perfecting kurs (musical freestyles)
The purpose of the Kür is to allow creative freedom for the rider to demonstrate abilities, talent and the have them enhanced with music. It is up to the rider to prepare a well ridden test that has choreography and appropriate music, which can be inventive and artistic, but must stay within the boundaries for each stage and degree of riding. The training scale must never be compromised. It needs to have harmony and fluency throughout. The elements of the test should impressively interact with the exercises shown in the Kür. The elements that raise the difficulty level should be positively rewarded if complemented well with the music.
The technical marks are based on the degree’s elements throughout the test. If they are ridden more than once, they will be averaged at the end, allowing room for mistakes to be minimized and the score to be raised.
There are five special marks for the artistic aspect of the performance. Coefficients make some movement more vital. Timing does not start until just after the first salute and ends with the last salute. Any movements performed after the time allotment, are not judged. The artistic marks are very important, and rely on the technical performance, so the two are linked closely together.
The rhythm, energy and elasticity mark is similar to what the paces and impulsion mark would be on a regular test. The harmony of horse and rider mark is similar to the submission and riders scores of a regular test. The choreography and use of arena mark is reflected on the technical performance, the inventiveness and structure. Any disturbances, disobedient and resistance is penalized here. The Kür should be original, attractive in set-up and may even have surprising movements with the list of degree required elements. It still needs the classical criteria and nothing should be exaggerated or overdone. It should not be too close to the regular tests. It can be dramatic, with quiet phases and end with a dramatic and challenging finish. The entire arena should be used in an imaginative way with a symmetry and balance of movements on both reins throughout. Difficult movements should have an emphasis but not be overdone either. Too much repetition reduces this score. Too many transitions and changes of pace as also detrimental. More difficult movements help with the choreography if effectively done. Movements should be more designed facing ‘C’ rather than away as the evaluator/judge does not want to look at the horse’s tail repeatedly. The degree of difficulty is raised by coefficient exercises emphasized and repeated but not overdone, using more inner lines rather than the outside track, movements executed in unique places, such as very middle, in front of the rail, in front of the video camera and in time to the music or dramatic pause in music. As well the combination of movements can also become more increasingly difficult and demanding to perform. Even performing the movements with one hand is more difficult, although it can only be done four times and not in 2nd° and lower. The movements must be performed well and well-calculated as obvious mistakes, whether poorly calculated or too demanding for the horse is detrimental to this score. An easier test ridden well score better overall than a harder test ridden poorly.
The music and interpretation mark is relatively independent of the other marks and but influenced by the performance. It should be visually impressive as well as have a pleasing acoustic effect. The music matches the gaits, paces, transitions, changes, and combinations. The music should be complementary and not contradictory to the natural movement of the horse and the choreography. High notes and low ones can be synchronized with different movements, gaits, paces and so on. The music itself should match in range and not vary too much among type so as to create a clash and lack of rhythm. Sometimes strong vocal music can be distracting. It should have a common style that seems to match the horse’s gaits.
In the beginning of the test, the music can play for no longer than twenty seconds to create a dramatic effect. The music should end with an impressive note at the final salute for a better score. Music that fades out is not as impressive. Music with a strong, powerful beat should only be used with bigger horses that naturally have a strong, powerful stride or with light horses that have good impulsion. Smaller horses should have lighter music that seems to match their character. The natural tempo should be matched. If the music’s tempo is too strong and powerful, the horse will struggle to keep up to it. The music’s time signature is what determines if it matches the horse are not. Rock and swing type jazz music seem to mostly have 4 beats in each bar, and Waltzes usually have three beats, however both may have the same tempo. The horse’s hooves should hit the ground with each of the beats. Music without varied beats may not be suitable. Slower music is best for the walk. The best music choices are pieces that have their own story with a beginning, middle and a strong ending.
The degree of difficulty mark relates more to the technical performance than to choreography and arena usage. If the technical elements are not performed well it can be reflected. It can be raised by coefficient exercises emphasized and repeated but not overdone, using more inner lines rather than the outside track, movements executed in unique places, such as the very middle, in front of the rail, in front of the video camera and in time to the music or dramatic pause in music. As well, the combination of movements can also become increasingly difficult and demanding to perform. Performing with one hand is more difficult, but it can only be done four times and not in 2nd° or lower. The movements must be performed well and well-calculated as obvious mistakes, whether poorly calculated or too demanding for the horse is detrimental to this score. An easier test ridden well will score better overall than a harder test ridden poorly. To increase the score:
Walk/Trot do not have a lot of movements, but some things that may help are to stay away from the outside track, perform circles and half circles, ride a serpentine, turn on the forehand, give and retake the reins, but never canter!
Demi° is similar but some things that may help are to stay away from the outside track, perform circles and half circles, ride a serpentine, stretch the trot, turn on the forehand, give and retake the reins and also to change the leg through the trot is more difficult and allowed, but must not be done through the walk or by flying change. Also the lengthened, medium and extended paces are prohibited as well as the counter canter and the rein-back.
1st° is better with circles, half circles, giving and retaking of the reins, steeper angles of leg yield, stretching the trot and performing more lengthened trot and canter work. Changes of leg through trot is more difficult and allowed, but must not be done through the walk, flying change or canter to halt. The counter canter is allowed but can become detrimental. Lateral moves are prohibited.
2nd° is more difficult with rein-backs, counter-canter, circles, half circles, giving and retaking of the reins, stretching the trot or canter, and turns on the haunches. The plié on quarter-lines or centerline and change down the line from left to right plié continuously help. The same can be for the travers and renvers. Sections of medium trot and medium canter aid in increasing the difficulty. Counter-cantering on curves as well as a simple change into the counter-canter are harder.
3rd° can have the plié on the quarter-lines or centerline and change down the line from left to right plié continuously, steeper diagonals of half pass in trot and canter, changes of bend in half pass but only be done at trot all help. Also, counter-cantering in smaller curves, and short, consecutive sections of medium trot are harder. The combination of medium trot to plié or half pass is more difficult; just as the medium canter to counter canter is. Flying changes away from the rail are best on a straight line or on centerline. A flying change into a counter-canter is difficult for this degree. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score.
4th° can have plié on quarter-lines or the centerline and change down the line from left to right plié continuously. Steeper diagonals of half pass in trot or canter with changes of bend help. Counter-cantering in smaller curves adds difficulty as it is not required. Short but consecutive sections of extended trot are harder. Also the combination of extended trot to plié or half pass is more difficult; just as the extended canter to counter canter is, or a flying change into a counter-canter is. Flying changes not on a straight line is far more difficult, especially if done on a solid curve or arc of a circle. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score.
5th° should have more changes than five every second or third stride, which should not be on a straight line. Steeper diagonals of the half pass in trot and canter with changes of bend help. Counter-cantering in tight turns are very difficult, especially when staying in perfect balance. An extended canter followed by a pirouette is a great deal more difficult. Varied sections of the paces, such as extensions, help add interest. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score. Airs above the ground, 1-time changes, double canter pirouettes, piaffe and passage are all prohibited. Counter-canter, medium walk, rein-back, travers, renvers, and pirouettes that lead into a walk or halt or only done for harmony and the choreography as they do not add to the difficulty score.
6th° has added piaffe pirouettes, passage half pass and half passes in to and out of canter pirouettes, but the horse must be straight for a few strides before and after the pirouette. Take special note of the movements as they may not count as compulsory movements if they are uniquely done. If carefully done they add to the choreography mark as well. More difficult movements can be repeated but not overdone, such as anything more than a double pirouette. Movements like more sequences of changes or on a curved line or from 2-time to 1-time, more piaffe steps, double pirouettes, steep half passes with changes increase the difficulty factor. Other combinations like the canter to passage to canter, and the extended trot to piaffe, and the extended canter to pirouette, and the half pass trot into a half pass passage, and likewise movements are very difficult to perform well. Airs above the ground are prohibited. Counter-canter, medium walk, rein-back, travers, renvers, and pirouettes that lead into a walk or halt or only done for harmony and the choreography.
The technical marks are based on the degree’s elements throughout the test. If they are ridden more than once, they will be averaged at the end, allowing room for mistakes to be minimized and the score to be raised.
There are five special marks for the artistic aspect of the performance. Coefficients make some movement more vital. Timing does not start until just after the first salute and ends with the last salute. Any movements performed after the time allotment, are not judged. The artistic marks are very important, and rely on the technical performance, so the two are linked closely together.
The rhythm, energy and elasticity mark is similar to what the paces and impulsion mark would be on a regular test. The harmony of horse and rider mark is similar to the submission and riders scores of a regular test. The choreography and use of arena mark is reflected on the technical performance, the inventiveness and structure. Any disturbances, disobedient and resistance is penalized here. The Kür should be original, attractive in set-up and may even have surprising movements with the list of degree required elements. It still needs the classical criteria and nothing should be exaggerated or overdone. It should not be too close to the regular tests. It can be dramatic, with quiet phases and end with a dramatic and challenging finish. The entire arena should be used in an imaginative way with a symmetry and balance of movements on both reins throughout. Difficult movements should have an emphasis but not be overdone either. Too much repetition reduces this score. Too many transitions and changes of pace as also detrimental. More difficult movements help with the choreography if effectively done. Movements should be more designed facing ‘C’ rather than away as the evaluator/judge does not want to look at the horse’s tail repeatedly. The degree of difficulty is raised by coefficient exercises emphasized and repeated but not overdone, using more inner lines rather than the outside track, movements executed in unique places, such as very middle, in front of the rail, in front of the video camera and in time to the music or dramatic pause in music. As well the combination of movements can also become more increasingly difficult and demanding to perform. Even performing the movements with one hand is more difficult, although it can only be done four times and not in 2nd° and lower. The movements must be performed well and well-calculated as obvious mistakes, whether poorly calculated or too demanding for the horse is detrimental to this score. An easier test ridden well score better overall than a harder test ridden poorly.
The music and interpretation mark is relatively independent of the other marks and but influenced by the performance. It should be visually impressive as well as have a pleasing acoustic effect. The music matches the gaits, paces, transitions, changes, and combinations. The music should be complementary and not contradictory to the natural movement of the horse and the choreography. High notes and low ones can be synchronized with different movements, gaits, paces and so on. The music itself should match in range and not vary too much among type so as to create a clash and lack of rhythm. Sometimes strong vocal music can be distracting. It should have a common style that seems to match the horse’s gaits.
In the beginning of the test, the music can play for no longer than twenty seconds to create a dramatic effect. The music should end with an impressive note at the final salute for a better score. Music that fades out is not as impressive. Music with a strong, powerful beat should only be used with bigger horses that naturally have a strong, powerful stride or with light horses that have good impulsion. Smaller horses should have lighter music that seems to match their character. The natural tempo should be matched. If the music’s tempo is too strong and powerful, the horse will struggle to keep up to it. The music’s time signature is what determines if it matches the horse are not. Rock and swing type jazz music seem to mostly have 4 beats in each bar, and Waltzes usually have three beats, however both may have the same tempo. The horse’s hooves should hit the ground with each of the beats. Music without varied beats may not be suitable. Slower music is best for the walk. The best music choices are pieces that have their own story with a beginning, middle and a strong ending.
The degree of difficulty mark relates more to the technical performance than to choreography and arena usage. If the technical elements are not performed well it can be reflected. It can be raised by coefficient exercises emphasized and repeated but not overdone, using more inner lines rather than the outside track, movements executed in unique places, such as the very middle, in front of the rail, in front of the video camera and in time to the music or dramatic pause in music. As well, the combination of movements can also become increasingly difficult and demanding to perform. Performing with one hand is more difficult, but it can only be done four times and not in 2nd° or lower. The movements must be performed well and well-calculated as obvious mistakes, whether poorly calculated or too demanding for the horse is detrimental to this score. An easier test ridden well will score better overall than a harder test ridden poorly. To increase the score:
Walk/Trot do not have a lot of movements, but some things that may help are to stay away from the outside track, perform circles and half circles, ride a serpentine, turn on the forehand, give and retake the reins, but never canter!
Demi° is similar but some things that may help are to stay away from the outside track, perform circles and half circles, ride a serpentine, stretch the trot, turn on the forehand, give and retake the reins and also to change the leg through the trot is more difficult and allowed, but must not be done through the walk or by flying change. Also the lengthened, medium and extended paces are prohibited as well as the counter canter and the rein-back.
1st° is better with circles, half circles, giving and retaking of the reins, steeper angles of leg yield, stretching the trot and performing more lengthened trot and canter work. Changes of leg through trot is more difficult and allowed, but must not be done through the walk, flying change or canter to halt. The counter canter is allowed but can become detrimental. Lateral moves are prohibited.
2nd° is more difficult with rein-backs, counter-canter, circles, half circles, giving and retaking of the reins, stretching the trot or canter, and turns on the haunches. The plié on quarter-lines or centerline and change down the line from left to right plié continuously help. The same can be for the travers and renvers. Sections of medium trot and medium canter aid in increasing the difficulty. Counter-cantering on curves as well as a simple change into the counter-canter are harder.
3rd° can have the plié on the quarter-lines or centerline and change down the line from left to right plié continuously, steeper diagonals of half pass in trot and canter, changes of bend in half pass but only be done at trot all help. Also, counter-cantering in smaller curves, and short, consecutive sections of medium trot are harder. The combination of medium trot to plié or half pass is more difficult; just as the medium canter to counter canter is. Flying changes away from the rail are best on a straight line or on centerline. A flying change into a counter-canter is difficult for this degree. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score.
4th° can have plié on quarter-lines or the centerline and change down the line from left to right plié continuously. Steeper diagonals of half pass in trot or canter with changes of bend help. Counter-cantering in smaller curves adds difficulty as it is not required. Short but consecutive sections of extended trot are harder. Also the combination of extended trot to plié or half pass is more difficult; just as the extended canter to counter canter is, or a flying change into a counter-canter is. Flying changes not on a straight line is far more difficult, especially if done on a solid curve or arc of a circle. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score.
5th° should have more changes than five every second or third stride, which should not be on a straight line. Steeper diagonals of the half pass in trot and canter with changes of bend help. Counter-cantering in tight turns are very difficult, especially when staying in perfect balance. An extended canter followed by a pirouette is a great deal more difficult. Varied sections of the paces, such as extensions, help add interest. Also, up to four one-handed movements prove the horse’s training surpasses the degree’s difficulty score. Airs above the ground, 1-time changes, double canter pirouettes, piaffe and passage are all prohibited. Counter-canter, medium walk, rein-back, travers, renvers, and pirouettes that lead into a walk or halt or only done for harmony and the choreography as they do not add to the difficulty score.
6th° has added piaffe pirouettes, passage half pass and half passes in to and out of canter pirouettes, but the horse must be straight for a few strides before and after the pirouette. Take special note of the movements as they may not count as compulsory movements if they are uniquely done. If carefully done they add to the choreography mark as well. More difficult movements can be repeated but not overdone, such as anything more than a double pirouette. Movements like more sequences of changes or on a curved line or from 2-time to 1-time, more piaffe steps, double pirouettes, steep half passes with changes increase the difficulty factor. Other combinations like the canter to passage to canter, and the extended trot to piaffe, and the extended canter to pirouette, and the half pass trot into a half pass passage, and likewise movements are very difficult to perform well. Airs above the ground are prohibited. Counter-canter, medium walk, rein-back, travers, renvers, and pirouettes that lead into a walk or halt or only done for harmony and the choreography.