As I continued, however, I found that crucial to the success or otherwise of the turns was what was happening with my outside leg, shoulder, seat bone, and rein rather than the inside (although it was of course necessary to release my weight down into my inside leg). This may be contrary to one's first instinct, but the proof was in the results. Inevitably I found it more difficult on the left rein, and Minette was constantly urging "right shoulder back, drop your weight into your right elbow, fix it to your right seat bone". In fact, simply taking my right shoulder back helped the elbow and seat bone, hence the refrain of the day: "it's all in the right shoulder!"

Christine uses the 'box' of cones within the circle to straighten Aladdin and to change the bend in preparation for circling in the other direction

This became even more important with the next exercise which was to change the bend after 'x' and perform an 's' shape. Having to change your weight and aids at 'x' from left rein to right, or vice versa, makes you realise just how small the diameter of the 20m circle can be unless you are perfectly balanced in the first place, and I would have been in real trouble here if I had been favouring my right side as much as I had been at the start of the lesson. As it was, the 's' shapes were perhaps more like an 'm' or 'w' on its side at times, but there was an obvious improvement.

Christine & Aladdin showing 'straightness' on the circle

We finished with some demi-pirouettes prior to walk/canter transitions. By this time I had taken back my stirrups and had let them down since my legs seemed to have stretched by about three inches. Initially I had a little trouble with the demi-pirouettes as I was trying to execute them by vibrating my outside leg against Aladdin's side. This was creating more of a pivot than a pirouette and Minette explained that I had to continue the four beats of the walk throughout the movement.

The purpose of the demi-pirouettes was to encourage Aladdin to bring his quarters under him in order to make the walk/canter transitions easier. Indeed it did, and I had little difficulty with the upward transitions. I had more difficulty with the downward transitions, however, principally because although I was bracing my lower back and using my legs I was not being firm enough with my hands. This is another chronic fault of mine. I have to learn that the art of classical riding does not mean the art of arranging two (or four) loops of line on the horse's neck. Minette said that she thought that I was generally afraid of taking up the contact and she is right.

Canter transition with a 'light' contact

There is obviously an enormous difference, however, between hauling on a horse's mouth and maintaining the correct contact, and as Minette explained, the horse needs the assistance of the rider's hands as well as the rider's legs, seat and lower back. When I closed my fingers more firmly on the reins (as well as using my legs, seat and lower back) the transition from canter to walk was much smoother. I must stress that I did not pull on the reins but I did increase the contact. I know of other riders who are as hesitant about taking up a contact as I am, and it was interesting to learn that you may think that you are being kind to the horse only to find that you are not really helping him.

Harmony! Christine & Aladdin balanced and straight on the circle

The lesson ended after the walk/canter transitions and I walked Aladdin around on a long rein to finish. As in my lunge lesson I found Minette to have been an enormously sympathetic teacher; she is extremely patient and is at pains to point out that she will not ask more of you than she thinks either you or the horse can safely do. This does not mean that you can get away with any sloppiness, however! "Do we know how to change our whip over from one hand to the other?" Yes we do, but we have formed the bad habit of sliding it through our hands instead of crossing it over correctly.

'We' have also formed the bad habit of shortening the reins by somehow shuffling them through the hands instead of taking both reins momentarily first into one hand and then the other. These are, of course, more than small points of detail - the correct procedure is the safe procedure, in both cases, and I was duly corrected.

The other aspect of the lesson which cannot be over emphasised is the value of riding a schoolmaster such as Aladdin. If you are riding a horse which responds to your aids you learn very quickly whether or not you are applying them correctly and this teaches you a good deal about your own mistakes. I am very grateful to both Minette and Aladdin for all their teaching; I have profited enormously from both my lessons with them and I hope to continue to have lessons with Minette in the future.

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