Abandon the horse. Leave the horse with no discernable instructions and cease interaction with him.

Aids - Bending Aids. Aids which bend the whole horse. Hands give the bend. Inside leg bending at the girth. Outside leg behind the girth keeping the haunches from escaping.

Aids - Diagonal Aids. Actions of the hand on one side in conjunction with opposite side leg actions.

Aids - inside/outside aids. When a horse is bent while going sideways or on a circle, the inside aids are on the inside of the bend and the outside aids on the outside of the bend.

Aids - Lateral Aids. Actions of the hand on one side in conjunction with same side leg actions.

Aids. Actions the rider uses to let the horse know what is wanted (legs, hands, positioning of the weight of the rider, whip, pat, voice and use of random surrounding stimuli).

Arch the back. To push the belt (the stomach) out smoothly, without hollowing the back too much or leaning back too far.

Attentive Walk. Raised, rounded and diagonalized walk, in which the horse lifts his limbs from the ground very delicately and seems to keep his knees suspended in the air for an instant.
 

Back of the knee. Hollow part on the back of the rider's knee, where the curve is formed when the leg bends.

Balance. Correct spread of the weight of the horse, between the forehand and the hindquarters. The balance is perfect when, with no action of the rider, the horse carries himself and does not change anything in his activity or his posture.

Ballotade. After the horse has strongly engaged his hind end under his body, he lifts his front end off the ground and with a vigorous push of his hind legs, leaps up and forward. He falls back to earth on his four feet. Ballotade is an "air above the ground" that is taught to the horse. It is often a violent defense against the rider's unsteady hands.

Beat. The beat is the noise the horse's foot makes when it hits or the ground, or when two feet - diagonals- hit the ground simultaneously. (right front and left hind for example). The succession of beats gives the rhythm.

Behind the bit. Posture of a horse who brings his head beyond vertical, with his neck low and even sometimes touching his chest. This is done to avoid actions of the hands or to evade engagement.

Belt, belly button. The general area of the stomach, belly button, hips and lower back of the rider.

Bend, inflection. The curve the entire horse's body takes when bent. On a circle, the horse follows the curve of the circle harmoniously from the head to the tail.

Bend. Flexion of the horse's neck or of his entire body, from poll to tail.

Body awareness : Mental picture an individual has of his body. Placement of the body parts (upper body, arms, legs), angles of the joints and also the stiffness, movement and releases of his limbs.

Bridle (full). General designation of the headgear both leather (bridle and reins) and metal (snaffle bit, curb bit) used on horses.

Brilliant . An energetic, light and "floating" horse who moves with spirit, presence and beauty.

Bring (the horse's head) in. Term used to describe the closing of the angle between head and neck, the poll being the highest point. This is only truly acquired if it is the result of well engaged hindquarters (under the horse's mass), with impulsion and collection while being in balance.

Cadence. Rhythm of a gait in an increased impulsion. Cadence involves regularity, energy, posture consistency and roundness in the movement.

Canter large. Is said about a horse cantering freely with amplitude. Is also said about a horse cantering straight along the rail on the long side of the arena.

Canter to the right. The horse is moving with lateral synchronization. When cantering to the right, the right front and hind legs hit the ground in front of the left front and hind legs. The horse is cantering on the right foot.

Capriole. A vertical leap into the air with a backward kick of the hind legs at the height of the leap, while the front legs remain bent.

Change lead (flying). To switch lead while the horse is in the air. I.e..: The horse is lifting off from the left side, changes foot while in the air and lands on the right foot with no change of direction and no interruption of the rhythm.

Change rein. The horse is on the left rein when, being on a curve or on the rail, his left side is inside. The horse changes rein when he leaves the curve or the rail (on a diagonal, half-volte…) and finds himself on the right rein, his right side inside

Channel of aids. Corridor or lane created by the rider's aids (hands and legs) in which the horse is free to move without ever stepping outside of the defined limits of that corridor/lane.

Circle. A perfectly geometric figure of equal bend. The horse's spine must follow its curve smoothly without resisting or twisting.

Collection. State of perfect balance resulting from a pronounced flexion of the haunches, which leads to lightening and elevation of the front end. The horse is rounded, his joints are flexed and he can start any movement in any direction at any moment.

Combined action. Simultaneous and coordinated action of the forward and restraining aids executed with sensitive precision to collect the horse. Also named Combined effect.

Combined effect. Simultaneous and coordinated action of the forward and restraining aids executed with sensitive precision to collect the horse. Also named Combined action.

Contact. Link between the aids of the rider and the horse's body, specifically between the horse's mouth and the rider's hands. This link must be smooth, soft and light.

Correct horse. When a horse is in the right posture to execute a given task: bend, balance, absence of stiffness, position, engagement. It is the dominant concern of the rider.

Counter canter. The horse counter canters when he is on the right rein on a curve to the right and stays on his left lead, in a left lead canter with a bend to the left and landing his left front and hind legs landing ahead.

Counter change of rein on two tracks. Successively half pass from one side to the other on a jagged line, just once or several times.

Cross canter. The horse canters on the right foot in the front (right front lands in front of left front) and on the left foot in the back (left hind lands in front of right hind), or the opposite. The forehand is not in accordance with the hindquarters.

Curb bit. Bit with a lever made with a shank with or without a tongue groove. The levers can by of varying lengths and are fitted with a chain called "chin strap".

Diagonal biped. Simultaneous action of a front leg with the opposite hind leg (in the right diagonal biped, the right front and left hind legs are in the air at the same moment). Also called "right diagonal".

Diagonal. Simultaneous action of a foreleg with the opposite hind leg (right diagonal: right front and left hind leg in the air together).

Division of the points of support. To alternatively use the snaffle and the curb bit, or the snaffle on one side and the curb on the other side. This avoids giving the horse too much support, and helps to relax his jaw.

Dominate. Obtain mental and physical adhesion, freely given respect and obedience from the horse, without ever using force and restraint.

Dressage. Methodical, progressive and well thought training that will render the horse easy and enjoyable to ride in any circumstance.

Education of the horse. All available means allowing the horse to express his potential while always respecting humans. Education is only interrupted when life is.

Education of the rider. To learn to feel and respect the horse, and to learn to communicate with him. It requires a teacher, a guide - a master. Without deep thinking, work and sensitivity, there is no successful education. A rider stays a student all of his life.

Engage, engagement. To put the hind legs of the horse under his weight through lowering of the haunches. This collects, sits and develops the propulsive force of the hindquarters.

Engaging on the bit. Mental and physical state of the horse. It implies a correct spread of the weight between forehand and hindquarters, a stable positioning and a general roundness of the horse.

Excited. Mental and physical state of the horse triggering hyperactivity, disorder and disobedience. The rider must control the horse's excitement and calm the horse.
 

Feel. Ability of the rider to perceive the mental and physical state of his horse. Mental (adherence, excitation, fear, misunderstanding and opposition) and physical disposition (change in balance, movement, stiffness, physical limitations…). Learn to feel… is the ultimate goal for a rider's education.

Feeling. Quality that allows the rider to subtly sense, in an almost innate way, what the mental and physical disposition of the horse is.

Finely tuned horse. A reactive and sensitive horse who complies at the smallest cue.

Finesse of a horse. The mental and physical sensitivity and reactivity of a horse perceiving the slightest, most subtle actions or intentions of the rider. A rider lacking tact and finesse will rapidly upset such a horse.

Finesse of a rider. A quality that allows to feel, in the most subtle way, the mental and physical state of the horse and to act upon it with precision. There is no Equestrian Art without finesse of the rider.

Finished horse. Trained horse, meaning on the bit, obeying in any circumstances, and easy and fun to ride.

Firmness. Fix the hand, without pulling, to oppose a horse who is trying to force the hand (give in when the horse gives in).

Fixed horse. A horse is fixed when he keeps an equal general posture in the movement. A fixed head and neck do not come out of position while staying relaxed.

Fixed rider. An aid is fixed when it stays motionless compared to the targeted part of the horse: the hand with the mouth, the leg with the flanks and the back of the rider with the back of the horse. "Fixed" excludes any stiffness.

Flexible, limberness. Mental and physical quality of a horse allowing him to immediately execute anything the rider desires.

Fluidity. Movement or combination of movements executed with naturalness, ease and harmony, without stiffness or resistance and with no interruption in the rhythm.

Forge. When the toe of the horse's hind foot touches the heel of the corresponding front leg, it is said that the horse is forging.

Four-beat canter on the Shoulders (to the right). When a horse dissociates his left front from his right hind leg by anticipation, he is four-beat cantering on the shoulders. The landing order is the following:
- left hind (1st beat), - left front by anticipation (2nd beat) - right hind (3rd beat), - right front (4th beat)... followed by a time in the air... It is an unbalanced canter on the shoulder, of a tired or race horse.

Four-beat canter on the haunches (to the right). When a horse dissociates his right hind from his left front leg by anticipation, he is four-beat cantering on the haunches. The landing order is the following:
- left hind (1st beat), - right hind by anticipation (2nd beat) - left front (3rd beat), - right front (4th beat)... followed by a time in the air... It is the School canter, very "seated", very slow, used in the pirouettes.

Frame a horse. To make sure the horse has no doubt about which way to go on a specific figure (bend, direction, movement). See "Channel of aids".

Gaits. A manner of moving. The three natural gaits are walk, trot and canter.

Go large. Arena term. Follow the rail exactly along the wall or the fence of the arena.

Groove between left and right mandible. Place between the right and left jaw forming a cavity in which the horse's tongue rests.

Half-halt. Sharp, fast and light action of the hands, upwards and with the fingers closed, immediately followed by release of the fingers and hands. This action must lighten the forehand of the horse and re-balance him by sending weight back to the haunches.

Half-pass. Two-track exercise in which the horse moves sideways while crossing his legs. The forehand slightly precedes the hindquarters. The neck and head are bent in the direction of the movement.

Hard hand. A hard hand is a hand with no tact, incapable of giving in, it uses strength, bad timing and no subtlety. A bad hand is harmful to the mental and physical health of the horse!

Harmony. A harmonious horse is a horse that gives an impression of ease, relaxation, energy and balance, no matter what his physical qualities are.

Haunches-in. Also called "head to the wall", or "Travers". The horse is in a half pass with his head to the wall, the croup on an inside track at an angle of 30 to 45 degrees. Haunches-in are also done on a circle, called "two-track circle haunches-in".

Haunches-out. Also called "croup to the wall", or "Renvers". The horse is in a half pass with his croup to the wall, the shoulders inside but bent the same way he is going, at an angle of 30 to 45 degrees.Haunches-out are also done on a circle, called "two-track circle haunches-out".

High-set corner of the mouth. Is said when the corners of the mouth are set high.

Horse "accepting the contact". A horse is accepting the contact when, having found his balance, he takes a light and constant contact  with the bit without being placed in a collected posture. this concerns the young horse who is starting to stabilize, in a still horizontal balance.

Horse "engaged on the bit". A horse is placed on the bit when, being in balance and placed in a collected posture, he gives in with his jaw and relaxes his mouth. Putting the horse on the bit is a state of lightness and relaxation, allowing a high level of quality communication between horse and rider.This state of receptivity and availability is a sign of physical and mental acceptance from the horse.

Horseman, Horsewoman.  Someone with great experience and extensive knowledge about horses from breeding to training, who can feel and understand any horse's reaction and establish a quiet and confident relationship with him.

Impulsion . The state of mind of a horse when he has an august desire to carry himself forward and to comply with calm energy to all demands of the rider. Without impulsion, there is no horseback riding

Lean on the bit. The horse is very heavy on the bit to support his forehand and the reins are held by an inexperienced hand. The horse must learn to carry himself and the rider must learn to balance his horse.

Lengthening. Amplification of a gait by a balanced and limber extension of the movement allowing an increase in the ground distance covered by the horse.

Levade. Air above the ground. The horse delicately leaves the ground with his forelegs, lifting his forehand with the front legs bent under, the haunches and hocks strongly flexed. The horse makes a 30 to 45 degree angle with the ground and keeps this posture for several seconds.

Lightness or light horse. Horse in perfect balance, relaxed, flexible, active and with cadence, keeping his posture on his own and using only the forces necessary for the movement.

Lightness or light rider. A light rider is one who can spread his weight with balance and, using tact, finesse, and discretion in his aids, allows the horse to move freely in the correct posture. A light rider always uses minimum aids.

Listen to the hand. When the head is set, the jaw is mobile and relax. While chewing on the bit, the horse gives himself up totally. He "listens" to the rider's hand and reacts to the most subtle direction.

Listen to the horse's mouth with your hands. While in intimate relation with the horse's head and mouth, the hands perceive the most delicate information and give and take with the position of the horse's mouth.Very attentive, gifted and full of tact, the hand "listens" to the horse.

Long/Lunging whip. Thin and balanced rod measuring about 1.6 m (5-6 feet) extended by a thin leather string measuring 2 to 3 m (7 to 10 ft) called a lash.

Lower the belt. Move one's seat forward and downward

Lower the haunches.  The engagement of the hind legs under the mass of the horse and the flexing of the joints causes the lowering of the horse's haunches.

Lowering of the hands. Cease to make the horse feel your hands as long as he keeps the same posture and the same balance.

Lowering of the legs. Cease all actions with your legs, as long as the horse stays in the right posture, balance and impulsion.

Lowering of the neck. Forward and downward extension of the head and neck to relax the horse and stretch his back muscles, also called the top line.

Low-set corner of the mouth. Is said when the corners of the horse's mouth are set low. The bit then tends to be positioned too low (on the bars).

Lunge. Rope or lead measuring 8 meters (about 25') with a tie on one side and a loop on the other. It allows to lunge the horse on a chosen circle.

Lunging or to lunge a horse. Work in which the rider makes the horse go in a circle, at the three gaits. The horse is controlled by a long whip and the lunge, in a calm, balanced and impulsive manner.
 

Nervousness. Rising of the nerve impulses of the horse who becomes extremely sensitive and reactive, even excited. The rider must constantly toggle between the calmness and nervousness of a horse.

Open the fingers. When the horse gives in, the rider opens his fingers to reward and keep the horse light.

Open your fingers. Reward the horse by releasing contact with the horse's mouth, when he gives in with his jaw. Also means not to bother the horse's movement as soon as he is in the required lightness and posture.

Opposite rein. With adjusted reins, the hand goes toward the neck in front of the withers. The horse is bent on the side of this hand, and moves his shoulders outside the bend to make a wide turn.

Overstepping. When the print of the hind foot lands in front of the print of the corresponding front leg, the horse is overstepping. It is a sign of a limber, energetic and engaged horse.

Pass across. To follow a line perpendicular to one side of the arena.

Passage. Very diagonilized, suspended, slow and majestic trot in which the horse throws his mass up and forward with energy and elasticity. Flexing of the joints, elevation of the forehand and an instant of suspension are the signs of a classical Passage.

Permeability. Quality of a horse who can instantly receive and understand the most subtle actions of his rider or trainer. A permeable horse must be ridden by a rider possessing great finesse.

Piaffe. Very diagonalized, raised, rounded, suspended and majestic trot on the spot, in which the horse jumps from one diagonal to the other. Balance, regularity, flexing of the joints, relaxation of the horse and absolute discretion of the rider are the signs of a quality piaffe.

Pirouette. In a pirouette, the forehand of the horse makes a circle with the haunches-in, around the hindquarters. The outside hind leg turns around the inside hind leg, which continues to lift and land on the same spot, maintaining the sequence of the gait during the entire pirouette. The horse is bent the same way he is turning, the cadence is maintained, the posture stays equal. Pirouettes are executed in a walk, piaffe or canter.

Poll. Joint between head and neck, behind the horse's ears where the headstall is placed. Flexed when the horse is on the bit, it theoretically is the highest point of the neck. In fact, the angle and height depend on the build of the horse.

Posture of the horse. The way the horse carries himself.

Posture. The position of the rider's body which preconditions the degree of relaxation the rider and horse achieve.

Quicken. To lose the rhythm or the cadence by accelerating and shortening in a jerky way the sequence in which the legs are landing in a given gait.

Rear. Movement in which the horse stand up more or less vertically on his hind legs. This dangerous defense, generally developed because of a major misunderstanding between horse and rider, allows the horse to escape the rider's demands.

Rein back. Walk in reverse, asked for and controlled by the rider. It must be regular, the steps must be large and easy.

Relaxation. Mental and physical state of a horse with no stiffness, who is ready to answer to all the demands of the rider with lightness.

Resisting. Mental (bad disposition, refusal) and physical opposition of the horse triggered by a misunderstanding, a lack of preparation, a physical limitation, fatigue or boredom.

Reward. Let the horse know he did well: lower the hands or cease all action, pat, talk smoothly, dismount or provide with a treat…

Rhythm. Regular and harmonious beat of the horse's limbs and movements. Becomes Cadence when impulsion is obvious.

Rider's leg. Usually the lower limbs from the hip to the heels. In horseback riding, designates the part between the knees and the heels.

Rising trot. The rider lets himself lift up, rising above the saddle with one of the diagonals of the horse, while staying in balance. For example, he rises with the right diagonal when the right front leg is in the air and sits by landing softly in the saddle on the left diagonal, when the left front foot is in the air. This is called "trotting on the right diagonal".

Round, roundness. Harmonious, collected, engaged posture of a horse on the bit who works in a short frame, with rounded, elevated and fluid movements.

Run.  "To let a horse run", is to loose cadence, collection and balance by speeding up.

School Canter (Haute-Ecole). Very collected canter, slow with the haunches very low. It has four beats and allows the horse to anticipate the landing of the hind legs. It allows the canter pirouette and on the spot canter.

School trot (Trot d'Ecole). Slow, supported, elevated and cadenced trot with maximum collection. It prepares for movement into passage.

School Walk. Classically, a raised, attentive, rounded and diagonalized walk. Very different from the current school walk which is the beginning of Spanish walk.

Seat bones. Bony point of the buttocks, in contact with the saddle when seated.

Seat. The way one sits and spreads his weight in the saddle to absorb, follow and control the movement of the horse. A good seat allows the rider to stay relaxed, gives him ease and strength to stay on the horse.

Self support. Is told about a horse who keeps his balance, collection and elevation of the forehand with no direct help from the rider or even when turned out.

Sharp horse. Quality of a horse who can instantly perceive and evaluate the slightest changes in his environment with his natural instinct: surroundings, ground, slope, distances, movements, actions of the rider, etc.

Short frame/basis. A very collected horse who engages his hindquarters strongly will reduce his basis of support (the hind legs are closer to the front legs), work on a short frame or short basis. I.e..: the piaffe. It is opposite to the extended gaits.

Shoulder-in. Two-track exercise in which the horse moves laterally, and bends from the head to the tail. The horse moves toward the outside of the bend, looking inside. The shoulder-in is used at the three gaits.

Snaffle. Simple bit made out of an articulated piece of metal, maintained by two rings on each end. It has a lifting effect and is used on green horses.

Soft contact. Contact between the horse's mouth and the rider's hand that is courteous, respectful, light, soft and smooth. The hand is attentive, supple, and the horse's mouth is relaxed. Opposite of "hard hand".

Square Halt. The horse stops and stays straight, the legs steady and aligned, the haunches slightly lowered and the head and neck placed on the bit.

Squeeze the legs. Expression that should be banished from horseback riding. Only serves to stiffen the horse and tire the rider. Strength on horseback depends on balance, impulsion, and on short, relaxed actions.

Stiffness. Mental and muscular reaction of a worried or badly prepared horse, leading to mental resistance and muscular hardening.

Straight horse. Horse moving on a straight line. The shoulders are in front of the haunches with no twisting.

Straightness. Horse moving in the channel of the aids, shoulders in front of the hips without twisting, and with constant impulsion. Quality to constantly  watch for.

Submission, to submit. Obtain freely the mental and physical adhesion, respect and obedience from the horse, without ever using force and restraint. Domination.

Support. Action of the rider to confirm, maintain and amplify the way the horse moves, or carries himself. Essentially, an action of the upper body, the lower back, the hands and the legs.

Supporting. The limb of a horse or his diagonal (right front and hind left for example) is supporting when the remaining limbs are in the air.

Switch. Long and thin whip or wood stick that allows the rider to touch the horse delicately at the opportune moment, or to complete an aid. It never punishes.

Tact. Quality that allows a rider to instantly and permanently find the best terms of communication with any horse he or she rides. To act where needed, when needed and with the right measure of force.

Take. To close your fingers, make your chest taller and support your lower back to collect the horse and make him give in. See give back.

Teaching. A practice that allows the horse to learn something new, using know-how, tact and softness.

To limber up, to render flexible, supple. Actions to make the horse less stiff with appropriate, well considered and methodical "gymnastic" exercises. (i.e..: the shoulder-in is a suppling exercise)

To lose the horse. To lose the horse's head position by opening the angle between head and neck, or to lose the collection by disengaging the haunches. Also called "disconnected".To make a horse's soften. Obtain obedience from the horse through light contact with the mouth, where the horse correctly positions his head and neck and relaxes his mouth.

To position, place (the horse's head). Layout of the front end of a horse. The neck is supported, poll flexed, and the nose/ forehead is close to vertical. The balance and engagement of the hindquarters defines correct positioning. The hands only confirm.

To make a horse’s mouth soften. Obtain obedience from the horse through light contact with the mouth, where the horse correctly positions his head and neck and relaxes his jaws.

To put the horse in place, position. To put the horse in a balanced posture by spreading the rider's weight correctly.

Touch with the leg. The calf, the heel or the spur must not press or push, but touch (tac!) briskly, rapidly and delicately, and then immediately move away.

Track. Straight line or curve the four legs of the horse draw when he moves. One-track work when the hind legs follow the line of the front legs, two-track work when the hind legs follow a different line when the horse moves sideways.

Transition up or down. Change of gait, up (walk to trot, walk to canter, trot to canter) or down (trot to walk, canter to trot, canter to walk).

Transition. Change of gait or change of cadence and/or amplitude within one gait.

Twisting. Bad posture of the horse. The haunches are deviating from the axis of direction and escape control of the rider. ("twisted" horse).

Two tracks. When the horse moves sideways, the front and hind legs tracing two parallel tracks. I.e.: shoulder-in, half-pass and all variations.

Understep, shortstep. When the footprint of the hind leg is behind the footprint of the corresponding front leg, it is said that the horse is understepping. The engagement of the hindquarters is insufficient.
.

Vibrant horse. Reactive, attentive, active and eager horse who reacts to the slightest direction from the rider.

Vibrating gait. Attentive, balanced, well defined light and self-supported gait.

Vibration. Succession of light pulsations of the fingers or the hands, in order to open and relax the horse's mouth, and flex his neck.

Volte. Small diameter circle, of strictly regular curvature. The backbone of the horse, from head to tail,  must follow the curve with limberness and without twisting.

Walk straight, go large. Arena term. After a circle or part of a circle, take the rail on the long side of the arena.
When the toe of the horse's hind foot touches the heel of the corresponding front leg, it is said that the horse is forging.

Work on foot. Working the horse in hand, the trainer parallel or perpendicular to the horse's body. To the left: inside rein(s) in the left hand, outside rein(s) and whip in the right hand.
 

X.  Designates the center of the arena at the point where the two diagonals cross.

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