تمرینات درساژ

  • شروع کننده موضوع Naghmeh Cavallaro
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Naghmeh Cavallaro

Guest
dustane azizam biayim inja dar morede ahamiate tamrinate deresaj dar reshteye savari sohbat konim,man mikham bedunam dide shoma dustan az deresaj chie?aya benazare shoma ye seri tamrinate khaste konandast va ya aya tamrinate lazemi hast baraye shoru savarkari? mikham bedunam tasavore dustaye khubam dar iran az in reshteh chie?chera inghadr in reshteh dar iran be nazar miad ke monzavi munde?aya dar iran savar karhaye deresaj khub mishnasid?lotfan name bashgah hashun ra matrah konid.
 

DADAR

Member
پاسخ : Tamrinate deresaj

salam
be nazare man hamontoor ke dar bahshaye ghabli eshareh kardam lazemeye savarkare khob shodan dar sabke english riding tamrinate dressaje hast hata dar reshtehhaee hamchoon western ham tamrinati taghriban moshabeh ba kami tafavot anjam misheh

khob agar kasi bekhad reshteye dressaje ro edameh bedeh faghat tamrinate dressage ro anjam mideh vali baraye pareshkar shodan farghi nemikoneh baraye asb ya savarkar hardo ehteyaje molzam hadeaghal be basice dressaje darand

baraye kasi ke tebghe tamrinate sahihe morabi dressaje ro donbal mikoneh vaba hess kardane har harekat va gam ro be pishraft hast hichgah dressaje khasteh konandeh nist ama agar in tamrinat bdone barnameh rizi va sare khod anjam besheh be dalile inke savar va asb nemitonand khodeshoon ro dar taadole monasebe on harekat hefz konand dar natijeh nemitonand harekat ro dar game monazam ya dar masirhaye sahih anjam bedahand va anjame in harakat bedone elme kafi ya morabeye kar azmodeh baad az modati baese naaomideye savarkar va pasrafte asb shodeh va hamisheh halate tekrar bedone hasel shodane natijeye mosbat be khod migirad va beseyar khasteh konandeh ast

be nazare man bad nist ke dostani ke alaghehmand be bahse dressaje hastand yeki az ghesmathaye marboot be dressaje ra entekhab konim va dar oon ghesmat dar morede yeki az gamha ya harakate dressaje be sorate takhasositar nazarat va tajrobeyatemoon ro dar ekhteyare hamdigar va dostane digar gharar bedim
;)
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

salam dadar
man mikham bedunam shoma bad az che modat shoru be paresh mikoni?yek morabi che tamrinati ghabl az oun be shoma mideh?aya shoma fekr mikoni ke deresaj ye reshteh hast?!

Anche ke dar inja matrah hast deresaj madare reshteh haye savar kari hast,dar Swiss shoma bad az 3 ya 4 sal ke tamrinate deresaj dar sathe motevaset ra anjam dadi va morabie marbuteh shoma ra tayid kard ke ghader be kontrol khodetun va asbetun dar hameye sharayet hastid(manzuram hefze taadole khodetun hast dar hameye sharayet ,chon asb ke dar har sharayeti taadol dareh ,ye heyvun 4 pa hast)pas az oun ba tavajoh be figure va base shoma be shoma pishnahad mideh ke jumping ra shoru koni ya paresh ra ya...
inja hich kas alaki bedune hich basi az ruze aval nemipareh,in khalafe ghavanin hast va ageh shoma az asb biofti va asib bebini mituni az oun moalem shekayat konibe jorme adame hamahangi tamrinat va khasteye morabi!
mikham bebinam aya dar iran chenin mozuati ejra mishe?!
aslan morabi hast ke deresaj amuzesh bedeh?
 
پاسخ : Tamrinate deresaj

سلام نغمه جان
باید بگم كه من اطلاعات دقیقی از درساژ ندارم و حتی درساژكاران ایرانی رو نمیشناسم.اما تجربه كوتاهم به من میگه كه درساژ رو باید بسیار جدی تر گرفت.ببین تا جایی كه من دیدم بعضی مربی ها بیش از حد شاگرد رو در سطوح بسیار ابتدایی درساژ نگه میدارن.(همون چیزی كه دادار گفت)تمرینات بدون برنامه.خودشون انگیزه ای برای رفع اشكالات شاگرد ندارند و شاگرد هم از اشكالات خودش بی خبره.بنابراین تمرینات تكراری و یكنواخت و چه بسا اشتباهی رو انجام میده.من ندیدم اینجا مربی ها در مورد اثرها توضیح بدن.انگار باید به صورت تجربی خودت بفهمی.بعضی مربی ها هم از اون طرف بام میفتن.یعنی با تصور این كه دارن لطف بزرگی به شاگردشون میكنن بدون دونستن مقدمات درساژ و بدون كسب تسلط توی حفظ تعادل در هر شرایطی پرش رو شروع میكنند.البته من در حد مشاهدات خودم دارم میگم.شاید همه اینطور نباشن.نمیدونم.در مورد اینكه اگه با اشتباه مربی شاگرد آسیب ببینه میره ازش شكایت میكنه جالبه بهت بگم كه متاسفانه توی خیلی از باشگاه ها شاگردها حتی بیمه نیستن كه اگه اتفاقی براشون افتاد پشتوانه ای داشته باشن چه برسه به اینكه برن از مربی شكایت كنند.تو بعضی باشگاه ها اصلا مدركی وجود نداره كه تو شاگرد اون باشگاهی! یا مثلا خود من همش فكر میكردم این زمین خوردنها عادیه.خوب اولشه دیگه! ولی همونطور كه قبلا توی بحث سواركاری بانوان گفتم گاهی این ضررها غیر قابل جبران هستند متاسفانه.
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

salam dustan
az hamatun mamnunam ke tuye bahs sherekat kardid,faghat jaye amir hosein tuye in bahs khali hast.
samira jan be nokteye khubi eshareh kardi ama man ye tozihe kotahi dar in morede be khosus bedam ke dadar goft hoseleye shagerd sar mire az tamrinate tekrari.
Deresaj yani hamin!yani tekrar tekrar va tekrar ,inja vaghti asb savari ra shoru mioni be modate do sal shayad bavaretun nasheh faghat anvaye trott va galope va bazi harekate marpich va avaz kardane gamha va asar gozari ra yad migiri!dar morede baziha momkene in tamrinha be do sal ham tool bekeshe,ama bad az 2 sal vaghti oun shagerd ra mibini hich iradi az vaziate neshastanva yurtmeh raftan va galop raftanesh nemituni begiri,position pahash hamuni hast ke bayad bashe.
chand darsad savarkarhaye iran kamar dard daran?chan darsad zanu dard daran?fekr mikonid ina az koja miad?az harekathaye ghalat,neshasthaye na sahih.Samira jan harfe khaili ghashangi zadi dar morede zamin khordan,bayad begam ke kamelan dorost eshareh kardi,Zamin khordane ye savar kar be hich vajh adi nist,be hich vajh!
aslan injur nist ke harki herfehi tar hast bayad shekastegie bishtari dashteh bashe!aslan khandeh dareh!in ye fajeh hast¨!chetor morabihaye iran mitunan bad az ye seri tamrinate maskhare shagerd ra majbur be paresh konan?!!!!!! in ye faje hast!
man bavaram nemishe!chand darsade afradi ke alan daran miparan mitunan transitionha ra bedune hich naghsi anjam bedan?chand darsad mitunan az ghadam be galope beran bedune hich naghsi?chand darsad mitunan dar tamami harekathashun sheklhaye hendesie zamin ra hefz konan dar halike figureshun be ham narizeh,stile zamin ra ham hefz konan savar kari faghat in nist ke ye asbe badbakht ra bedi daste ye savar kare bad bakht tar az oun ke hanuz tadol nadare ruye asb va majburesh koni ke bepareh?
man harfam ine,in aghayune moalem bavar konid ke khodeshun ham tamrine deresaj nadidan,inha ra ageh alan ye motekhases ya herfehi bebine az tarze neshastan va position kamar va saghe pa va dastha va ....irad migireh,ino motmaen bashid ke oun moalem ageh tazakor dorost be shagerd bede va ageh be shagerd iradhash ra tozih bede oun tamrin har chand yenavakht ama har jalaseh nokteye tazehi ra baraye shagerd dare.
agar che ke tamrinate deresaj besiar vasi va motefaveteh va baraye man hich vaght yeknavakht nabudeh.
 
پاسخ : Tamrinate deresaj

سلام
نغمه جان همونطور كه گفتی تمرین درساژ نیاز به تكرار و تكرار داره.منظور من (و فكر میكنم دادار هم) این نیست كه این كار اشكالی داره و شاگرد رو خسته میكنه از تكرار.چیزایی كه گفتی در طول 2 سال تمرین یه شاگرد یاد میگیره از نظر من چیز كمی نیست.مسئله اینجاست كه بعضی ها چه بسا بیشتر از این مدت در این مرحله كار كردند و نهایتا هم نتیجه درستی كه باید نگرفتن.این به خاطر بی برنامه بودن تمریناته.همونطور كه گفتم در این شرایط مربی اشكالات شاگرد رو رفع نمیكنه.اثرها رو آموزش نمیده.نشست سواركار رو اصلاح نمیكنه.شاگرد فقط دور یه دایره میچرخه بدون اینكه اثر خاصی به اسب بده.بله فقط دور یه دایره.نه 8 لاتین ، نه استفاده از كاوالتی، ونه هیچ كار دیگه ای.من چون خودم در شروع كار با همچین مربی كار كردم میتونم اینو با اطمینان بگم.مربی نگاه میكرد كه تو از چه اثری داری استفاده میكنی.میدید كه تو اثرها رو نمیشناسی ولی صحیحشو نمیگفت.هیچ وقت نفهمیدم چرا.جالبه كه اون مربی جوونی هم بود اما اصلا كتابی نخونده بود.اصطلاحاتی كه توی كتابها استفاده میشد رو نمیشناخت.برام عجیب بود.یادمه تازه داشتم مطالب سواركاری رو میخوندم.ازش پرسیدم قبول كردن آبخوری توسط اسب یعنی چی؟ گفت همچین چیزی نشنیدم تا حالا!!! ??? من نمیخوام منكر سواد و معلومات خیلی از مربیای خوب بشم.اما منظورم اینه كه اینا رو دیدم.اگه اون مربی هر جلسه اشكالات شاگردشو رفع كنه بله هر جلسه چیز جدیدی برای یاد گرفتن هست و یكنواخت و خسته كننده نخواهد بود.
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

Dustane digar ham omidvaram nazar bedan dar in mozu
Vaghean jaye tasof dare?yani hich nahad va organi nist ke be vaziate in morabiha bereseh?inha az che momayezi rad mishan?aya karte morabigari daran?Chera fedrasione savarkarie iran nemiad ye list az morabihaye ba tajrobeh ba liste takhasos hashun bede birun.
Az tarafe digeh maha ham eshkal darim dustan,ageh ye moaleme bad ,injuri maro aghab mindazeh va dochare moshkel mikoneh bayad be digaran begim va khodemun ham narim pishesh.bayad be oun morabi khaili vazeh va sarih begim ke to mozu ra be man montaghel nemikoni va man digeh nemiam az shoma amuzesh begiram!
nazare shoma chie?fekr mionid ba ye morabi ke osule savar kari ra nemiduneh chetor bayad sohbat kard va behesh fahmund ke morabie khubi nist?! montazer javabha hastam.
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

Dustane aziz ,man inja az tamrinate deresaj chand ta ax mizaram.Khahesh mikonam dar in axha be tartib be suye negah asb ke tayin konandeye oun savr kar hast yani inke dar oun halat asbetun dar daste rast hast ya daste chap,be kamare savarkar,be halate saghe pa va pashneye paye savar kar dar mahale vared kardan asar tavajoh konid..
 

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Naghmeh Cavallaro

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Improve Your Dressage Seat

Figure-Eight Exercise

1. In this simple exercise, as the horse turns from one direction to another--around two benches beside my ring, or around cones or trees or whatever you have--you can feel his hips move under your seat and become aware of how your balance changes slightly to keep you in the middle of the saddle.

You learn to follow and stay in the center. Depending on your level, you can use this information to weight your inside seat bone slightly more in canter or shoulder-in, for example. Here, as Laurenzo turns to the right, he has to put more weight on his inside hind leg; I feel his right hip come up underneath me.




Figure 2
© Mandy Lorraine
2. As we turn to the left to go between the benches, you can clearly see that my hips and his hips are aligned. I'm sitting in the center, and there's a balanced connection between my seat and his hindquarters.


Riding Outdoors on Uneven Footing


As Laurenzo picks his way over the stones in the bottom of the stream, my hands are soft, out of his way, following his movement and not interfering with his balance.

Here, because he's just about to step up the bank, I'm leaning a little more forward, keeping my seat--my center of gravity--directly over the center of his back. Nothing about my seat or leg changes; I could be in the dressage ring.
 

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DADAR

Member
پاسخ : Tamrinate deresaj

salam naghmeh va digar dostan

porsideh bodid ke baad az cheh modat shoroa be paresh mikonim ya bayad kard?1
agar manzoretoon iran hast ke saay mikonan dar hamooon chand mahe avale amozesh shagerd ro beparonan albateh na hameh ja hastand bashgahhaee ke kheyli ham ba osol amozesh midan vali teadade in morabiha hamontor ke goftam be teadade angoshtane dast mireseh
agar nazare man ro mikhayd:
bayad begam bastegi be sen sharayete fiziki sathe amozesh sathe yadgiri va esteadade savarkar dareh
baazi az savarkaran ro mibinim ke bavojode modate tolaneye tamrinat be dalile nadashtane esteadade kafi ya har morede digari hanooz ghader be hefze taadole khodeshoon dar tamameye harakat nistand khob baraye onha zamane bishtari lazem hast
ama be nazare man agar savarkari bekhad reshteye paresh ro anjam bedeh bayad hadeaghal beyne 2 ta 4 sal bastegi be esteadade fard tanha roye zamin va dressage kar koneh
albateh in nazare man hast va toye iran kamtar kasi hazere ke inchenin amal koneh va shayad ham be nazareshoon ham khandehdar basheh

dar morede inke dressage yek reshteh hast ya na?1
bayad begam ke mosalaman dressage yeki az reshtehhaye sabke english riding hast vali hamontor ke ghablan ham eshareh kardam az tamrinate dressage be onvane tamrinate payehee dar aksare varzeshhaye savareh estefadeh misheh

dar morede inke asb yek mojode chahar dasto pa hast ke dar har sharayeti taadol dareh
bayad begam ke taadol tanha zamin khordan nist va asbhaye javan va tazeh kar dar barnameye training amozesh mibinand ta taadole bishtari be dast beyaran va betonan in taadol ro dar sharayete mokhtalef , gamhaye mokhtalef , transitionha , hengame paresh , ghabl va baad az paresh, dar harekate ljanebi dressage mesle half pass ya leg yealding ya..... be khobi hefz konan va betonan harakat ro dar yek ritme mozon va bedone tagheere sorat anjam bedahand
hamontor ke midonid yek asbe 3 saleh ke tazeh zingozari misheh be dalile nadashtane balance kafi hichvaght nemitoneh hata dar yek khate mostaghim harekat koneh va in ro kam kam tahte amozeshe trainer yad migireh
va dar nahayat yek asb ba balance bala mitoneh harakate pishrafteye dressage hamchoon peyaf ya piruet ro anjam bedeh
albateh beseyari az asbha be dalayele mokhtalef masalan moshkelate anatomy nemitonan be hade taadole balaee beresan

dar morede inke cheh tamrinati ro ghabl az paresh morabi be savar mideh man manzoreton ro daghighan nafahmidam
daghighan ghabl az paresh ya tamrinate amozeshi ke ghabl az shoroae amozesh paresh bayad anjam beshan????1

dar morede ejraye ghavanin toye iran bayad begam toye in mamlekat fealan ajib bighanoni hast cheh bereseh be ghavanine savarkari aslan man fekr nemikonam az lahaze hoghoghi barash ghanoni dashteh bashand!!!!1

dar morede morabeye dressage
baleh hastand morabeyane beseyar khobi ke dressage kar mikonand , albateh teadadeshoon beseyar kam hast, va sathe kareshoon ham mosalaman az sathe kare uropa paeentar
albateh midonid hameh ja khobo bad dareh to hamoon urope ham morabiha khobo bad daran

dar morede hoseleh sar raftan az tamrinate tekrareye dressage
baleh dressage yani tekrar tekrar tekrar
ama tekrare ba pishraft tekrareh baosool va dorost ke baese angizeh bishtar misheh
na tekrare ba pasraft ke anjame yek harekat baad az 2 sal hamchenan bedonekeyfeyat anjam besheh
oonvaght hast ke baese sarkhordegi naomidi va sar raftane hoseleh misheh
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

salam dustan

Dadar khaili azat mamnunam ke dar bahs sherekat kardi va hamintor az tozihe mofasalet.
khaili khosh halam ke ba man ham aghidehi va ye base 4 ta 5 sal ra baraye deresaj va tamrinate oun ghabl az paresh lazem miduni,hamintor ke inja (swiss)ham vaz bar hamin menval hast va zudtar nemituni shoru koni.
soali ke man daram ine ke aya savar karhaye irani ba dar nazar gereftan ye morabie khub va basabeghe ham razi be sakhtan chenin basi baraye khodeshun hastan?
man dust daram shoma khodet begi az koja shoru kardi va dar che vaziati hasti?
rasti ageh moaleme deresaj khub mishnasi moarefi kon va begu ke dar kodum bashgah hast?
 
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Naghmeh Cavallaro

Guest
Gain Neck, Bend Control in Dressage

Neck Control

Dustane azizam,lotfan be axha tavajoh konid va be tartib molahezeh befarmayid.
"Neck control is horse control" is a common quote from Conrad Schumacher. By neck control, he means the ability to position your horse's neck at any length or height. More importantly, with this capability, you can control your horse's shoulders, which enables you to control and channel the energy created by his hind legs. So as a result of neck control, you can control your horse's hindquarters and his entire body. However, use of the term "neck control" is risky because it can sound like backward riding or riding from front to back. At clinics, I sometimes hear murmuring from spectators who probably misunderstand what Schumacher is teaching, but you'll never see his students fiddling around with the horses' front ends and nothing happening behind.

True neck control isn't possible unless you ride your horse actively forward, and he accepts contact by drawing on the bit. The horse's back is like a bridge that carries him and you, and the neck completes the bridge. All the energy created by going forward from the hindquarters to the bridle makes your horse's back strong and develops those muscles that create the bridge. Without energy through the neck, the bridge is out and you can't do anything. So this energy to the bit is a prerequisite.

There also is a rider prerequisite. You must have a decent-to-good seat so you don't need to balance on your hands. Positioning your horse's neck will enhance the contact with his mouth, so your hands need to be good enough to quietly receive the power from his hind legs. His will allow your horse to draw on the reins, then whatever you do with your hands has a negative effect. After mastering these principals, you can work on bend control, the key to straightness and collection.

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If your horse stops going to the bridle, the bridge of muscle from his hindquarters to the bit is out, and your half halt only gives you leverage against the neck, so he raises his neck, drops his shoulders and hollows his back. This gives the feeling of having more horse behind you than in front of you as in the illustration. If this happens, you need to drive your horse to the bridle and lower his neck with correct contact to create the proper bridge.

On the Forehand
In the beginning, developing neck control usually involves lowering your horse's neck. When his head and neck are down, you are in a position to positively influence him because half halts bring his shoulders up and strengthen the bridge. Your horse's shoulders, along with his head and neck, are part of his forehand.

Some people misunderstand the term "on the forehand," which refers to the shoulders being down, regardless of where his head and neck are positioned. Many times when a horse's head and neck are up, his shoulders are down. Even though he appears "up," he is definitely on the forehand, (see illustration). When his shoulders are down, your half halt only raises his head and neck and pushes his shoulders down more -- further breaking the bridge.

To ask your horse to lower his neck, you need to develop two skills: First, jaw flexion and tilting the crest of the neck; second, initiating a stretch to create connection in a lower place.

Exercise 1: Tilting the Crest of the Neck




© Alan Baumert and Carole McDonald


STEP 1: I began by halting Graf, maintaining contact so he continues to draw on the reins. Only then can my rein motion be supple in the exercise. I bend my right wrist so my knuckles point toward my left hip (inset). I do this with a flexible, gliding motion.
STEP 2: After Graf's crest flips to the right, I straighten him and bend my left wrist toward my right hip. The crest will flip left. Remember that the crest of neck tilt supples the jaw. You're not bending the neck.
STEP 3: Still at the halt, Graf is correctly reaching for the bridle, drawing on the reins, so I allow him to chew the reins out of my hands, gradually lengthening the reins inch by inch. Graf closes his eyes because this is relaxing for him.

Flexing to the inside and tilting the crest gets your horse supple in the jaw -- the first step toward neck control. Until he yields in the jaw, he can't properly bend in the body, so this exercise is important preparation for bending exercises. It also will prepare you for the 20-meter bend needed for Exercise 2: Lowering the Neck.

As you work on Exercise 1, remember that it is a quiet exercise. Flexing your horse's jaw very slowly one way and then the other, you should expect your horse's crest to flip -- a quick, involuntary action -- from one side to the other. Typically, the crest wants to be on one side or the other and flips more easily in that direction.

The feel you give to your horse's mouth throughout this exercise is key. To help with the feel, sometimes I'll ask a student to make the reins long so the horse's mouth isn't disturbed. Standing in front of the horse, I hold the reins near the bit and have the student pretend his hands are the horse's mouth. I bend my wrists and "flex the jaw" to show him the smooth, gliding motion that his horse should feel.

Exercise 2: Initiating a Stretch



© Alan Baumert and Carole McDonald


STEP 1: To begin to initiate the stretch at the trot, I flex Graf's jaw to the inside, close my legs and drive him to my receiving hands. My driving aids increase the contact without increasing the tempo. I think about channeling Graf to a receiving bit that he seeks.
STEP 2: When Graf has increased the contact, I move the bit about an inch lower and more forward. Graf has learned that when he increases the contact, I will be flexible and yielding.
STEP 3: I confirm the connection in this lower place with a slight half halt, which tells him to wait a little. It's a natural half halt within my body with just a little resistance. My seat becomes more stil and deep, and I sit taller.

The second part of gaining neck control is initiating a stretch to lower the neck. The traditional stretching circle in the competition tests is a major giveaway to whether your horse is honest to the bit. It proves that your horse continually seeks the bit when you push the reins forward. Many people want to improve their stretch circle, but the success of that movement is directly related to the basic work: When your horse is supple in the jaw (from Exercise 1), and you've worked to build the bridge with honest contact in trot, your connection will become solid, and your stretch circle will be great.

Bend Control
Conrad Schumacher says, "The weakest rider is stronger than the strongest horse if the rider is able to bend his horse honestly." By this, he means the horse should be supple enough to bend equally in both directions, change smoothly from left to right or go straight at any time. When you are successful in controlling your horse's bend to this extent, you have a supple horse who is not able to resist, and you are able to make him understand and do what you want. With correct bend, you also are on your way to a higher degree of straightness and collection, which I'll discuss later. Indeed, you'll see that bend is the basis for every movement through Grand Prix.

If you achieved a degree of success with the neck-control exercises, keep working on them and start to incorporate the ideas from this section about bend control. But, because neck control is a prerequisite to bend control, let's review the basics of neck control:

1. Build a Bridge -- Before you're able to control the position of your horse's neck, he must work from his hind legs, through his back (which includes his neck) and draw equally on both reins. His energy surges from back to front, and it builds a "bridge" of muscles that carries both him and you.

2. Tilt the Crest of the Neck -- If your horse draws equally on the reins, you can tilt the crest of his neck left or right. This prepares you and your horse by suppling his jaw softly in the direction of travel with a smooth, gliding motion of the inner wrist. Be careful not to overbend your horse at the base of the neck, which is an ever-present challenge because he is naturally more supple there.

3. Initiate a Stretch -- Finally, you can lower your horse's neck by asking him to initiate a stretch to make the back-to-front bridge of muscles round and strong without losing contact. When your horse is this secure, you easily can move his shoulders in front of his hips to achieve a higher degree of straightness. Then your half halts lift his shoulders, lighten his forehand and transfer weight to his hind legs. This is the principle of leverage and the basis of collection.

Let's begin learning about bend control by talking about straightness in the Training Level horse. Then, after lower-level straightness has been achieved, we'll discuss how to develop correct bend and show how it gives us a higher degree of straightness.

Training Level Straightness
I want to make an important distinction between two different degrees of straightness. Training Level straightness occurs when your horse goes equally to both reins because he is working equally with both hind legs.

At Training Level, we basically are riding straight lines and very large circles. Since your horse's haunches are wider than his shoulders, his haunches actually may travel a bit to the inside when he is going equally to both reins. He is straight within his own body, but he is crooked when compared to the side of the arena.

The second, higher degree of straightness involves being able to put your horse's shoulders in front of his haunches. This requires a horse that is supple. It is also necessary for your horse to be bendable.

Achieving Bend
You've probably noticed that your horse bends easily in certain places, such as at the base of the neck. Bending in other places -- the jaw and the muscles behind the saddle -- is difficult for him. That presents a problem because correct bend is equal bend throughout the body.

In order to achieve the correct bend and a higher degree of straightness, you'll need to control the places in your horse that bend too easily in order to access the places that are stiff. But many people make the mistake of using the inner arm instead of the wrist to get jaw flexion. This will overbend the horse at the base of the neck, put his shoulders too far out and plunge him onto the forehand. If the horse is overbent in the neck with his shoulders falling out, the rider can't achieve equal bend throughout the body. He needs to stabilize the base of the neck before he can access stiffness in the jaw or the rib cage.

When your horse is working equally into both reins, you can supple and position his jaw in the direction of travel by bending your inside wrist so that your knuckles point toward your opposite hip. Using the wrist is softer and more supple than using the arm.

Lateral exercises give you the opportunity to loosen your horse where he is inclined to be stiff. His jaw loosens because of the flexion, and his muscles behind the saddle loosen when his hind legs cross over. Figure-eight patterns also will supple your horse everywhere because he must constantly change the bend and balance from right to left. Correct bending on these circles brings your horse's shoulders in front of his haunches.

The position of the rider determines the position of the horse. Schumacher describes the rider's bending aids as the "twisted seat." Your inner seat and leg are relatively forward, and your outer seat and leg are a bit back. Your hips are parallel to your horse's hips and your shoulders are parallel to his shoulders. The quiet strength of your position controls your horse's bend. Over time, with suppling and bending work, your horse will carry himself with much more stability and confidence.

Conrad Schumacher has been teaching Jennifer Baumert since she was a Young Rider more than 10 years ago. A former Gernam National Dressage Team member, Schumacher has coached European Championship, World Championship and Olympic riders. To date, Schumacher's students have won 37 international medals. He is currently the coach of the British Dressage Team and a USDF Advanced Young Rider clinician.

This article is excerpted from the two Dressage Today articles "Neck Control" (December 2001) and "Bend Control" (January 2002).
 

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DADAR

Member
پاسخ : Tamrinate deresaj

salam
matalebe beseyar khob va karbordi bood va man chand nokteye jadid azash yad gereftam
mamnoon
dar morede morabeye khobe dressaje dar iran bayad begam man hamaro nemishnasam vali ta onjaee ke midonam
AGHAYE BABAKE SHAKKI KE DAR BASHGAHE SHAKKI TADRIS MIKONAN
AGHAYE ALI IMANKHANI KE GHABLAN BASHGAHE PORHEYDARI YA ASILIRAN BODAN VALI ALAN NEMIDONAM KOJA HASTAND
AGHAYE MEHDI JAMSHIDKHANI KE BASHGAHE JAM TADRIS MIKONAN
AGHAYE FAROKH NAJAFI
VA MORABEYANE KHOBE PARESH MESLE
AGHAYE RAMIN KHAN SHAKKI
ABOLFAZL MOHAMMADZADEH
ALI IMANKHANI
VA DIGAR MORABEYANE KHOBE KESHVAREMOON KE SHAYAD MAN ALAN NAMESHOON RO BE KHATER NADARAM
KHODE MAN HAM DAR HAR 2 RESHTEYE DRESSAJE VA PARESH FAAL HASTAM VA MASHGHOL BE YADGIRI
SHOMA CHETOR DOSTE AZIZ NAGHMEH
DAR CHE RESHTEH VA LEVELI DAR HALE AMOZESH HASTID VA ROZI CHAND ASB SAVAR MISHID?1
BE NAZARE SHOMA DOSTAN BAYAD DAR ROOZ YA HAFTEH CHAND SAAT SAVARI KARD TA HAR HALATE IDEHAL GHARAR GEREFT??1
 
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Naghmeh Cavallaro

Guest
پاسخ : Tamrinate deresaj

salam dadar
mamnun az etelati ke dadi,baz ham az nokate payehi deresaj mizaram tuye in site.
rastesh man felan deresaj tamrin mikonam va alagheyi dar hale hazer be jumping nadaram,chon ehsas mikonam ke hanuz khaili chizha hast ke dar morede deresaj va ghabeliathaye ye asb bayad bedunam,az tarafi ye bakhshe digeye faliatam ruye talim asbha hast baraye varzeshe deresaj,shayad az sale digeh jumping ra shoroo konam vali motmaen nistam ;D
az meghdare tamrin porsideh budi?asb savari ye varzesh hast,har che bishtar tamrin koni behtar ama tamrine osuli va hamrah ba morabi,inke ye asb begiri va shoru koni dore zamin bi ghaedeh trott raftan in tamrin nist,bayad moalem ounja bashe iradat ra begeh ke albateh in ham pool mikhad chon inja har jalaseh koli gheymatesh hast.ghablan gheymatha ra barat goftam.
porsidi man che juri tamrin mikonam?
man do ruz dar hafteh ra be hamrahe morabi nazdike 2 saat tamrine osuli daram ke ba ye asbe talim dideye deresaj hast yek narian hast,ama baghieh ruz ra be khosus
akhare hafteh be stabl sar mizanam va ba asbha birun baraye gardeshe azad tuye jangal va dasht mirim hadafam ham emtehan deresaj hast ke fekr mikonam sale digeh baraye oun emtehan amadeh basham ba omid be khoda va dar zemn yeki az ahdafam in hast ke ye zamani be onvane morabie deresaj be in reshteye matrook mundeh dar Iran komak konam va poli basham baraye etelaat bein orupa va iran,doa konid ke khoda komakam koneh va in amr moyasar beshe..
 
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Naghmeh Cavallaro

Guest
Sitting Trott

[left]Dustane khubam inja matlabe khaili mohemi ra mikham bezaram tahte onvane SITTING TROT.Ghabele zekr hast ke SITTING TROT yeki az mohemtarin harekate varzesh savarkari hast chon dar nahveye cantering va Galop va ejraye tamami transition ha dakhil hast,,be avalin chizi ke dar nahveye savari ye savar kar tavajoh mishe nahveye SITTING TROTT hast va agar shoma ye savar kar hast bayad ghader bashid ta ouno bedune irad anjam bedid.
baraye khaili az savarkarhaye mobtadi in marhaleye moshkeli az savari mituneh bashe be khosus baraye asbhayi ke bakhlaghe kutah darand,man dar zir tozihati az chegunegie anjame nahveye doroste in harekat mizaram,omidvaram ke dustanam bekhunan va estefadeh konan.
[/left]

The Ultimate Challenge

Beginners will often find the sitting trot an impossible task. More advanced riders who are now able to sit to the trot may remember how difficult it was in the beginning. Unfortunately, in an average lesson, instructors stress on including sessions of sitting trot, without any emphasis on how it can be achieved. This often leaves the horses with sore backs and the riders with sore bottoms!

If you adopt the classical seat, sitting in balance to the canter is far more possible than sitting to the trot without a little practice. Simply taking your stirrups away, as instructors often do, will not magically glue you to the saddle. It takes conscious effort to enable the body to absorb the bouncy up and down movement.

So how is it possible?

The bad news is that there is no formula that will instantly hold you to the saddle. The good news is that, following certain exercises and in a period of time, anyone can do it!

Sitting to the trot relies on the basics of the classical seat. If you have not reviewed the The Back And The Pelvis section, now is the time to do it. Sitting to the trot is all about suppleness in the back and pelvis. The human body is highly flexible. It is what we do in our daily lives that either improves our suppleness or lessen the flexibility of our muscles. People who have to do physically demanding work are much more flexible than others who are less involved in physical work. It may not be necessary to be supple in our bodies to carry on living, but it is absolutely essential if we were to make true horsemen and horsewomen.

Before we attempt to sit to the trot, we must be sure to have considered the following three points:

Full understanding of the classical seat, particularly the function of the back and the pelvis.

That you have earned a certain degree of flexibility in your muscles on the ground.

That you understand the motion of the horse in the trot.

Preparation

To be somewhat supple in the back and pelvis is preferable before you attempt the sitting trot as this will aid in a smooth ride. You can, of course, supple your back and pelvis through practice of the sitting trot, although that could mean sore backs and bottoms for quite a while. To avoid a rough start, try a few exercises on the ground before beginning your sitting trot exercises. Aerobic classes are excellent for suppling and strengthening all body muscles.

Remember that preparation is always helpful. It would be worthwhile if you take a few aerobic lessons or bring home a video to stretch and supple up your muscles. Sky divers, for instance, don't attempt a free jump from the airplane before they have prepared and practiced enough on the safety of the ground. Riders are athletes, they need to keep fit in order to perform properly, so get in shape!

On The Lunge

Lunge lessons can work miracles on improving your sitting trot. However, a lunge lesson can be strenuous, exhausting, and not objective if the correct exercises are not carried out. As a general rule, we usually don't extend a lunging session to over 20 minutes when we lunge the horse alone, but somehow the session extends to 30 minutes when we add a rider to the horse! If you ask for a lunge lesson at any riding school, it would normally last for 30 minutes. If we know that lunging a horse for more than 20 minutes will exhaust him, then why do we give lunge lessons for 30 minutes?

The point is that the horse cannot perform if he is pushed beyond his limits. If the horse is tired, he will not give the rider the proper FEEL. Why do we lunge riders anyway? The answer is: to give the rider something else to think about besides controlling the horse. If the rider begins to focus on the horse, the whole objective of the lunge lesson is lost.

However, a lunging session can extend to beyond 20 minutes, provided that you give the horse frequent breaks off the lunge. If you were to jog in circles for 15 minutes, how would you feel? Chances are, you would get drowsy and loose your balance within the first 5 minutes. Horses are stronger than humans, of course, but it would be nice if they were given breaks to regain their balance and refresh their minds.

Benefits Of The Lunge

Since the rider's attention is taken off control of the horse, he/she can now concentrate on developing a feel for the trot. Generally, the benefits of riding on the lunge are as follows:-

Understanding the motion of the horse, which..

Develops a FEEL for the trot, which leads to..

A stronger and deeper seat, that enables you to..

Influence the horse through the most subtle of aids.

Word Of Caution!

True influence over the horse cannot be gained through rising trot. One cannot attempt a half pass in rising trot since the seat aids contribute much to the aids of the half pass. Similarly, if you are able to achieve some collection while in rising trot, beware that you are likely to have been harsh with the reins.

Exercises On The Lunge

So you are now on the horse, ready to be lunged, but what do you do on the lunge? A lunging session can pass by without reaching any goal if the correct exercises are ignored. Here are some exercise tips that will help you gain a feel for the trot while suppling your muscles.

1. Shoulders behind the perpendicular

Stage I: Cross your stirrups over the horse's withers and let go of the reins, leaving the subject of control to the person lunging the horse. Make sure that the reins are not slack - tie them in a knot at the withers. While still in walk, align your body in accordance with the classical seat. You may realize that it would be difficult to let the gravity flow through your heels (heel lower than the toes) while still relaxing your thigh and calf muscles. The reason behind this is as follows: when your foot rests in the stirrup, the weight of your leg is supported on the stirrup. Relate this to when you're sitting in a chair with your feet on a foot rest. Remove the foot rest, but keep your legs in their position. The leg muscles, and even the stomach muscles, will flex in order to support the weight of the legs. With the stirrup away, the muscles will tense and contract to support the position you want to achieve. At this point, do not worry about tensing your legs too much as long as you sit deeply with your legs down and far apart. Now, we come to think of the hands. With your outside hand, hold the pommel of the saddle (the front part of the saddle), and rest your inside hand on your thigh. The outside hand will hold you to the saddle during the trot, while the inside hand will aid in maintaining your balance. Time to get into action!

As the horse steps into trot, exert a conscious effort not to let your body move out of alignment. Tell the person lunging to keep the horse in a slow collected trot. Only pull yourself into the saddle with your outside hand as much as you need to prevent yourself from bouncing. Relax your inside arm, and keep your hand resting on your thigh. The outside hand will have a tendency to pull you forward in the saddle, the position of the outside hand on your thigh will help keep your shoulders square and your back straight, therefore preventing your seat from collapsing. Your legs may even tense up more during the trot as you grip with your thighs to keep in balance. Beware that gripping will move the legs out of coordination with your body, which will reflect on weakening your seat and will make your task even harder. Do try to relax as much as you can.

Now, slowly lean back a few degrees (approximately 20 degrees). Do not bend your spine drop your shoulder. Rotate from your pelvis. As you lean backward, keep in mind that your legs must not move. Leaning back may cause a reverse action from your legs - letting them slide forward; try not to let that happen. Rotating your pelvis backwards burrows your seat bones deeper in the saddle. This action is often used to encourage the horse to extend his stride, but it will not cause such a reaction since someone else is already controlling the horse. Hold this position for about 10 seconds before slowly returning to the upright position. Do not count! Estimate the time in your mind. Your mind has to be clear and simply focused on the exercise.

So what should you expect? When you lean back, your seat bones are brought as closely against the horse as possible. Your outside hand is making sure you stay glued to the saddle. The effect will be the absorption of the horse's motion in the pelvis, causing it to rock slightly. This is an exaggerated effect caused by the tilt in the pelvis which will be reduced when you are sitting upright. Repeat the exercise, holding the position longer with every repetition. Breathe deeply, stay calm, look at the beautiful sky and know that you are enjoying the ride. Keeping a relaxed frame of mind combats any fears hidden deep inside, so, again, enjoy the ride, and be happy!

The main purpose of this exercise is that it teaches the rider the feel of the trot. It also supples the back and stomach muscles, leading to a more flexible pelvis. The effort you will exert trying to hold your position will eventually decline as your body becomes stronger and your seat more independent.

Stage II: Look! No hands!

When you feel you have mastered the previous exercise, then it's time to move on to the more advanced form of it. On average, it will probably take you around 10 to 15 30-minute lunging lessons. Keep your lunge lessons at least one or two days apart to allow your muscles time to recover. Try taking 3 lunge lessons in 3 consecutive days; your muscles will surely complain!

To begin the exercise, cross your stirrups and tie the reins as mentioned in Stage I. Now, carry your arms as though you were holding the reins, i.e. upper arms by your sides and forearms parallel to the ground. There will be no holding on to the pommel this time, but do not worry, your body will naturally absorb most of the impact. From walk, tell the lunge person to gently urge the horse into trot. Relax into the transition. Believe it or not, you are now physically capable of sitting to the trot! But how can such an assumption be made? Answer: As the horse takes his first two strides into trot, you will remain still and deep in the saddle, because you have relaxed your muscles during the walk. If you begin to bounce again after the first few strides, be aware that some of your muscles have tensed in anticipation. But that's okay, don't panic if you feel a little off balance. Close your eyes and concentrate on obtaining a secure and independent seat to the trot. You will know, from the Stage I exercise, the feel of the sitting trot, therefore, when you sense that feeling this time, try to hang on to it.

Easier said than done.

Here is what you should do. Before you trot, secure your position according to the classical seat while pretending that you are holding the reins. While in trot, keep your body still and do not allow it to move out of alignment. Imagine that your lower body has become part of the horse. Allow your pelvis and lower back to spring slightly to absorb the up and down movement. Knowing that your back and pelvis must be allowed to relax will prevent your body from becoming too stiff and rigid. Be aware that you are now riding totally independent or stirrups and reins and you should be proud that you have achieved a secure seat.

To help prevent from stiffness, continue to breathe normally, relax your shoulders, and keep your eyes closed. Eliminate all outside distractions and focus all your attention on your waist, pelvis, and lower back area. Remember that your upper body must remain upright - relax does not mean collapse!

You now have a chance to study the horse's motion in trot. Try to visualize, with your eyes closed, which leg hits the ground, and which leg leaves the ground. When a hoof leaves the ground, the horse's back is lowered, and when it hits the ground, the horse's back is raised, which results in the all-so-favored up and down movement. Understanding the horse's motion aids in securing a balanced seat, which is the whole objective of the sitting trot.

After you spend a few moments refining your seat in the manner described above, it is time to bring your shoulders behind the perpendicular. Do not attempt this exercise until you feel that you are in balance with the horse, otherwise you will grip and bounce and get uncomfortable. Slowly rotate from your pelvis, exactly as mentioned in Stage I. Follow the instructions in Stage I, while pretending that your are still holding the reins.

There is an added benefit to this exercise over the benefits of Stage I. Riding without stirrups and reins strengthens your seat and teaches your proper balance without depending on anything but your own strength and suppleness.

2. Riding Bareback

True feeling to the trot cannot be obtained in a saddle. You will not be able to feel the motion of the horse and train your body to sit tall and still, while discreetly absorbing his motion, if you have not entirely experienced the trot bareback.

Start off by taking away the saddle completely. Tie a neck strap, which could be a part of an old martingale, around the horse's neck, and use a block to help you mount the horse. It will feel a little slippery at first, but you will soon grow accustomed to it. Remember that you are still on the lunge!

The classical seat still applies to bareback riding. Align your body as though you were sitting in a saddle while still in halt, and maintain your position as the horse begins to walk. The neck strap will be used for security. I would recommend tying the reins as you did in the previous exercises since you will be holding on to the neck strap. Your body will have gained a fair degree of suppleness, so once your horse begins to trot, you will not be facing much difficulty. However, only trot a few strides at a time. Follow this pattern: Trot 4 or 5 strides, walk half a circle, trot 5 or 6 strides, walk quarter a circle, and so on. The walk interruptions help you relax and stay in the proper position, while allowing your body adjust after any disturbance the trot might have caused.

Do not pressure yourself. Sitting to the trot without a saddle is not an easy task, but it is extremely helpful in strengthening and suppling your body. It will do wonders to your riding skills, and you will notice that you are able to control your horse with minimal aids since your seat is confident and secure. Eventually, you will be able to sit bareback at the trot and even at the canter.

Allow yourself plenty of time to learn to sit to the trot. It won't happen overnight. Anything that's right is time consuming, and anything that's rushed is not good quality. Remember that a good seat is the essence of true horsemanship.

 

DADAR

Member
پاسخ : Tamrinate deresaj

salam naghmeh
motmaen hastam ke az savari dar urope lezat mibari va har bar koli teknik yad migiri
fazaee ke dakhelesh savari mikoni bayad fazaye kheyli khob va ba keyfeyati basheh omidvaram ke ghadresh ro bedoni
va ba eshgh va alaghehee ke be in reshteh va vatanet daree betoni rozi gamhaye moaseri dar bidareye in varzesh bara hamvatanat bar dari
dar zemn agar irooneye digehee dar kharej az keshvar mishnasi ke savarkari koneh
kheyli khobeh ke azashoon daavat koni mesle khodet ba in sit hamkari konan ta betonim az nazarateshoon bahreh bebarim
 
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Naghmeh Cavallaro

Guest
Balance, Feel & Rythm

We look in awe at gymnasts, wondering how they are able to achieve such complete body coordination. They have control over different parts of their body, giving them the ability to perform movements that require ultimate flexibility and suppleness. On a horse, however, performance is not dependent on the horse alone. It is the rider who brings out the radiance in any dressage display.

A rider who has no control over his body will find great difficulty in achieving harmony with his horse. One must be aware of the function of every muscle movement of their body and how it should affect the horse. Mere awareness of this will aid in the progress of every rider.

Balance

All that is required of a rider seated centrally and in balance on a horse are subtle aids that are almost invisible to the onlooker. A well balanced rider results in a well balanced horse, thereby more responsive and alert. The more awkward the seat, the more awkward the aids; the more refined the seat, the more refined the aids. It is the classical seat that can lead to perfect balance on a horse, as will be described later in detail.

Gravity

Gravity should help you remain in the correct position, or it can help you crash to the ground, which is why it should always be used to your advantage. Sitting on a horse with the legs too far forward disturbs the vertical line of gravity. Lets imagine standing stationary on the ground. We will find that we are in balance. If we try to stand with our legs forward or backward, it will be impossible to maintain any balance. The same principle applies on horseback, a weak seat with wrongly positioned legs is not a balanced seat.

It is not right to simply say that balance should be maintained on horseback as is it maintained on the ground. Obtaining balance over a horse's constantly changing center of gravity takes time to learn. By practicing the correct position on the ground in front of a mirror, you can form a visual image of how you should look like when seated on a horse. Grasping on to that image, try to imitate it the next time you're mounted. Feel the gravity flowing through the checkpoints of your body. Let your legs grow long, as though reaching for the ground. Sit upright, as though reaching for the sky. This is a natural position, so breathe deeply and relax any tense muscles.

It is worth mentioning that short stirrups make a classical seat virtually impossible. Showjumpers often ride with shortened stirrups as it helps their legs absorb the shock of the jump. Shortened stirrups misplace the legs in a forward position for the dressage rider. It is advisable to sit in the classical position, letting the legs hang loose and long naturally, then lengthening or shortening the stirrup to complement the length of your legs.

A common mistake is to relax completely. An upright position would not be possible if the whole body was to relax. The spine must always support the upper body, so it must remain perpendicular and erect. The trick is to relax the lower body. Think that your body, from the waist down to your legs, has become part of the horse, while the upper half must remain upright and supporting itself.

"Mentally tell yourself your lower body has become part of the horse."

Sylvia Loch, "The Classical Seat"

Over time, a natural sense of balance will develop. This will not happen overnight. It will take much practice, but awareness will speed up the process. Developing a sense of rhythm also takes time, as the body must be trained to listen to the horse's motion. With the horse in walk, close your eyes and breathe deeply. Block out any external disturbance. Focus on the horse's motion. Feel his muscles stretching and contracting as he takes his steps. Listen to each hoof as it hits the ground. Then try to predict which hoof is now going to hit the ground. Eventually, visualize the horse's complete movement with each stride he takes as if you were watching him from the ground.

This exercise can also be practiced while trotting and cantering, but make sure this happens on the lunge. The feel for balance and the feel for rhythm cannot be separated, as they both lead to a confident and secure seat.

 
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Naghmeh Cavallaro

Guest
Salam

Dadar khaili mamnun az lotfet.
omidvaram ke standardhaye Iran ham be hemate hameye savarkarhaye irani bala mireh.inja ham az ruze aval be in shekl nabudeh,khodeshun khastan va talash kardan va zahmat keshidan.az lotfi ke be man darid khaili mamnunam
 
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Naghmeh Cavallaro

Guest
Samira jan mamnun az lotfet.Tasmim daram matalebi ke felan marbut be level 1 deresaj mishe inja gharar bedam,moteasefam ke vaghti baraye tarjomeh nadaram ama midunam khoda ra shokr hamegi zabane engelisi khub balad hastid.
 
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