Riders entered a competition and five lucky ones were selected to go to Catherston for a day in October 2006 and be shown by the experts how to put a freestyle test together. The idea started with Jane Buchan, the Marketing Manager at Baileys: “It was very difficult to sort through all the entries, enthusiasm was evident in every single one and everyone was so keen. We tried to choose a cross section that would reflect the type of people who do want to do freestyle and we looked a bit at ability and results too.”
THE HORSES AND RIDERS
Jaqueline Mutch and Sambuco Bay (Buca)
Jacquie is a business consultant with her own business in London. Sambuco Bay is a seven-year-old KWPN gelding by Julio Marrino and his dam is from Democrat lines.
Katy Vincent and Valacq Who’s Brilliant (Tilly)
Fifteen year old Katie, the youngest rider, is working on her GCSE’s this year. Tilly is a nine-year-old Welsh Cob/Thoroughbred mare and Katie has been riding her for two years.
Samantha Seagrave and Chilli Pepper
Samantha, a qualified BHSAI, teaches Pony Club riders and still finds time to work in a pub and run her own yard with her mother. Chilli Pepper came from the New Forest Pony Sales as a foal, Samantha broke him at three and he is now six.
Sonia Mayne and Rivaldi
Rivaldi is a six year old gelding by Rotspon, from the famous Weltmeyer lines. Sonia trains with Isobel Wessels and Stephen Clarke, and it was Isobel who helped her find her horse. Sonia runs a livery yard and teaches.
Daniel Henson and Land Vision.
Daniel is an event rider who works for dressage rider Katie Byrom in Warwickshire. Land Vision is a five-year-old gelding by Broadstone Landmark, out of Stonecroft Holly.
Click here to view more photos of the winners' day at Catherston Stud
WORKING WITH THE COMBINATIONS
The five riders and horses were all put through their paces by Jennie Loriston-Clarke, former Olympic rider and team trainer. Jennie assessed each combination and thought about what they needed to do in a freestyle test, while BD’s director Sara Green tried to come up with suitable music for each pair. Everyone then got together over a long working lunch to work out which was the best music for them, and what to put in their test. In the afternoon each combination had a chance to put it together, ride through the freestyle and see if it worked. “The most important thing is that the music is suitable for the horse,” declared Jennie. “Be aware of your horse and its temperament.”
First in were Jacquie and Buca, “I’ve had him two years,” said Jacquie, “And it took me a year to get my head round everything, he has such big movement. We never get time to do the music and so it is great to be able to come here and get the judge’s perspective.” Jacquie loves jazz so Sara put together a medley of traditional jazz that was different for walk, trot and canter but flowed well. Afterwards Jacquie was delighted. “It felt lovely, I was laughing because he was saying to me this is such fun! He was loving it. The music definitely had an effect and the trot music was amazing.” Jennie reminded Jacquie not to forget to wait for her music”
Katie and Tilly were next in and Jennie wanted the horse to go forward more saying: “Your main object in life is to create impulsion. She’s got to go up tempo.” Katie suggested that hunting horns might be a good idea because Tilly always responds with enthusiasm when she hears them! Sara though picked some Andrew Lloyd Webber music, to help Katie with impulsion. “It was so much fun,” smiled Katie, “She really enjoyed herself, – everyone should have a go, it makes it so much easier to ride in a rhythm.” “The music made you ride her more forward,” said Jennie, “You got more and more impulsion.”
Samantha and the pony, Chilli Pepper, made everyone smile, Sara suggested upbeat TV themes: “His music needs to be light and bouncy and cheeky because he’s that sort of pony,” she said. Sam really liked the “Happy Days” music. “It was fun, he really enjoyed the music.” she said afterwards. “The music really suits you and the pony,” said Jennie “You’re not trying to be too classical, it should be more fun. You mustn’t over push him, just keep to the rhythm, this will get better as he gets stronger and works more from behind.”
For Sonia and Rivaldi, Sara thought up-tempo dance music would work best: “It needs to be a sequence. The music has to be a rounded performance – there has to be a beginning, a middle and an end. We don’t want anything too dynamic for her, but something that really gets you going, something with plenty of beat, - dance tracks that really swing you along with the music”. “It has been a brilliant day,” said Sonia, “The canter music was great, and the trot felt really good. It has been a wonderful opportunity to get such brilliant people to pass on their knowledge to us.”
Last, but definitely not least, came Daniel and Land Vision – or Ben, a horse that Jennie took rather a fancy to! Daniel had already worked out a floor plan, which met with general approval, and Sara picked Classic Rock themes for the pair. Jennie thought the choreography looked good: “The walk was fantastic, and the medium trot was just getting better and better.” “It was a lovely day today,” said Dan, “The feedback from Jennie was fantastic, and the music was brilliant, I absolutely loved it.” (NB: Land Vision was later sold to Oliver Townend who won the Interemediate Championship with him at Gatcombe in 2008. He is now with Mark Todd so Jennie wasn't wrong in admiring him!!)
WHAT TO PUT IN YOUR FREESTYLE TEST
Jennie was looking carefully at each combination: “I want to know the good and bad bits about their horses. If it lacks impulsion you want to start with something that takes it forwards. If it’s a hot horse, then the opposite is true. It has got to be something that suits the combination.
“Once you have got the music you can alter it as you go along, you can build on the difficulty of the programme. It is also important to lay your test out on a sheet of paper; you should be able to see that the pattern looks right on paper. The test also needs to be really clear for the judges. Transitions and movements need to be obvious. Only put harder movements in if you can do them really well.”
“You should plan and ride some interesting moves at the level you are at and try and show the things your horse is good at. Plan your transitions somewhere where it will be easy, so you have got room to do something if anything goes wrong. You always need to have a contingency plan in case there are problems. If you are ahead of the music put in a small circle or something so that you can get back into line. You need to be able to be flexible because the going can affect things a lot. A transition that might be at H at home might be at M in a different venue, you can easily have as much as ten or twenty metres difference. You have got to be really aware of things that might be wrong. And – you must practise your music and listen to your music.”
HOW TO CHOOSE THE RIGHT MUSIC
Sara, who is Rules and Fixtures Chair at BD, is passionate and knowledgeable about music. She had worked with videos of the combinations prior to the competition day so that she could bring a selection of music to both suit the horses’ personalities and their paces. These she was able to play whilst riders were practicing elements of their tests with Jennie so that rider and trainer could make a choice. “The first and most important rule is that the rider must like the music – they must be inspired or it will not work. If the rider doesn’t like the music then they won’t ride to their best.”
“The other thing is to use music that really enhances your horse’s paces. If the horse needs to be taken forward then elegant floaty music would not be suitable because it won’t take the horse on. If the horse is naturally forward going you can think about more elegant relaxing music, if it is lazy in the walk you need a more forward beat. It is not that the horse necessarily reacts to the music, but more that the rider tunes in.” Sara then timed each section of each test so that she could put together a draft compilation for riders to have a “dress rehearsal” after the lunch break.
WHAT TO DO ABOUT MUSIC LICENSING
BD members are already covered but there are some guidelines that still need to be followed. If you want to ride in a music class you should contact BD and ask for a music pack. This will contain a copy of the full agreement, a music registration form, a set of stickers which contain the licence statement and a template for recording the tracks used which need to be fixed to the CD/tape case. The music you use should be music registered with the PPL or the entire routine should be music that is not covered by PPL. What you cannot do is mix the two. The only way to find out if music is registered or not is to look at the PPL Repertoire list, a copy of which is available from the BD Office. Once you have decided on your music, all you have to do is sign and send back the licence agreement together with the music record form that lists the tracks you have used. Then just make sure that either the stickers are attached to the case, or that the exact form of words is printed on the case cover and CD.
For more information from British Dressage on music licensing and how to get started in freestyle, click here.
To find out about competing in British Riding Club dressage to music, click here.