows easy. As the rider breathes in, gently expand the ball. As they breathe out, allow the ball to close again. The important point is that the ball follows the rider’s comfortable breath. I do not want them taking an unnecessarily large breath just to open the ball as far as possible. The ball gives the rider a simple visual picture of the ribcage opening and closing. It can also slow the exercise down enough for the coach to see what else the body is doing. Do the shoulders rise as the ball opens? Does the rider push the ribs forwards? Does the pelvis tip forwards or backwards? Does the rider lean back to make more space? Does one arm move more than the other? Can the ball open while the ribs remain organised over the pelvis? Can the rider close the ball without collapsing the chest? I might say: Let the ball show you the breath. Do not chase the size of the ball. Open without lifting your shoulders. Let your ribs expand without pushing them forwards. Close the ball and keep your height. Keep your ribs over your pelvis while the shape changes. Stage 6: Hands Back on the Ribcage Put the ball down and repeat the hands-on-ribcage stage. This is important because I want to know whether the visual information from the ball has changed what the rider can now feel in their own body. Ask: Can you feel more movement underneath your hands now? Can you feel the back of the ribcage more clearly? Can you breathe without the shoulders needing to help? Can you keep the ribs over the pelvis without holding them there? Stage 7: Sit on the Simulator and Reassess Move onto the stationary simulator and repeat the exercise. The seated position often changes the rider’s organisation, so do not assume the awareness from standing will transfer automatically. Place one hand on the front of the ribcage and one on the back again. Check that both seat bones remain available and the rider has not tipped the pelvis simply to create a more upright-looking trunk. Does the rider breathe differently once seated? Do the ribs move further forwards? Does the rider lean back? Does one seat bone become lighter? Do the shoulders lift? Can the rider breathe without losing the ribs-over-pelvis organisation? Stage 8: Add Walk Introduce a quiet walk with the coach controlling the simulator. At first, ask the rider to do nothing other than let the simulator move them and keep breathing. The pelvis needs to follow the simulator underneath them. The ribcage stays organised above it, but it must not become rigid. Use a short period with the hands on the ribcage if the rider is secure. Then take the hands away and see whether they can keep the same awareness without touching the ribs. I might say: Let the simulator move your pelvis underneath your ribs. Keep breathing while the movement changes underneath you. Do not hold your ribs still. Can your shoulders stay soft while your trunk stays organised? Stage 9: Increase the Movement Progress into trot and canter where appropriate. I am not asking the rider to perform exaggerated breathing in the faster paces. I simply want to know whether normal breathing continues when the movement and organisational demand increase. Watch for the rider starting to hold the breath, lift the shoulders, push the ribs forwards or brace the abdomen as the pace becomes bigger. The cue may become as simple as: Keep breathing. Ribs over pelvis. Let the horse move you underneath that organisation. Stay organised without becoming rigid. Stage 10: Link the Awareness to Circles and Direction Changes Once the rider can feel the ribcage breathing and staying organised over the pelvis, use the awareness in a riding task. On a circle, the ribcage still needs to follow the direction. Ribs over pelvis does not mean keeping the trunk square and fixed while the horse turns underneath. This links directly to the Walk the Circle exercise. The rider needs enough trunk organisation to keep the ribs with the pelvis, but enough movement to allow the ribcage to turn with the horse’s shoulders.
Main coaching cue:
What to watch: Ribcage Whether the ribcage can change shape with the breath without being pushed forwards Whether the rider feels movement at the back as well as the front Whether one side appears much more available than the other Whether the lower ribs remain organised over the pelvis Whether the rider collapses the ribs on the exhale Shoulders and Arms Whether the shoulders lift as the rider breathes in Whether one shoulder works harder than the other Whether holding the breathing ball creates unnecessary shoulder tension Whether the arms can move the ball without the shoulders taking over the whole task Pelvis and Seat Whether the pelvis tips forwards as the rider breathes in Whether the pelvis moves backwards as the rider breathes out Whether one seat bone becomes lighter once seated Whether the rider can let the pelvis follow the simulator while the ribcage remains organised above it Breathing and Trunk Organisation Whether the rider holds the breath when concentrating Whether the abdomen braces hard Whether the rider can breathe normally while maintaining trunk organisation Whether breathing changes when walk, trot or canter is introduced Whether the rider can organise without trying to make the body completely still
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Stationary simulator first. Progress into walk, trot and canter, then normal rein contact and transitions. Can also be explored off horse before riding.
Useful for: Rider who holds the shoulders rigidly back after being told to sit up; Shoulder blades appearing fixed rather than able to glide on the ribcage; One shoulder reaching forwards more easily than the other; Hands unable to follow forwards without the ribs and trunk following
Quick method: Stage 1: Establish the Baseline Start on the stationary simulator with the rider in their normal riding position. Let the arms hang or bring the hands into a light rein position. Do not correct the shoulders first. Look from the front and the side. Is one shoulder further forwards? Do the elbows sit behind the body? Are the ribs already lifted? Does one side of the waist shorten? Can both seat bones remain available? Ask the rider how much movement they think they have through each shoulder. Their perception is useful because a shoulder that looks fixed may feel completely normal to them. Stage 2: Reach One Arm Forwards Start with one arm. Keep the hand at approximately normal rein height and slowly allow it to travel forwards as though following the horse’s mouth. The reach is small. I am not asking the rider to stretch or round the whole upper body. I want the shoulder blade to glide around the ribcage as the arm travels forwards. Useful cues include: “Let the shoulder blade travel with the hand.” “Reach from the shoulder without taking your ribs with you.” “Keep the ribs over the pelvis.” Stage 3: Notice Where the Extra Movement Comes From Watch what happens as the hand travels forwards. Does the rider gain the range from the shoulder, or do they move the entire trunk? Look for the ribs travelling forwards, the rider collapsing through the chest, one shoulder hiking, the head reaching, the pelvis tipping or one seat bone becoming lighter. These compensations tell me the shoulder movement is not yet independent enough. If the rider needs the whole body to create the reach, reduce the range. A smaller movement that comes from the right place is more useful than a bigger movement produced by compensation. Stage 4: Return the Arm Without Pinching the Shoulder Back Now slowly bring the arm back towards the normal rein position. I do not want the rider to finish by squeezing the shoulder blade towards the spine or pulling the elbow behind the body. The shoulder blade simply returns across the ribcage as the arm returns. I might say: “Let the shoulder blade come back with the arm.” “Do not finish by pinching it.” “Bring the hand back without lifting the ribs.” The return should be as controlled as the reach. Stage 5: Repeat Several Small Reach and Return Movements Repeat the movement slowly. Keep it within the range where the rider can maintain ribs over pelvis, both seat bones and normal breathing. This is not an arm-pumping exercise. I want the rider to recognise the feeling of the shoulder blade moving on the ribcage and then be able to reproduce it with less thought. Stage 6: Compare Left and Right Repeat on the other side. Compare how easily each shoulder blade travels and returns. One side may have less movement. Another may have plenty of apparent range but only because the rider rotates the ribs, moves the pelvis or loses a seat bone. Compare the quality of the movement rather than trying to make both sides look identical immediately. Ask: “Which side can move without the rest of you helping?” “Does one shoulder blade feel easier to find?” “Do you lose your ribs or seat on one side?” Stage 7: Both Arms Forwards Bring both hands into a normal rein position. Slowly allow both hands to travel forwards together, then return. The rider should be able to let both shoulder blades glide while the trunk stays organised. Watch whether the ribs lift, the rider rounds forwards, the pelvis shifts or the shoulders rise as both arms move. This begins to feel much more like the following movement needed in normal contact. Stage 8: Add Walk Introduce a quiet walk. First let the rider settle and let the simulator move them. Then repeat a very small reach and return through one arm and then both arms. The pelvis continues to follow the simulator. The ribs remain organised over the pelvis. The shoulders are allowed to move without the trunk becoming rigid. Useful cue: “Let the horse move you underneath while the shoulder blade follows the hand.” Stage 9: Progress Through Trot and Canter Once the rider understands the movement, use the same feeling in the normal rein position through trot and canter. I would not ask for large deliberate reaches at speed. The exercise has created the awareness; now I want to see whether the shoulder remains available as the movement demand increases. Watch whether the elbows start drawing backwards, the shoulders fix, the ribs lift or the rider begins using the contact for balance. If that happens, return to the smaller movement or an easier pace and re-establish the shoulder glide. Stage 10: Use It Through Transitions and Contact Use the normal rein position through upward and downward transitions. Ask whether the rider can keep enough movement through the shoulder and elbow to stay connected without fixing the hand or pulling the shoulders backwards. The aim is not loose arms. I want organised shoulders with movement available inside the organisation. This is where the rider can begin to feel the difference between holding a contact and maintaining an elastic contact.
Main coaching cue: Let the shoulder blade travel with the hand. Reach from the shoulder without taking your ribs with you. Keep the ribs organised over the pelvis. Let the shoulder blade glide around the ribcage. Bring the arm back without pinching the shoulder blade. Do not pull the elbow behind you to finish. Keep both seat bones available. Make the movement smaller if the trunk starts helping. Let the horse move you underneath. Keep the shoulder available, not held. Can the hand follow without the whole body following? Find movement inside the position.
What to watch: Shoulder Blade and Shoulder Whether the shoulder blade can travel forwards around the ribcage Whether it returns smoothly rather than being pinched backwards Whether one side has less useful movement than the other Whether the shoulder hikes as the arm reaches Whether the rider can move the arm without losing the shoulder organisation found in the previous exercise Ribcage and Trunk Whether the ribs stay organised over the pelvis Whether the rider moves the entire trunk forwards to create reach Whether one side of the ribcage collapses or rotates Whether the rider lifts or flares the ribs as the arm returns Whether the rider holds the breath when trying to control the movement Pelvis and Seat Whether both seat bones remain available Whether the pelvis tips forwards as the hands reach Whether one seat bone becomes lighter when one arm moves Whether the pelvis continues to follow the simulator once movement is added Arms and Contact Whether the elbow stays available rather than locking Whether the elbow draws behind the body on the return Whether the hand can travel forwards without losing the rider’s trunk organisation Whether the movement remains available in walk, trot and canter Whether the contact becomes softer and more elastic once the shoulder can glide
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse or on the stationary simulator first. Progress to walk and then normal rein contact. Use the exercise again when shoulder organisation changes in trot, canter, circles or transitions.
Useful for: Rider looking rounded or hunched through the shoulders; One or both shoulders sitting forwards; Rider trying to put the shoulders back by lifting the ribcage; Ribs flaring when the rider attempts to sit taller
Quick method: Stage 1: Establish the Baseline Start standing or on the stationary simulator with the rider in their normal position. Do not correct the shoulders first. I want to see what they naturally do. Look from the front and side. Is one shoulder further forwards? Do both shoulders look rounded? Does the rider appear hunched? Are the ribs already lifted? Where are the elbows? Can the rider take the hands slightly forwards without the whole trunk following? Ask the rider what they feel. A shoulder that looks very forwards may feel completely normal to them. Stage 2: One Hand on the Shoulder Bend one elbow to approximately 90 degrees and keep the elbow close to the rider’s side. Start with the forearm across the front of the body and the hand facing downwards. Place the opposite hand flat over the top/front of the shoulder so the rider has a clear tactile reference for what is happening in the joint. The hand on the shoulder is there to feel, not to push the shoulder backwards. Stage 3: Open the Forearm and Rotate from the Shoulder Ask the rider to slowly turn the hand towards palm-up while allowing the forearm to open outwards. The elbow stays close to the side and does not travel backwards. I want the movement to come from the upper arm rotating in the shoulder socket. The rider may feel the front of the shoulder open and the shoulder blade begin to glide on the ribcage. Useful cues include: “Keep the elbow by your side.” “Let the upper arm turn in the socket.” “Open the forearm without pulling the elbow behind you.” “Feel what happens under the hand on your shoulder.” Stage 4: Notice the Shoulder Blade and Collarbone Area Ask the rider to notice what changes as the forearm opens. Does the shoulder feel as though it settles back into the socket? Does the shoulder blade glide rather than pinch? Does the front of the shoulder and collarbone area feel wider? Then look at the ribs. I want the shoulders to reorganise without the rider lifting the chest to make it happen. I might say: “Open the front of the shoulder, but leave your ribs where they are.” Or: “Let the shoulder go back without taking the ribcage with it.” Stage 5: Return Slowly Slowly bring the forearm back towards the starting position. Watch whether the shoulder immediately rolls forwards again or whether the rider can control the return. The movement should be available in both directions. I do not want the rider to find a new fixed position and hold it. Stage 6: Compare Left and Right Repeat on the other side. Compare the quality rather than forcing the same range. One side may rotate easily while the other causes the ribs to lift, the elbow to move backwards, the shoulder to shrug or the whole trunk to turn. That difference is useful information. Ask: “Which shoulder can you feel moving more clearly?” “Which one needs the ribs to help?” “Does one side feel as though the shoulder blade is stuck?” Stage 7: Both Shoulders Without Pulling Them Back Once the rider understands the movement on each side, bring both arms into a normal riding position. Ask them to keep the width they have found across the collarbone area without actively squeezing the shoulder blades together. The ribs stay organised over the pelvis. The shoulders are not held down. The elbows remain available beside the body. This is my version of “shoulders back”. I am not looking for a military chest or a rigid shoulder line. I want the shoulders organised so the arms can still move. Stage 8: Test the Available Contact Bring the hands into the normal rein position. Before taking a stronger contact, ask the rider to gently allow the hands forwards and then return them. Look at how much movement is now available through the shoulder and elbow before the ribcage has to move. A rider who was previously fixed through the shoulders may suddenly have noticeably more usable reach. I describe this as finding more elasticated contact. The rider has not made the arms loose. They have created more available movement between the trunk and the horse’s mouth. Ask: “Can your hands go forwards without your ribs going with them?” “Can the elbows come back without pulling the shoulders behind you?” “Can the shoulder stay available between the two?” Progression: Elasticated Band Once the rider can feel the basic movement, add a light elasticated resistance band. The band is there to increase the demand and make the movement easier to feel. It is not a strength test. Hold the band in both hands with the elbows bent and close to the sides. Keep the forearms in front. Gently open the hands apart by rotating from the shoulders. The elbows stay close to the body and do not pull backwards. The rider should feel the work around the back of the shoulders and shoulder blades while the ribcage stays organised over the pelvis. I do not want the rider to squeeze the shoulder blades together hard or lift the chest against the resistance. Use only enough resistance to keep the movement clear. If the rider has to shrug, flare the ribs, arch the back, pull the elbows behind the body or hold their breath, the band is too strong or the range is too large. Why the Band Helps The resistance gives the rider more sensory information about the movement and increases the demand on the shoulder rotators and scapular stabilisers. It can make it easier for a rider who struggles to access the back of the shoulder to recognise what organised movement feels like. The important part is what happens when the band is removed. Bring the hands back to the normal riding position and ask: “Can you keep the same width and movement without the band?” Progression into Movement On the simulator, establish the exercise at halt first. Then remove the band and add walk. I want the rider to keep the shoulders organised while the pelvis continues to follow the simulator underneath them. Progress into trot and canter through the normal rein position rather than holding the band. As the forces increase, watch whether the rider returns to the old strategy: shoulders forwards, elbows fixed backwards, ribs lifted or hands held rigidly. The question is not “Can you keep your shoulders back?” It is: “Can your shoulders stay organised and still move with the contact?”
Main coaching cue: Keep the elbow by your side. Let the upper arm turn in the socket. Open the forearm without pulling the elbow behind you. Feel what happens underneath the hand on your shoulder. Let the shoulder blade glide. Do not pinch it back. Open the front of the shoulder, but leave the ribs where they are. Keep the collarbone area wide. Ribs organised over pelvis. Do not lift the chest to put the shoulders back. Can your hand go forwards without your ribs going with it? Keep the shoulders available, not held. The band adds demand. It should not change your body position.
What to watch: Shoulder and Upper Arm Does the upper arm actually rotate in the socket, or does the rider only turn the palm? Does one shoulder have less available external rotation? Does the shoulder shrug as the arm opens? Does the rider pull the elbow behind the body? Does the shoulder look less rounded after the exercise without being forced backwards? Scapula Can the shoulder blade glide on the ribcage? Does it appear fixed or difficult for the rider to feel? Does the rider squeeze the shoulder blades together rather than allowing a smaller controlled glide? Is one side noticeably different from the other? Ribcage and Trunk Do the ribs lift or flare as the shoulder opens? Does the rider arch the back to create more apparent range? Does the trunk rotate with the arm? Can the rider keep the ribs organised over the pelvis? Can the trunk support the movement without becoming braced? Elbows, Hands and Contact Does the elbow remain available beside the body? Can the hand travel forwards without the shoulder collapsing forwards? Can the hand return without the elbow being pulled behind the rider? Does the rider gain more usable movement through the shoulder and elbow? Does the rein contact look and feel more elastic rather than simply looser?
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Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Establish the change of rein hold at halt, then compare walk, trot and canter. Progress through transitions before returning to the rider’s normal rein hold.
Useful for: Rider grips or closes the hand excessively on the rein; Elbows draw backwards when contact is taken; Elbows become fixed as the movement increases; Wrists become rigid or over-bent
Quick method: Stage 1: Establish the Normal Rein Baseline Start with the rider holding the reins normally. Look before changing anything. Observe the hands, wrists, elbows, shoulders and ribcage. Does one elbow sit further back? Does one wrist bend more? Are the fingers gripping? Does the rider take the shoulders with them when they shorten or adjust the rein? Where rein feedback is available, take a simple baseline. I am not looking for equal rein pressure. I want a picture of the rider’s usual contact so I have something useful to compare after the exercise. Stage 2: Change to Driving Reins at Halt Stop the simulator and change the rein hold. Bring the rein between the thumb and forefinger and down through the fist in each hand. Give the rider a moment to feel the difference before asking them to change anything else. Ask: “What feels different in your hands?” “Do you feel as though you need to grip?” “What has happened to your elbows?” “Do your shoulders feel different?” Often the changed hold immediately makes a familiar tension pattern much easier for the rider to recognise. Stage 3: Organise the Arm Around the New Hold Keep the ribs organised over the pelvis. Allow the shoulders to stay open and available without pulling them backwards or lifting the ribs. The upper arm hangs beside the body without being clamped. The elbow stays softly bent and available. The wrists remain part of the line into the rein rather than becoming rigid. Useful cues: “Hold the rein without holding your whole arm.” “Keep the elbow available.” “Let the shoulder stay where we found it.” Stage 4: Add Walk Introduce a quiet walk and let the simulator move the rider. Do not ask for lots of rein changes initially. Watch whether the different rein hold allows the elbows to respond more easily or whether the rider simply finds a new way to brace. Does one hand grip? Does one elbow draw back? Does the rider hold the breath? Ask the rider to notice whether the rein can stay connected while the arm remains available. Stage 5: Add Trot Progress to trot when the rider is organised. The increased movement often makes the habitual strategy more obvious. Look at whether the rider fixes the elbows, pulls the hands back or uses the contact to stabilise the upper body. The driving rein hold should not become a reason to push the hands forwards or force the wrists straight. Keep the same principle: the body remains balanced independently and the contact is carried through an available arm. Stage 6: Use It in Canter Canter is particularly useful once the rider has already worked on Soft Elbow and Following Hand. Let the canter move the rider and see whether the elbows can continue to open and close without the hands pumping forwards and backwards. The changed rein hold can make it easier for the rider to notice when they are drawing the elbows back or gripping the reins to manage the movement. I might use: “Let your body open and close the elbow.” “Keep the rein secure without fixing the arm.” “Do not pull the elbows behind you.” Stage 7: Compare the Two Hands Look at the hands separately. One side may adapt easily while the other still grips, bends at the wrist or draws the elbow backwards. Ask the rider whether one rein feels easier to carry. Then look further up the chain. Does the difference come from the hand, or is the shoulder, scapula or ribcage behaving differently on that side? Do not chase identical hands. Use the difference to decide what the rider needs next. Stage 8: Add Simple Rein Adjustments Once the rider is secure in the changed hold, ask for a small rein adjustment. Shorten or lengthen without allowing the whole shoulder and elbow to pull backwards. I want the rider to be able to alter the rein while keeping their own balance. The hand makes the adjustment; the upper body does not need to join in. This can be useful for riders who lose their shoulder organisation every time they change the rein length. Stage 9: Use Through Transitions Use walk-trot, trot-walk and then canter transitions where appropriate. Watch what happens to the hands and elbows as the rider prepares for the change. Does the rider brace the contact before a downward transition? Do the elbows draw back? Does an upward transition cause the hands to become fixed? Keep the rider organised through the body and allow the elbows to remain available while the leg and rein aids do their separate jobs. Stage 10: Return to the Normal Rein Hold This is the most important part of the exercise. Stop and return the reins to the rider’s normal hold. Do not immediately give lots of corrections. Ask what they can still feel from the driving reins. I might ask: “Can you keep the same softness in the hand?” “Can you keep the elbows available?” “Can you hold your normal reins without going back to the old grip?” Then repeat the same pace or transition and compare.
Main coaching cue: Hold the rein without holding your whole arm. Keep the elbow available. Let the shoulder stay where we found it. Ribs over pelvis. Secure the rein without squeezing the fist. Let the horse move you. Do not pull the elbows behind you. Let your body open and close the elbow in canter. Can you adjust the rein without taking your shoulder with you? Notice what changes when the rein sits differently in your hand. Now go back to normal reins and keep the same feeling.
What to watch: Hands and Fingers Whether the rider squeezes the whole fist Whether one hand grips more strongly Whether the thumb can secure the rein without excess hand tension Whether the hand becomes more or less stable with the changed hold Whether the rider can return to the normal rein hold without immediately gripping Wrists and Forearms Whether the wrist becomes rigid or excessively bent Whether one forearm carries more tension Whether the rider rotates the whole arm to manage the new hold Whether the wrist and forearm remain connected to an available elbow Elbows and Shoulders Whether the elbows remain softly bent and available Whether either elbow draws behind the body Whether one elbow opens and closes more easily in canter Whether the shoulders rise, round or pull backwards Whether the scapulae can remain available rather than being pinned Ribcage, Pelvis and Balance Whether the rider uses the reins as part of their balance Whether the ribs stay organised over the pelvis Whether the pelvis can continue to follow the movement Whether the rider braces through the trunk when changing rein length Whether leg aids can be applied without the hands and shoulders setting
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Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Establish at halt and walk, then use canter as the main movement assessment. Progress back to normal reins, transitions and the real horse.
Useful for: Elbows fixed against the body; Elbows drawing backwards in canter; Hands visibly pumping forwards and backwards; Rider trying to create a following hand by deliberately moving the hands
Quick method: Stage 1: Establish the Baseline Start on the simulator with the rider in their normal rein position. Look first without correcting. Observe where the elbows sit, whether one is further back, whether the shoulders are level, whether the ribs are organised over the pelvis and whether the rider already appears to hold the arms rigidly. If rein feedback is available, take a simple baseline. I am not looking for identical rein pressure. I want to know what the contact normally looks like before changing the rider’s organisation. Stage 2: Find the Elbow at Halt Take the reins away for a moment. Ask the rider to let the upper arms hang naturally with the elbows softly bent beside the body. The elbows are not pulled behind the rider and they are not clamped into the waist. The shoulders stay organised without being held back. Ask the rider to very gently open and close the elbow angle a few times so they know where that movement is. Keep the movement at the elbow rather than reaching from the shoulder or moving the whole ribcage. Useful cue: “Find the hinge at your elbow.” Stage 3: Set Up the Balance Ball on the Yoga Block Place the balance ball on a yoga block in front of the rider. Adjust the height and distance so the rider can place the hands lightly onto the ball in approximately their normal rein position. The rider should not lean onto the ball or use it for balance. It is there to give the hands a clear reference point. Check ribs over pelvis, both seat bones available, shoulders soft and elbows bent. The rider should be able to touch the ball without reaching the whole body forwards. Stage 4: Let the Body Move Around the Hands Introduce a quiet walk first. Ask the rider to keep a light connection with the ball and simply let the simulator move them. As the body moves, draw attention to what happens at the elbows. The rider may begin to feel the angle opening and closing even though they are not deliberately moving the hands backwards and forwards. I might say: “Let your body open and close your elbows.” “Keep the hands quiet on the ball and let the movement happen behind them.” The ball is not meant to pin the hands in one place. It is a teaching reference that makes it easier for the rider to separate body movement from deliberate arm pumping. Stage 5: Progress to Canter Canter is where I often get the clearest result. Bring the simulator into a steady canter and give the rider time to settle before adding more instruction. First: let the canter move them. The pelvis follows the simulator, the ribs remain organised over the pelvis and the rider stays upright rather than driving the canter. Now ask the rider to notice what is happening to the elbows as the body comes through the stride. The important feeling is: body movement creates the change in elbow angle. The rider is not sending the hands forwards and pulling them back. Useful cues include: “Let the canter come through you.” “Let your body open and close the elbow.” “Do not pump the hands.” “Keep the shoulders available.” Stage 6: Watch the Ball The ball gives the coach and rider an easy visual reference. If the rider starts pushing and pulling with the arms, the ball may move unnecessarily, the hands may press hard into it or one hand may lose contact. Watch whether one elbow opens and closes more easily than the other. Does one shoulder move forwards? Does one elbow draw back? Does the rider tip towards the ball? Does the ribcage start moving instead of the elbow? The aim is not to keep the ball perfectly motionless at all costs. The aim is to make unnecessary hand and arm movement easier to recognise. Stage 7: Compare Left and Right Look at the two arms separately. One side may remain soft and available while the other becomes much more fixed as the canter movement increases. Ask the rider: “Which elbow feels easier to open and close?” “Does one shoulder have to help?” “Do both hands feel the same on the ball?” Do not immediately force the two sides to match. Use the difference as information and check whether it relates to shoulder position, scapular glide, ribcage organisation or the rider’s overall balance. Stage 8: Remove the Ball and Keep the Feeling Take the ball away and let the rider bring the hands back into their normal rein position without the reins first. Keep the canter. Ask whether they can retain the same feeling of the body moving and the elbows responding, without deliberately moving the hands. This is the important part. The ball gives the information; then I remove it and see whether the rider can reproduce the organisation themselves. Stage 9: Add the Reins Return the reins and keep the same canter. I want the rider to use the movement they have just found rather than immediately going back to holding the contact with the arms. Useful cues include: “Keep the same elbow you had on the ball.” “Let the contact pass through the elbow.” “Let your body move without taking the hands backwards and forwards.” The hand still follows the horse. The difference is that the following is allowed through the whole arm rather than being manufactured as a visible hand movement. Stage 10: Change the Canter Once the rider can maintain the feeling, change the demand. Use a slightly more active canter, a bigger canter or a quieter canter depending on the simulator and rider. Watch whether the elbows stay available as the movement changes. A rider who can manage a quiet canter may fix the arms as soon as the stride becomes bigger. The question is: can the rider increase the amount of movement they absorb without increasing the amount of deliberate hand movement? Stage 11: Use It Through Transitions Use canter-trot-canter and other transitions. Keep the shoulders and elbows available before, during and after the change. In a downward transition, I do not want the rider to suddenly pull the elbows back and brace. In an upward transition, I do not want the hands pushed forwards as the body changes. The contact remains part of the whole-body organisation rather than becoming the rider’s source of balance.
Main coaching cue: Let your body open and close your elbows. Do not pump the hands forwards and backwards. Let the canter come through you. Keep the elbows available, not fixed. Keep the upper arm connected without clamping it to your side. Ribs over pelvis. Keep the shoulders available. Let the horse move you. Keep a light connection with the ball rather than leaning on it. Can both elbows respond the same way? Keep the feeling when the ball comes away. Let the contact pass through the elbow. Quiet hands do not mean rigid arms.
What to watch: Elbows and Upper Arms Whether the elbow angle can open and close with the movement Whether one elbow is more available than the other Whether either elbow draws behind the body Whether the upper arm is clamped tightly against the rider Whether the rider straightens and fixes the arm instead of allowing the elbow to respond Hands and Forearms Whether the hands are deliberately pushed forwards and pulled backwards Whether one hand becomes much busier than the other Whether the rider presses heavily into the ball Whether one hand repeatedly loses the ball Whether the wrist becomes rigid when the elbow movement is restricted Shoulders and Scapulae Whether the shoulders remain organised without being held back Whether one shoulder is pulled forwards by the movement Whether the shoulder blades can remain available on the ribcage Whether the rider shrugs or lifts the shoulders as the canter becomes bigger Ribcage, Pelvis and Balance Whether the ribs stay organised over the pelvis Whether the rider braces the trunk to keep the hands still Whether the pelvis follows the canter rather than driving it Whether the rider tips towards the ball Whether the reins become a source of balance when they are added back in
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Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then use walk, trot and canter. Progress through transitions before returning to normal rein work on the horse.
Useful for: Contact that repeatedly becomes stronger and then disappears; Hands that become fixed once a contact is established; Rider gripping the rein rather than carrying it softly; Elbows that set or draw backwards as the rider uses the reins
Quick method: Stage 1: Establish the Normal Contact Begin with the rider holding the reins normally. Look before changing anything. Notice the hand position, finger tension, wrists, elbows, shoulders and ribcage. Ask the rider what they feel in each rein. Does one feel stronger? Does one hand feel easier to soften? Are they holding the rein with the fingers or bracing the whole arm? Where rein feedback is available, take a simple baseline. I am not looking for identical left and right readings. I want a reference for what happens when the hand begins to move. Stage 2: Stroke One Rein at Halt At halt, keep one hand in its normal position and ask the other hand to make a small, smooth stroking movement along the rein and back again. Keep the movement small enough that the rider can maintain the feel. Watch whether the fingers suddenly grip, the wrist bends, the elbow draws backwards or the shoulder follows the hand. I might use: “Keep the feel while the hand moves.” “Stroke the rein, don't throw it away.” “Let the fingers stay soft around the rein.” Stage 3: Compare the Other Hand Repeat on the other side. One hand will often move much more easily than the other. The more difficult side may grip the rein, move from the shoulder, pull the elbow backwards or lose the contact completely. Do not immediately make both hands look the same. Use the difference as information. Check whether the restriction is really in the hand or whether it links back to the elbow, shoulder blade, ribcage or the rider's overall balance. Stage 4: Add Walk Introduce a quiet walk and repeat the stroking movement one hand at a time. First let the simulator move the rider. Then layer the hand task on top. The rider should still be able to organise ribs over pelvis and allow the elbows to respond to the movement. The stroking hand should not pull the shoulder or rotate the body. Useful cue: “Keep riding underneath the hand. Let the arm do its job without taking the rest of you with it.” Stage 5: Alternate Hands Once each hand can work separately, alternate the strokes from one hand to the other. Keep the rhythm slow and controlled. This is useful for showing whether the rider can change which hand is active without transferring tension across the shoulders or changing their balance. One hand should not need to become rigid simply because the other one is moving. Stage 6: Add Trot Progress to trot when the rider can maintain the exercise in walk. The increased movement often makes the habitual strategy more obvious. Watch whether the rider starts gripping the rein, fixing the elbows or using the contact to steady the body. The hand movement can become smaller if needed. Quality matters more than range. Stage 7: Use in Canter Canter is particularly useful after the rider has worked on Soft Elbow and Following Hand. The body movement should still be able to open and close the elbow while the hand performs the stroking task. I do not want the stroking movement to become a forward and backward pumping action. The hand makes its small independent movement while the elbow remains available to the canter underneath it. Useful cue: “Keep the canter in your body and the stroke in your hand.” Stage 8: Use Through Transitions Ask for simple transitions while the rider continues the stroking action. This often makes tension very obvious. Does the hand stop as soon as the rider applies the leg? Do the fingers close harder? Does the elbow set before a downward transition? Does the rider pull the moving hand back towards the body? The exercise becomes a test of whether the rider can keep an elastic arm while the rest of the body performs another riding task. Stage 9: Stop Stroking and Keep the Feeling Return both hands to the normal rein position. Do not immediately correct them. Ask the rider what feels different. Can they keep the same softness through the fingers? Can the elbow remain available? Can the hand stay connected without becoming fixed? This is the part I am interested in. The stroking movement gives the rider information, then I remove the extra task and see whether they can keep the better contact in normal riding.
Main coaching cue: Keep the feel while the hand moves. Stroke the rein, do not throw it away. Small and smooth. Let the fingers stay soft around the rein. Keep the wrist available. Do not pull the elbow behind you. Let the shoulder stay where we found it. Ribs over pelvis. Keep riding underneath the hand. Keep the canter in your body and the stroke in your hand. The hand can move without the contact disappearing. Now stop the stroke and keep the same feeling.
What to watch: Hands and Fingers Whether the fingers stay soft or suddenly grip Whether the rein repeatedly becomes slack and then tight Whether one hand can stroke more smoothly than the other Whether the rider can return the hand without pulling backwards Whether the rider changes the rein length unintentionally Wrists, Elbows and Shoulders Whether the wrist remains organised rather than bending to create the movement Whether the elbow stays available Whether an elbow draws backwards as the hand returns Whether one shoulder travels forwards or lifts Whether the scapula can continue to glide rather than being fixed Ribcage, Pelvis and Balance Whether the ribcage rotates with the moving hand Whether the rider tips towards the active hand Whether one seat bone becomes lighter Whether the pelvis becomes fixed when the hand task is added Whether the rider uses the rein to stabilise their own balance Simulator Rein Feedback Where rein feedback is available, use it to support what you can already see and what the rider can feel. A baseline before the exercise can show the rider's usual contact pattern. During or after the stroking work, look for sudden peaks, complete drops in contact or a clear difference between how the two hands manage the movement. Do not ask the rider to chase perfectly equal or perfectly flat readings. The horse and rider are moving, so the contact will also be dynamic. The useful question is whether the rider can maintain a more continuous, elastic connection with less unnecessary gripping, pulling or fixing.
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Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then use walk, trot and canter. Progress through transitions and changes in the contact before transferring the feeling to the horse.
Useful for: Rider gripping the reins more strongly than necessary; Fingers that become fixed around the rein; A fist-like hand that blocks elasticity through the contact; Rider who gives the rein away when trying to soften the hand
Quick method: Stage 1: Establish the Normal Rein Hold Begin at halt with the rider holding the reins normally. Before changing anything, look at the fingers, thumbs, wrists, elbows and shoulders. Notice whether the knuckles are very tight, whether one hand is more closed than the other and whether the rider is already pulling the elbows backwards. Ask the rider what the reins feel like in their hands. Do they feel as though they need to hold the rein firmly to keep it? Does one rein feel easier to carry? Can they feel individual fingers, or does the whole hand feel like one solid unit? Where rein feedback is available, take a simple baseline. I am looking for the rider’s usual contact pattern rather than trying to create perfectly equal readings. Stage 2: Release One Finger at a Time Keep the thumb quietly on top of the rein. Ask the rider to take one finger away from the rein, then the next, working through the fingers one at a time. The movement is small and controlled. The rider should not suddenly open the whole hand. I want them to notice whether the contact can stay there while one finger is no longer gripping the rein. I might use: “One finger at a time.” “Keep the feel while the finger comes away.” “Do not throw the rein away.” Stage 3: Notice What Happens Further Up the Arm As each finger comes away, watch the wrist, elbow and shoulder. Some riders soften the fingers but immediately brace the forearm. Others pull the elbow backwards or lift the shoulder because they no longer feel secure in the hand. The hand can only become softer if the rest of the arm remains available. If the rider simply moves the tension somewhere else, make the exercise smaller and return to the feeling from Soft Elbow and Following Hand or Shoulder Glide and External Rotation. Stage 4: Put the Fingers Back Softly One at a Time Now reverse the process. Ask the rider to place the fingers back around the rein one at a time. This is often the most useful part of the exercise. Does each finger simply return to the rein, or does the whole hand suddenly close and grip? Can the rider feel the rein without squeezing it? Useful cue: “Let each finger meet the rein, not grab it.” Stage 5: Compare Left and Right Hands Repeat the exercise on the other hand. One side may be much easier. One hand may release smoothly while the other immediately pulls the elbow or shoulder into the task. Do not force the hands to look identical. Use the difference as information. Look at whether the restriction is in the fingers themselves or whether it links further up into the wrist, elbow, shoulder blade or ribcage. Stage 6: Add Walk Introduce a quiet walk. First let the simulator move the rider and re-establish the normal contact. Then repeat the finger release and return one hand at a time. The rider should be able to keep the ribs organised over the pelvis while the fingers move. The contact remains connected and the elbow continues to respond to the movement underneath them. Useful cue: “Keep riding underneath the hand. Let the fingers do less without the rest of you becoming more rigid.” Stage 7: Add Trot Progress to trot when the rider can keep the exercise small and controlled in walk. The increased movement can make gripping much easier to see. Watch whether the rider closes all the fingers more strongly when the trot becomes bigger, fixes the wrists or starts using the rein as part of their balance. If so, reduce the task and return to a smaller release. Stage 8: Use in Canter Canter is particularly useful because the rider already needs an available elbow and shoulder to maintain an elastic contact. Keep the finger exercise small. The body movement continues to open and close the elbow while the fingers explore releasing and returning around the rein. I do not want the rider concentrating so hard on the fingers that they stop following the canter. The horse or simulator still creates the movement. The finger task sits on top of that organisation. Useful cue: “Keep the canter in your body and the rein soft in your fingers.” Stage 9: Use Through Transitions and Leg Aids Once the rider understands the exercise, use it through simple transitions or while another aid is being applied. This often makes the rider’s tension strategy very obvious. Does the hand suddenly grip when the rider uses the leg? Do all the fingers close together before a downward transition? Does an elbow set? Does a shoulder lift? The rider should be able to keep individual finger movement available while the rest of the body performs another riding task. Stage 10: Return to Normal Rein Use Stop the deliberate finger movement and ask the rider to hold the reins normally again. Do not immediately tell them to soften. Ask what they can feel. Can the fingers rest around the rein with less effort? Can they still feel an elastic connection through the arm? Can they keep that feeling without continually taking fingers off? This is the part I am interested in. The finger exercise gives the rider information. Then I remove it and see whether they can keep the improved contact in normal riding.
Main coaching cue: One finger at a time. Keep the feel while the finger comes away. Do not throw the rein away. Let the thumb stay quietly on top. Let each finger meet the rein, not grab it. Keep the wrist available. Do not pull the elbow behind you. Let the shoulder stay where we found it. Ribs over pelvis. Release does not mean lose the contact. Close does not mean grip. Keep the canter in your body and the rein soft in your fingers. Now hold the rein normally and keep the same softness.
What to watch: Fingers and Thumb Whether the rider can move one finger without opening the whole hand Whether the thumb can stay quietly in place without excessive pressure Whether the rein slips as the fingers release Whether all the fingers suddenly grip when they return Whether one finger or one hand appears much less independent Whether the rider can feel the rein without squeezing it Wrist, Forearm and Elbow Whether the wrist bends or fixes as the fingers move Whether the forearm becomes tense when the hand opens Whether the elbow remains available Whether the elbow draws backwards when the fingers close Whether the arm becomes rigid as the pace increases Shoulders, Ribcage and Balance Whether a shoulder lifts or travels forwards Whether the scapula can continue to glide rather than being pinned Whether the ribcage rotates towards the active hand Whether one seat bone becomes lighter Whether the rider uses the rein to stabilise their balance Whether the pelvis or trunk becomes fixed when the finger task is added Simulator Rein Feedback Where rein feedback is available, use it alongside what you can see and what the rider can feel. Take a baseline before the exercise, then look at what happens when the rider releases and returns individual fingers. You may see sudden peaks when the fingers close, a complete drop when the rider interprets release as giving the rein away, or a clear difference between left and right hands. Do not ask the rider to chase a perfectly flat graph. Contact is dynamic. The useful question is whether the rider can keep a more continuous connection with less unnecessary gripping and fewer abrupt changes when the fingers return to the rein.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then add walk, trot and canter. Use through transitions once the rider can maintain organisation. Full hand range is best explored on the simulator.
Useful for: Hands that become fixed once a contact is established; Contact that increases when the rider changes hand position; Rider who loses the contact as soon as the arms move; Rider who lifts the ribs or hollows when the arms go higher
Quick method: Stage 1: Establish the Normal Contact Begin with the rider holding the reins normally. Look at the contact before changing anything. Notice the hand height, finger tension, wrists, elbows, shoulders, ribcage and whether the rider is already using the reins as part of their balance. Where rein feedback is available, take a simple baseline. I am not looking for perfectly equal left and right numbers. I want a reference for what happens when the hands begin to move. Stage 2: Raise the Hands a Small Amount At halt, ask the rider to move both hands slowly upwards and slightly forwards while keeping the same feel through the reins. Start with a small range. Watch the body underneath the arms. Do the ribs lift? Does the rider lean back? Do the shoulders shrug? Does the pelvis push forwards? Does one hand move before the other? Useful cue: “Take your hands up without taking your ribs with them.” Stage 3: Increase the Range If the rider can keep the contact and body organisation, continue taking the hands higher. The eventual aim on the simulator can be to take the hands high above the horse or simulator ears. The rider does not need to force a bigger range. Stop at the point where they can still keep the shoulders available, ribs over pelvis and contact connected. If the body has to compensate to get the hands higher, the useful range has already finished. Useful cue: “Only go as high as you can stay organised underneath your arms.” Stage 4: Pause High Pause briefly with the hands high. Ask the rider to breathe normally and notice whether the shoulders are still soft and the elbows still available. This is often where a rider begins to brace. They may lift the ribs, hold the breath or press into the reins to stabilise themselves. The hands being high should not change where the rider is balanced. Stage 5: Lower the Hands Back into Place Bring the hands slowly back down to the normal rein position. I want the lowering to be as controlled as the lift. Watch whether the rider drops the hands, pulls the elbows backwards, increases the contact or loses the rein completely as the hands come down. Useful cue: “Lower the hands back into place. Do not pull them back into place.” Stage 6: Repeat Without Losing the Contact Repeat the whole movement several times: normal position, hands rise, brief pause, hands return. Keep it slow enough that the rider can notice what changes. The aim is not repetition for fitness. It is for the rider to learn that the arms can move through a much bigger range while the contact and torso remain organised. Stage 7: Add Walk Introduce a quiet walk. First let the simulator move the rider. Then repeat the hand movement through a smaller range. The pelvis continues to follow the movement underneath. The torso stays organised. The arms move independently. I do not want the rider to make the upper body rigid simply to keep the hands high. Useful cue: “Keep riding underneath your hands.” Stage 8: Add Trot Progress to trot when the rider is secure. The increased movement often makes the compensation easier to see. The rider may suddenly grip the reins, shrug the shoulders or lift the ribs to stabilise the hands. Reduce the range if necessary. A smaller movement with good organisation is more useful than getting the hands very high by bracing. Stage 9: Use in Canter Canter is a useful progression because the rider still needs to allow the horse or simulator to move them while the arms are in a different position. The pelvis follows the canter, the ribcage stays organised over it and the elbows remain available. The contact should not become fixed just because the hands are high. When the hands return, they come back into the normal position without pulling backwards or setting the elbows. Useful cue: “Let the canter move you. Your arms can change position without changing the contact.” Stage 10: Use Through Transitions Once the rider can maintain the exercise through the paces, use it around simple transitions. The hands do not necessarily need to be at their highest point. The aim is to test whether the rider can keep an elastic arm and organised torso while another riding task is happening. Watch whether the hands stop moving, the elbows set or the contact changes sharply as the rider applies the legs or prepares for the transition. Stage 11: Return to Normal Rein Position Finish with the hands back in the normal riding position. Ask the rider what feels different. Can they keep the shoulders available? Can the elbows remain soft? Can the contact stay connected without the hands becoming fixed? This is the change I want them to take back into normal riding.
Main coaching cue: Take your hands up without taking your ribs with them. Keep the same feel through the rein. Ribs over pelvis. Let the shoulders move without shrugging. Keep breathing. Only go as high as you can stay organised. Keep riding underneath your hands. Do not pull the contact upwards. Lower the hands back into place. Do not pull them back into place. Let the canter move you while the arms stay available. Now keep that same feeling with the hands back where they normally ride.
What to watch: Hands and Contact Whether the contact remains connected as the hands rise Whether rein pressure suddenly increases when the hands move Whether the rein goes slack as the arms travel Whether one hand rises faster or higher than the other Whether the rider changes rein length unintentionally Whether the hands can return without pulling backwards Wrists, Elbows and Shoulders Whether the wrists stay organised rather than bending to create range Whether the elbows remain available rather than locking Whether the shoulders shrug as the hands rise Whether one shoulder has less range or moves differently Whether the shoulder blades can move without being pinned back Whether the rider draws the elbows behind the body as the hands return Ribcage and Trunk Whether the ribs lift or flare as the hands go higher Whether the rider leans backwards Whether the trunk becomes rigid Whether the rider holds the breath Whether one side of the ribcage collapses or rotates Whether the rider can keep ribs organised over pelvis throughout Pelvis and Seat Whether the pelvis pushes forwards as the arms rise Whether one seat bone becomes lighter Whether the rider uses the reins to keep balance Whether the pelvis can continue following walk, trot and canter while the arms move Simulator Feedback Where rein feedback is available, compare what happens as the hands move. I am not trying to make the graph perfectly flat. The horse or simulator movement will still influence the contact. Look for whether the hand movement creates obvious spikes, sudden losses of contact or a different response left and right. Compare the normal rein position, the high hand position and the return. The screen supports what the coach sees and what the rider feels. The rider does not need to stare at the display while performing the exercise.
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Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then use walk, trot and canter. Use briefly through transitions and leg aids before transferring the awareness to the horse.
Useful for: One hand consistently higher or lower than the other; One hand sitting further forwards or backwards; Hands that gradually narrow or widen without the rider noticing; Different wrist angles left and right
Quick method: Stage 1: Establish the Normal Rein Hold Begin at halt with the rider holding the reins normally. Before changing anything, look at the height and width of the hands, the wrists, elbows and shoulders. Notice whether one hand is already further forwards, one thumb sits higher or one elbow has drawn further back. Keep the thumbs on top of the reins in the normal way. Where rein feedback is available, take a simple baseline so you can compare what happens later. I am not trying to make the rein pressures identical. Stage 2: Bring the Thumbs Together Ask the rider to bring the hands slowly towards each other until the thumbs meet lightly. The thumbs touch; they do not press together. Keep the wrists available and the elbows softly bent. I do not want the rider twisting the wrists inwards, pulling the elbows back or narrowing the shoulders just to make the thumbs meet. Useful cue: “Bring the thumbs together and let them tell you where your hands are.” Stage 3: Notice the Difference Before correcting anything, ask the rider what they can feel. Does one thumb sit above the other? Does one hand feel further forwards? Does one wrist have to bend? Does one shoulder move as the hands come together? This is where the exercise becomes useful. The rider now has a sensory reference instead of relying only on a visual correction from the coach. I might ask: “Which thumb found the other?” “Are they meeting on the same level?” “What had to move to make that happen?” Stage 4: Reorganise Without Pressing If the thumbs do not meet cleanly, make the smallest change needed. Keep the ribs organised over the pelvis and the shoulders where we want them. Let the adjustment come through the whole arm rather than forcing the hand into place. Once the thumbs meet lightly, pause long enough for the rider to recognise the feeling. There should be no squeezing, gripping or holding the hands together. Stage 5: Slowly Widen the Hands Now ask the rider to slowly separate the hands back towards their normal riding width. This is the key part of the exercise. Can they keep the same sense of level, wrist organisation and elbow softness once the thumbs are no longer touching? Useful cue: “Take the level with you as you widen.” Do not make the hands artificially wide. Return to the width that is appropriate for the rider and the horse while keeping the new awareness. Stage 6: Repeat Close and Widen Repeat the movement several times: normal width, thumbs lightly together, then slowly widen again. The aim is not to practise moving the hands in and out. It is to use the touch briefly, remove it and see whether the rider can reproduce the organisation independently. Stage 7: Add Walk Introduce a quiet walk. Let the simulator move the rider first, then briefly bring the thumbs together and widen again. Watch whether one hand changes height as movement is added, whether an elbow sets or whether the rider braces the shoulders to keep the hands together. The rider should continue to let the movement travel through the body while the hands retain their relationship. Stage 8: Progress to Trot and Canter Use short repetitions in trot and canter once the rider understands the exercise. The increased movement often makes the original hand difference easier to see. In canter, keep the elbows available so the body movement can continue to open and close them. The thumbs-together exercise should not turn the arms into a fixed unit. Bring the thumbs together briefly, recognise the level, widen again and then return attention to the normal contact. Stage 9: Use Through Transitions and Leg Aids Once the rider can keep the hands organised in the pace, use the exercise around simple transitions or when a leg aid is being applied. This can show whether one hand lifts, drops or draws back as soon as the rider uses a leg, prepares for a transition or increases the demand. I might ask: “Can the hands keep the same organisation while your leg does its job?” Stage 10: Remove the Exercise Stop bringing the thumbs together and return to completely normal rein use. Ask the rider whether they can still feel the relationship between the two hands. Can they recognise if one starts to climb or draw back without needing the thumbs to touch again? That is the outcome I want. The physical reference gives the rider information, then we remove it and see whether the awareness remains.
Main coaching cue: Bring the thumbs together lightly. Let the thumbs tell you where your hands are. Do not squeeze them together. Keep the wrists available. Do not pull the elbows back to make the hands meet. Keep your shoulders where we found them. Ribs over pelvis. Which thumb found the other? Can you feel if one is higher? Take the level with you as you widen. Widen the hands without losing the elbows. Keep the canter moving through your body. Can the hands stay organised while the leg works? Now keep the feeling without touching the thumbs.
What to watch: Hands and Thumbs Whether the thumbs meet at the same height Whether one hand is further forwards or backwards Whether one hand changes angle to make contact Whether the rider presses the thumbs together Whether the relationship is retained as the hands widen Whether one hand returns to its old pattern once the thumbs separate Wrists and Elbows Whether either wrist bends inwards or collapses Whether one elbow draws backwards as the hands meet Whether the elbows remain soft as the hands widen Whether the elbow can continue to open and close in canter Whether the rider fixes both elbows because the hands are close together Shoulders, Ribcage and Trunk Whether the shoulders narrow or lift Whether one shoulder moves forwards to bring the hand in Whether the rider flares the ribs or tips the trunk Whether ribs remain organised over the pelvis Whether a visible hand difference is being created further up the body Simulator Feedback Use rein feedback as a before-and-after comparison where available. I am looking for whether the contact becomes smoother and whether the rider can maintain their organisation without needing the thumbs together. Do not use the exercise to chase identical rein-pressure numbers. Hand level and rein pressure are not the same thing, and functional riding may require the two sides to adapt differently depending on the task. The screen supports what the coach sees and what the rider feels. It does not replace either.
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Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt and walk, then progress to trot, canter, transitions and simple changes of direction. Transfer to the horse once the rider can give and retake without changing their own organisation.
Useful for: Hands or elbows that remain fixed even when the horse needs the contact to soften; Rider who throws the hand forwards and loses all connection when asked to give; Rider who pulls the elbow backwards when taking the rein back; Contact that becomes stronger before or after transitions
Quick method: Stage 1: Establish the Normal Contact Begin at halt or in a quiet walk with the rider holding the reins normally. Before asking for a give, look at the hands, wrists, elbows, shoulders and ribcage. Notice whether one rein is already stronger, whether one elbow sits further back and whether the rider is using the reins for support. Where rein feedback is available, take a simple baseline. I am not looking for identical numbers. I want a picture of the rider’s normal contact so we can compare what changes when the hand gives and returns. Stage 2: Give One Hand Forward Start with one hand. Ask the rider to soften that hand slightly forwards for a few moments. The movement should be small. The hand travels because the elbow opens and the shoulder remains available, not because the rider tips the whole body forwards. I might say: “Let the elbow open and allow the hand to soften forwards.” Keep the thumb on top, the wrist available and the fingers softly around the rein. The rider should still feel where the rein is rather than completely throwing it away. Stage 3: Notice What the Body Does Before correcting anything, watch what happens. Does the rider follow the hand forwards with the shoulder? Do the ribs move? Does the pelvis tip? Does the opposite hand pull back to replace the contact that has been given? Does the rider become less balanced? The exercise is useful because it separates the hand movement from the rest of the rider. I want the rider to be able to soften one arm while the rest of the body continues its own job. Stage 4: Retake the Contact Now ask the rider to bring the hand quietly back to the normal rein position and re-establish the contact. The retake should not start with the elbow pulling backwards. Let the hand return, allow the elbow angle to reorganise and close the fingers softly around the rein. Useful cue: “Find the contact again. Do not grab it.” Watch whether the rein pressure suddenly increases at the moment the rider retakes. If it does, make the movement smaller and slower. Stage 5: Repeat on the Other Side Repeat with the other hand and compare. One side may be much easier to soften. One hand may return smoothly while the other creates a shoulder movement or a stronger pull through the rein. Do not immediately force the two sides to look identical. Use the difference as information and look further up through the elbow, shoulder blade, ribcage and pelvis. Stage 6: Give Both Hands Once the rider can give and retake one rein independently, ask both hands to soften forwards together. Keep the movement small. The rider should stay organised over the seat and feet rather than following the hands forwards. Both elbows can open while the shoulders remain available and the ribs stay organised over the pelvis. Then quietly bring both hands back and re-establish the normal contact. Stage 7: Add Walk, Trot and Canter Progress through the paces once the rider understands the exercise. In movement, the horse or simulator continues to move the rider while the hand gives and returns. In canter, this links directly to the Soft Elbow and Following Hand exercise. The elbows must still be able to open and close with the canter. The give is not an additional pumping movement. It is a deliberate softening layered onto an arm that is already following. Keep the give brief, then return to normal contact and see whether the rider can retain the same softness without repeating the exercise every stride. Stage 8: Use Around Transitions Use the exercise before or after a transition if the rider tends to fix the hand as the demand changes. For example, establish the rider’s body organisation first, soften the hand briefly, return to the contact, then ask for the transition. The aim is not to throw the rein away through the transition. It is to remind the rider that the contact can remain elastic while the rest of the aids do their job. You can also give and retake shortly after a transition to check whether the rider has become dependent on the rein to hold the new pace together. Stage 9: Use with Independent Leg Aids Once the rider can give and retake without disturbing their balance, apply a leg aid while keeping the arms available. Watch whether the rider tightens the hand at exactly the same moment as the leg works. This can reveal a habit of using leg and hand together when the rider believes they are separate. I might ask: “Can your leg do its job without your hand joining in?” Stage 10: Return to Normal Riding Stop the deliberate give and retake and return to normal rein use. This is the important part. Can the rider keep the new feeling of an available elbow and softer contact without having to perform the exercise? The exercise has done its job when the rider no longer needs to keep repeating it.
Main coaching cue: Let the elbow open and allow the hand to soften forwards. Do not throw the rein away. Keep your ribs over your pelvis. Let the shoulder stay available without following the hand. Keep the thumb on top and the wrist soft. Find the contact again. Do not grab it. Let the hand return without pulling the elbow behind you. Can one arm move without the rest of your body joining in? Keep the canter moving through your body while the hand softens. Can your leg do its job without your hand joining in? Give, retake, then keep the softness.
What to watch: Hands and Fingers Whether the hand genuinely softens rather than being thrown forwards Whether the fingers open too much and lose the rein Whether the rider grabs the rein on the retake Whether one hand gives or returns differently from the other Whether the hand changes height or angle during the movement Elbows and Shoulders Whether the elbow can open without the shoulder being pulled forwards Whether the elbow draws backwards on the retake Whether one shoulder rises, narrows or rotates Whether the shoulder blade remains able to glide Whether the rider fixes both elbows after the exercise Ribcage, Pelvis and Balance Whether the rider tips forwards with the give Whether the ribs flare or move away from the pelvis Whether the pelvis shifts or one seat bone becomes lighter Whether the rider becomes unstable when the contact is softened Whether the rider can continue to follow walk, trot and canter independently of the hand movement Simulator Feedback Where rein sensors are available, use them to compare the contact before, during and after the exercise. A useful give should show a softening of the relevant rein without the opposite rein suddenly becoming stronger. On the retake, look for a smooth return rather than a sharp spike in pressure. The aim is not to create identical rein-pressure traces or to make both reins permanently equal. The riding task may require different functional contact left and right. Use the screen to support what the coach sees and what the rider feels. The most useful question is: does the contact become smoother after the exercise when the rider returns to normal riding?
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt and walk, then progress to trot and canter. Canter is particularly useful because differences in how each arm and side of the ribcage follow the movement can become much easier to see.
Useful for: One arm appears stiffer or less able to follow than the other; One elbow repeatedly fixes or draws backwards; One shoulder comes forwards or lifts as the movement increases; Rider appears uneven through the contact but the cause is unclear
Quick method: Stage 1: Establish the Normal Two Hand Baseline Start with both hands holding the reins normally. Look before changing anything. Observe the hand height, rein length, elbows, shoulders and ribcage. Does one elbow sit further back? Does one shoulder come forwards? Does one side of the ribcage appear more fixed? Does the rider feel one rein more strongly? Where rein feedback is available, take a simple baseline. I am not looking for equal numbers. I want a picture of what the rider normally does so I can compare after each one handed phase. Stage 2: Put Both Reins into One Hand At halt, place both reins into one hand and allow the other arm to come away from the normal rein position. Let the free arm hang naturally rather than immediately giving it another job. Keep the rein holding hand central enough to maintain a useful connection without dragging the contact to one side. The rider should not grip harder simply because one hand now carries both reins. Give the rider a moment to notice the change. Ask: “What feels different through this arm?” “What happens to your shoulder?” “Can you still feel both sides of your ribcage?” Stage 3: Add Walk and Let the Body Move Introduce a quiet walk. First let the simulator move the rider. Do not ask them to manufacture movement with the free arm or twist the body. Watch the rein holding side. Can that elbow remain available? Does the shoulder stay organised? Does the ribcage underneath continue to respond to the movement, or does the whole side become fixed because that hand is now responsible for both reins? Then look at the free side. Does the free shoulder suddenly drop, rotate or move more? Does the ribcage become more available once the hand is released? This comparison can show whether the hand position was hiding a restriction further up the arm or through the trunk. Stage 4: Swap Hands Return to halt if needed and put both reins into the other hand. Repeat exactly the same process. Do not try to make the two sides look identical. Compare how each side organises. One side may feel easy and connected while the other immediately produces a fixed elbow, lifted shoulder, rotated ribs or a change in the rider’s balance. I might ask: “Which side lets the movement come through more easily?” “Which arm feels as though it has to work harder?” “Does one side of your ribcage stop following?” Stage 5: Put the Free Hand onto the Ribcage If I want the rider to feel the difference more clearly, I may ask the free hand to rest lightly on the side of the ribcage. The hand is there for sensory feedback. It is not there to push or hold the ribs in position. Ask the rider to notice what is happening underneath the hand as the simulator moves. Does that side expand, rotate and respond? Does it feel as though it is being left behind? Is it collapsing or becoming rigid? Then swap sides and compare. Stage 6: Progress to Trot Progress to a steady trot once the rider is secure. Keep the periods short and continue to compare one hand at a time. The increased movement may reveal a side that looked acceptable in walk but starts to brace in trot. Watch whether the rein holding elbow fixes, whether the shoulder rises or whether the ribcage stops adapting to the movement. Return to both reins between repetitions so the rider can compare the normal pattern with what they have just felt. Stage 7: Use the Exercise in Canter Canter is often where I get the clearest information from this exercise. The rider’s body is being moved through a larger, more obvious pattern. The elbow needs to remain available and the ribcage needs to stay organised while still responding to that movement. With both reins in one hand, watch whether the rein holding arm can stay soft enough to follow. Does the elbow open and close with the body, or does it set? Does the shoulder remain available, or does it pull back or come forwards? Then look at the ribcage. Is the side underneath the arm still following the canter, or has it become fixed? Does the opposite side suddenly move more freely when its arm is released? Swap hands and compare again. This often makes a left and right difference very obvious. Useful cue: “Let the canter come through both sides of you, even though only one hand has the reins.” Stage 8: Add a Leg Aid Once the rider is organised, ask for a simple leg aid or a change in the canter while they remain in the one handed hold. Watch what happens to the arm and ribcage when the leg works. Does using one leg make the rein holding elbow set? Does the opposite shoulder lift? Does one side of the ribcage brace? This helps me see whether the rider can use the legs independently without the upper body joining in. Stage 9: Return to Both Reins Return both hands to the normal rein position. Do not immediately correct the hands. Ask the rider what they can keep from the one handed comparison. I might ask: “Can both elbows now stay as available as the easier side?” “Can you keep both sides of your ribcage following?” “Can the hands be level without holding the shoulders still?” Then repeat the same pace or transition and compare.
Main coaching cue: Let the free arm go. Do not replace one tension with another. Keep the rein holding elbow available. Ribs over pelvis. Let the movement come through the whole side of your body. Which side of your ribcage is actually following? Do not pull the shoulder back to make the hand look better. Let the canter come through both sides of you. Use the leg without setting the rein holding arm. Now swap sides and compare, do not correct yet. Return to both reins and keep the feeling you found.
What to watch: Arm and Elbow Whether one elbow remains more available than the other Whether the rein holding elbow draws backwards or becomes fixed Whether one arm follows the movement while the other is carried rigidly Whether the free arm relaxes or simply creates a different compensation Whether elbow movement in canter comes from the body rather than deliberate hand pumping Shoulders and Scapulae Whether one shoulder lifts, rounds or moves forwards Whether the rein holding shoulder is pulled backwards Whether one scapula appears less able to glide on the ribcage Whether releasing one hand immediately changes the shoulder position on that side Ribcage and Trunk Whether both sides of the ribcage continue to respond to the movement Whether one side is being left behind Whether the rider collapses or shortens one side of the waist Whether the ribcage rotates to compensate for the altered rein hold Whether one side becomes more mobile when the arm is released Whether the rider braces when a leg aid or transition is added Pelvis and Balance Whether the rider shifts onto one seat bone when one hand is removed Whether the pelvis continues to follow the gait Whether the rider uses the rein holding hand as a source of balance Whether the left and right one handed positions produce different pelvic organisation
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Begin at halt, then use walk, trot and canter. Particularly useful in canter, through transitions, and when the rider uses the legs.
Useful for: Elbows drawing backwards, particularly in canter or when the rider stands or hovers; Wrists becoming fixed or held; Hands becoming busy as the movement increases; Shoulders lifting when the rider takes a contact
Quick method: Stage 1: Establish the Normal Contact Begin without the weights. Let the rider hold the reins normally and observe what they already do at halt and then in movement. Look at hand height, wrist position, elbow angle, shoulder height and whether one elbow sits further back. Where rein feedback is available, take a simple baseline. I am not looking for perfectly equal rein pressure. I want a comparison for later. If canter is where the problem is most obvious, watch a few normal strides before changing anything. Does one elbow draw back? Do the hands start to pump? Does one shoulder become fixed? Does the ribcage stiffen? Stage 2: Add the Light Weights Fit a light weight securely around each wrist or forearm. The rider should be able to move normally and should not feel that they have to work hard to hold the arms up. Let the arms hang for a moment before returning to the normal rein position. Ask the rider what feels different. The extra weight should make the position of the arms easier to sense without creating strain. Useful cue: “Notice the extra information from the weight. You do not need to hold against it.” Stage 3: Find the Shoulders and Elbows at Halt With the reins held normally, check that the rider has not lifted the shoulders or pulled the elbows backwards to manage the extra load. Keep the ribs organised over the pelvis and allow the upper arms to hang from the shoulders. Ask for a few small elbow openings and closings. The hands should not be pushed dramatically forwards and backwards. I want the rider to feel that the elbow joint is available while the shoulder stays organised. Compare the two sides. Does one arm feel heavier? Does one elbow want to pull back? Does one shoulder lift? Ask the rider to notice the elbows specifically. Can they feel the weight arriving at the elbow rather than carrying the whole arm from the shoulders? The elbow can feel weighted without being pressed down or fixed against the body. Stage 4: Add Walk Start in walk and initially do nothing with the hands. Let the simulator move the rider. The weights simply increase the sensory information coming from the arms. Watch whether the rider starts to brace the wrists, set the elbows or stabilise the arms by fixing the ribcage. The movement should still be allowed to travel through the rider rather than being stopped at the shoulders. Useful cue: “Let the arms have weight without making them heavy.” Stage 5: Progress to Trot Progress to trot when the rider can keep the same organisation in walk. Use short periods at first. Watch whether increased movement changes the relationship between the hands, elbows and shoulders. If the rider rises, compare what happens as they stand and sit. Does an elbow draw backwards as they rise? Do the hands drop as they sit? Does the rider use the arms to stabilise the body? Bring the rider back to the idea that the lower body manages the movement while the arms remain available for communication. Stage 6: Use Canter to Feel the Elbow Canter is often where I find this exercise most useful. Establish a steady canter and let the rider settle before asking for any change. The horse or simulator moves the rider. As the body moves within the canter stride, the elbow needs to be free to open and close. I do not want the rider deliberately pushing the hands forwards and backwards. The small weights can make the difference between a following elbow and a fixed elbow much easier to feel. In canter I often come back to the feeling of weight in the elbow. As the rider's body follows the stride, the elbow can feel as though it has enough weight to stay connected to the arm while still opening and closing. This can stop the rider trying to hold the elbow in place or draw it backwards to create stability. I might say: “Let the canter move your body and allow the elbows to respond.” “Do not pull the weights backwards.” “Let the shoulder stay wide and the elbow stay available.” Stage 7: Add Leg Aids and Transitions Once the rider can maintain the arm organisation in a steady pace, add leg aids and transitions. This is where habitual tension often comes back. Watch what happens at the exact moment the rider uses the leg. Does an elbow draw backwards? Does a wrist fix? Do the shoulders rise? Does the ribcage brace? Does the rein pressure change because the whole upper body has joined the aid? The aim is for the legs to do their job while the arms remain independent and available. Stage 8: Remove the Weights Remove the weights and return to exactly the same task. Do not immediately correct the rider. Ask: “Do your arms feel different?” “Can you still feel where your elbows are?” “Can you keep the same freedom now the weight has gone?” Often the arms feel unusually light. That is useful. The rider has had stronger sensory information and now has to reproduce the organisation without it. Repeat the canter, transitions or leg aids that originally exposed the problem and compare.
Main coaching cue: The weight gives you information. Do not hold against it. Let the arms have weight without making them heavy. Can you feel the weight in your elbows without pushing them down? Keep the ribs organised over the pelvis. Let the shoulders stay wide and available. Do not pull the elbows backwards. Let the body movement open and close the elbow. Keep the wrists responsive rather than fixed. Use the leg without setting the hands. Let the horse move you. Now the weights are off, keep the same feeling.
What to watch: Shoulders and Scapulae Does either shoulder lift as soon as the weight is added? Does one shoulder roll forwards? Can the shoulder blade remain available on the ribcage? Does the rider pinch the shoulders backwards to support the arms? Elbows and Upper Arms Does one elbow draw further backwards? Can the rider feel the elbow hanging with weight rather than holding it up or pressing it down? Can the elbows open and close without the shoulders moving excessively? Does the rider straighten the elbows to manage the weight? Is one arm more responsive than the other? Wrists, Hands and Contact Do the wrists stay available or become fixed? Does one hand drop or rise? Do the fingers grip more strongly when the weight is added? Does rein pressure become more variable as the pace increases? Can the rider maintain the same hand organisation after the weights are removed? Ribcage and Trunk Does the rider flare the ribs to support the arms? Does the trunk become rigid? Does one side of the ribcage stop following? Can the rider use the legs without the upper body bracing? Simulator Feedback Use rein feedback as supporting information rather than something the rider has to control during the exercise. Record the normal contact first, add the weights, and then reassess after they are removed. Look at whether the contact becomes less erratic, whether one rein changes when the rider uses a leg, and whether the rider can keep an elastic contact as the pace changes. Equal numbers are not the goal. The question is whether the contact is more functional and whether the rider can reproduce the change without the weights.
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator or off horse
Useful for: Rising trot, pelvis and trunk coordination, rhythm
Quick method: Allow movement to lift pelvis forward/up and return softly without dropping or driving.
Main coaching cue: Let movement lift you. Rise forward and up. Return softly.
What to watch: Hard stirrup push, shoulder-leading, backward hand movement, over-rise, uneven landing.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Primarily simulator. Best seen in canter once the rider is secure. Can begin at halt or walk to learn the ball pass before adding movement.
Useful for: Hands or elbows setting when the rider applies a leg aid; Rider gripping the reins when asking for more canter; Shoulders lifting as the legs work harder; One elbow becoming fixed while the opposite leg is used
Quick method: Stage 1: Establish the Rider in Canter Start with a comfortable canter on the simulator and let the rider settle. At first the coach controls the pace so the rider does not need the reins or leg aids. Watch the rider before introducing the ball. Are the elbows opening and closing with the body movement? Do the shoulders stay available? Does one arm already look more fixed? Is the rider holding tension through the ribs, pelvis or legs? Let the canter move you first. Stage 2: Learn the Ball Pass Give the rider a soft ball and ask them to pass it from one hand to the other in front of the body. Keep the pass easy and continuous. I do not want a fast throw or a big reach. The hands move enough to exchange the ball, but the shoulders stay soft and the elbows remain available. The rider should be able to breathe normally and continue following the canter rather than becoming rigid to make the pass. Keep the ball moving. Make the pass easy. Let the canter keep moving through you. Do not stiffen your body just to catch the ball. Stage 3: Notice What Changes Before adding any leg aid, compare how the rider passes from right to left and left to right. One direction may be smoother. One hand may reach further. One elbow may stop moving. One shoulder may lift or the ribcage may rotate. I am not trying to make the two sides look identical. I want to know how the rider organises each side and whether one arm needs more help from the trunk. Stage 4: Add Both Legs Once the ball is moving easily, ask the rider to apply both legs for a change in the canter. This might be asking for a more active canter, a bigger stride or preparing for an upward transition depending on the simulator and the session goal. The important instruction is that the ball keeps moving while the legs work. Use your legs, but keep passing the ball. Now watch carefully. Does the ball stop at the exact moment the rider applies the legs? Do the elbows set? Do the hands grip the ball? Do the shoulders rise? Does the rider hold the breath or drive the pelvis? If the ball suddenly stops, I do not immediately tell the rider which muscle tightened. I might simply ask: What happened to your ball when you used your legs? Stage 5: Apply the Leg and Then Soften The rider applies the leg clearly, gets the response and then softens the leg again. The ball continues to travel between the hands throughout. This is important because the rider can easily learn to hold the whole body in the effort of asking for more. I want a clear aid followed by release, while the hands, elbows and shoulders continue their own job. Leg on, response, soften. Keep the ball moving. Stage 6: Compare One Leg at a Time Progress to using one leg more independently where appropriate. Keep the canter steady and continue passing the ball. Compare what happens when the right leg works and when the left leg works. This can reveal cross body patterns that are not obvious in normal riding. Right leg works and the left elbow fixes Left leg works and the right shoulder lifts One leg aid stops the ball while the other does not One hip becomes rigid and the upper body compensates One side of the ribcage collapses as the opposite leg applies pressure The visible hand problem may not begin at the hand. The ball helps me see the connection between the leg aid, pelvis, trunk, shoulder and elbow. Stage 7: Change the Canter Once the rider can keep the ball moving while using the legs, increase the organisational demand. Use changes within the canter that are appropriate to the simulator and rider. Quieter to more active canter Smaller to bigger canter Bigger back to smaller canter Canter to trot Trot back to canter Changes of direction Left and right canter where available The ball should not become faster simply because the canter becomes bigger. I want the rider to keep the same easy passing rhythm while the body adapts to the new movement. Stage 8: Use the Ball Through Transitions Pass the ball continuously before, during and immediately after the transition. This makes anticipation very easy to see. If the rider braces before the transition, the ball often slows or stops before the gait has even changed. That tells me the rider has organised the tension in advance. Do not stop the ball to make the transition happen. The rider should be able to prepare, give the aid, allow the new movement and keep the upper body available throughout. Stage 9: Take the Ball Away and Return the Reins Once the rider can keep the ball moving through the canter changes, remove the ball and give the reins back. Do not immediately change the rider. Ask them to remember the freedom they had while the ball was moving. Can you keep the same elbows now you have the reins? Can your legs work without your hands joining in? Can you keep the same breathing and shoulder freedom? Can the contact stay elastic while the canter changes? Repeat the same canter changes and compare the rein feedback, the rider feel and what you can see.
Main coaching cue: Keep the ball moving. Let the canter move you. Use your legs without stopping your hands. Leg on, response, soften. Keep the elbows available. Do not grip the ball when the leg works. Breathe through the change. Let the shoulders stay soft. Do not drive the pelvis to make the canter bigger. Can the legs do their job while the arms do theirs? What happened to the ball when you used your leg?
What to watch: Hands and Ball Does the pass remain smooth? Does the ball stop as the leg aid is applied? Does one hand grip or snatch the ball? Is the pass different from one direction to the other? Does the rider throw the ball rather than pass it? Does the rider reach too far with one arm? Elbows and Shoulders Do the elbows remain available? Does one elbow set when the opposite leg works? Does one shoulder lift? Does one shoulder move forwards? Does the rider brace both shoulders as the canter changes? Can the arms keep working independently of the trunk? Ribcage and Pelvis Do the ribs remain organised over the pelvis? Does the rider hold the breath? Does the ribcage rotate as one leg works? Does the rider tip or collapse to create the aid? Does the pelvis drive when the rider asks for more canter? Can the pelvis continue following while the arms and legs do separate jobs? Legs Can the rider apply both legs without upper body tension? Can one leg work independently? Does the opposite leg grip for stability? Does one knee or thigh clamp as the rider asks for more? Does the rider soften the leg after the response?
Video: VIDEO QR CODE PLACEHOLDER
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Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Simulator first. Progress through halt, walk, trot and canter. Transfer to a suitable horse, jumping and cross-country work when appropriate.
Useful for: Lower leg moving forwards or backwards in light seat; Rider gripping through the knees or thighs for stability; Ankles becoming fixed when the rider stands or hovers; Rider tipping forwards to get out of the saddle
Quick method: Stage 1: Establish the Baseline Before shortening the stirrups, look at the rider in their normal position. Ask them to stand, hover and sit slowly if they can do so safely. I want to see how they currently organise. Where are the feet? Do the ankles move or lock? Do the knees stay soft? Can the hips close without the pelvis being pushed backwards? Does the lower leg remain underneath them? Do the shoulders tip forwards? Do they pull on the reins? Is one side more stable than the other? Stage 2: Shorten the Stirrups Shorten the stirrups enough that the rider can clearly feel the change. The aim is not an extreme jockey length. I want enough shortening to make it easier for the rider to find the foot, ankle, knee and hip working together. At halt, ask the rider to come gently up out of the saddle. They should not throw the shoulders forwards or push themselves upwards with a rigid leg. Coaching cue: Stand around the horse rather than pushing yourself up. Stage 3: Find the Hover From standing, ask the rider to lower very slowly towards the saddle and stop before fully sitting. Find a light hover. Then rise slightly again. The change should come through the ankle, knee and hip while the lower leg stays useful underneath the rider. Repeat: stand, hover, stand. Then hover, lightly touch the saddle, hover. I am looking for whether the rider can change the amount of support through the seat without changing where they are balanced. Stage 4: Slow Sit, Hover and Stand Now move through the full sequence slowly: standing, hover, sitting, hover, standing. The slower the rider moves, the more useful the exercise becomes. Momentum can hide poor organisation. Slow movement makes it obvious where the rider begins to grip, push, tip or lose the lower leg. When they sit, the legs do not switch off. When they stand, the upper body does not need to be thrown forwards. Stage 5: Add Walk Introduce walk with the coach controlling the simulator initially. Ask the rider to find a hover and let the simulator move underneath them. The joints continue to make small changes rather than holding the body in one place. Progress between a few strides sitting, hovering and standing. The rider should keep the same basic centre throughout. Coaching cue: Do not hold the hover. Balance in it. Stage 6: Progress to Trot In trot, ask the rider to stay in a light hover and allow the movement to travel through the ankles, knees and hips. I do not want them bouncing above the simulator or trying to keep the body perfectly still. Coaching cue: Absorb the trot rather than trying to stand above it. Watch whether the rider begins to grip, push harder through the stirrups, straighten the knees or throw the shoulders forwards as the forces increase. Stage 7: Progress to Canter In canter, let the canter move the rider. The light seat should remain responsive. The ankles, knees and hips continue to change with the stride. The rider does not hold a fixed jumping position. Ask: Can you stay over your feet while the canter changes underneath you? This is a useful place to connect with the Equisk band work if the rider needs stronger sensory feedback about elastic joints and absorption of movement. Stage 8: Lower the Stirrups One Hole at a Time Once the rider has found the organisation with the shorter stirrups, lower them one hole. Repeat the same sequence. Then lower them again if appropriate. I want to know what changes as the stirrups lengthen. The rider should not reach down for the stirrup or try to manufacture the previous shape. Does the ankle become less available? Does the knee straighten or begin to grip? Can the hip still close and open? Does the lower leg move forwards? Does the rider push the heel down to find the stirrup? Do the shoulders tip further forwards? Does the rider need the reins for balance? Does one side deteriorate sooner than the other? The point where the organisation changes is useful information. It tells me which part of the rider is no longer adapting as effectively to the altered stirrup length. Stage 9: Compare the Stirrup Lengths Let the rider feel the difference between the lengths rather than simply telling them which is correct. Ask where they feel balanced, whether the ankles still move, whether the knees remain soft and whether they can still close the hip without reaching for the stirrup. The correct answer is not that every length should feel identical. I want the rider to understand what changes and why. Stage 10: Change Position in Canter Once the rider is secure, move between seated canter, hover and light seat. Keep the changes gradual. The rider alters how much seat contact they have without losing the lower leg or throwing the shoulders forwards. This is much closer to what is needed across country, where the rider continually changes their organisation according to the terrain, pace and fence rather than holding one shape. Stage 11: Progress to Jumping Movement On the simulator, progress into jumping movement. I want the horse or simulator to create the change in the rider. The joints close as the horse comes up towards them and open again as the horse moves away. Coaching cue: Let the horse close your joints. Then: Let them open again as the horse moves away. The rider should not jump ahead, push the body forwards or hold a fixed fold. They organise around what the horse is doing.
Main coaching cue: Stand around the horse rather than pushing yourself up. Let the joints change shape underneath you. Do not hold the hover. Balance in it. Keep the lower leg with you as the seat changes. Let the movement travel through your ankles, knees and hips. Absorb the trot rather than trying to stand above it. Stay over your feet while the canter changes underneath you. Do not reach down for the stirrup. Keep the same joint function as the stirrups get longer. Let the horse close your joints. Let them open again as the horse moves away. The position changes. The balance stays organised.
What to watch: Feet and Ankles Can the rider keep the foot supported without pushing down? Do the ankles remain responsive? Does the rider force the heels down as the stirrups lengthen? Does one foot begin to reach for or lose the stirrup? Knees and Hips Do the knees stay soft rather than gripping? Can the hip close and open without the pelvis being pushed backwards? Does one side change before the other? Can the joints continue to absorb movement in trot and canter? Pelvis, Ribcage and Trunk Does the rider remain organised over the base of support? Do the ribs stay organised over the pelvis? Does the rider collapse into the saddle on the return? Does the upper body become rigid or tip forwards? Can the pelvis reconnect with the saddle without the legs switching off? Hands and Reins Can the rider balance without using the reins? Do the elbows remain available?
Video: VIDEO QR CODE PLACEHOLDER
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse
Useful for: Hip extension, posterior chain awareness, trunk control
Quick method: Supine with knees bent, exhale and lift pelvis to hip-extension range, then lower with control.
Main coaching cue: Press through whole foot. Lift from hips. Keep ribs quiet.
What to watch: Hamstring cramp, knee drift, neck push, or lumbar arching.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.
Exercise Card
Where used: Off horse
Useful for: Pelvic control, rotational stability, hip function
Quick method: Use light band pull in athletic stance; rotate pelvis slightly or hold while ribcage moves.
Main coaching cue: Keep knees soft. Move intended area. Do not let band pull alignment.
What to watch: Foot roll, knee collapse, shoulder-leading, excessive tension.
Video: Replace with final video QR
Scan for the full exercise and video.
Coach note: Use feeling to help the rider recognise and reproduce improved function. The aim is not simply to create a different number or a more symmetrical picture.