The circle of aids coincides with what is known as the horse’s ring of muscles. The principle was first described in the early 20th century by Dr. Georg Simon (1871–1941) and Dr. Wilhelm Haase, two influential German veterinarians and riding theorists. Their combined research into equine anatomy and classical training revealed that a horse’s natural balance — the harmony between bending and stretching — depends on the uninterrupted flow of energy through the interconnected muscle ring.

They found that the horse’s muscles work in a continuous circular pattern — beginning at the poll, running over the neck and topline, across the hindquarters, along the belly, and returning through the chest to the jaw. When this muscular circuit remains supple and connected, energy travels freely through the body, allowing balance, elasticity, and strength to develop.

In the same way, the rider’s aids must act in a closed, harmonious circle. As the horse’s muscles function in an unbroken chain, so too must the rider’s legs, seat, and hands coordinate to guide and recycle that energy. Thus, the circle of aids mirrors the horse’s ring of muscles — uniting anatomy, biomechanics, and refined riding into one complete system of communication between horse and rider.

The collected walk is a four-beat gait without a suspension phase.

The collected walk is the highest form of the walk. It shows increased balance, engagement, and self-carriage while preserving the pure four-beat rhythm. The horse shortens the stride and lowers the hindquarters, carrying more weight behind while remaining supple and active. Each step is shorter but more elevated, with clear articulation of the joints. The forehand becomes lighter, and the horse maintains a steady, elastic contact, responding softly to the rider’s aids. The poll is the highest point, and the neck arches gracefully out of the withers.

The collected walk represents an advanced level of collection developed progressively through correct gymnastic training. The energy flows forward from the hindquarters through a swinging back, never through tension or restraint. Any loss of rhythm or lateral movement indicates over-collection or stiffness.

The collected trot is a clear, regular two-beat gait with diagonal steps separated by a moment of suspension. The strides become shorter, higher, and more expressive.

The collected trot shows the highest degree of balance, engagement, and self-carriage within the trot. The horse lowers the hindquarters and raises the forehand, taking more weight behind while maintaining a soft, steady contact and a supple, swinging back. The steps show increased activity and articulation of the joints without loss of rhythm or forward intent.

According to FEI standards, the purpose of the collected trot is to demonstrate the horse’s ability to carry itself, respond lightly to the aids, and move with controlled impulsion. Each stride shows contained energy, balance, and harmony between power and relaxation.This gait represents an advanced level of collection, developed gradually through correct gymnastic training. When ridden correctly, it strengthens the topline, improves coordination, and expresses the horse’s athletic suppleness and mental focus—hallmarks of classical dressage at the highest level.

Collection is the result of progressive, gymnastic training. The horse shifts more weight onto its hindquarters, lightens the forehand, and moves with shorter, more elevated strides. True collection combines strength, balance, and willingness, allowing the horse to respond instantly and precisely to the rider’s aids.

There are different levels of collection. At the basic level, the horse begins to carry itself more evenly through balanced transitions. With further training, engagement and suppleness increase, leading to medium and, ultimately, advanced collection. Movements such as the piaffe or canter pirouette show the highest form of this balance and self-carriage.

Collection must never be forced. It develops gradually as the horse gains strength and understanding. When achieved correctly, it protects the horse’s joints, builds the topline, and demonstrates harmony between power and control—principles central to classical and modern dressage worldwide.

From the French “dresser,” meaning “to train.”

Dressage is the systematic and progressive education of the horse to enhance balance, suppleness, and responsiveness. Its goal is to create a partnership in which the horse moves with lightness, harmony, and confidence under the rider. In competition, dressage demonstrates the degree of this training.

The horse performs movements that are based on its natural way of going—such as transitions, circles, and lateral work—but now executes them on request, with rhythm, precision, and ease. At its core, dressage follows a structured training scale: rhythm, suppleness, connection, impulsion, straightness, and collection. Each step builds upon the previous one, ensuring that progress is gradual, gymnastic, and fair to the horse.

True dressage is not about forcing a shape but about developing the horse’s physical and mental abilities so that it can carry itself and its rider in balance and self-carriage. The result is a horse that remains attentive, supple, and willing—hallmarks of both classical and modern dressage ideals.