Coach, competitor and clinician, Lindsay Grice, has trained horses and riders professionally for over 20 years. Specializing in the AQHA circuit, she and her students continue to win at major shows in North America in both English and Western disciplines.

Lindsay’s popular horsemanship seminars take her throughout Canada and into the United States, creating thinking horsemen of her students by teaching the “hows” and “whys” of riding.

She has made appearances on both television and radio, speaking on horse related topics.

She says that, ideally, horses, whatever the discipline, should be as responsive as a musical instrument, understanding and responding to every subtle cue from the rider.

When asked what she loves about her job, Lindsay responds, “I love putting complex principles of riding into a language that riders can understand.”

In addition to teaching she is kept busy writing columns for horse magazines and also judging horse shows.

The Art of Neck Reining and Memorizing Patterns.

Q. Although I ride my gelding with one hand in western pleasure, when I try to ride off the rail, in patterns and circles, he doesn’t have much of a "handle," often turning his head in the opposite direction I’m trying to steer him.

A. Moving from direct reining in a snaffle bit to neck reining in a curb is like teaching your horse a new language, and it takes time.

PRINCIPLE If you compare your horse to a train, the neck rein controls the front two train cars only – the head and neck. The rest of the train is controlled by your leg. Think about riding with 80% leg and 20% hand. You should be able to move the head and neck of your horse in one direction while moving the ribs and hips independently. Your horse learns to move those train cars in the opposite direction of the push he feels on his neck from the rein. Many people try to take a short cut by slipping their index finger down between the reins to direct rein, pullingpushing his neck. This is not true neck reining. the horse’s nose rather than

TECHNIQUE When slowing or collecting, I move my hand up toward my chest and, when steering, toward one shoulder or the other. My hand comes up above the level of my elbow and my upper arm stays close to my body. When the horse responds, I lower it , as a reward, to the area of the saddle horn. As I glance down I can always see my first two knuckles on top, avoiding twisting my hand.

TRAINING Your horse needs to figure out that he will get freedom, or release, each he moves his neck and head away from the pressure - the rein will go slack on his neck. This is how you will deliver a "yes" to your horse for a correct response. Around a circle, for instance, you may repeat the cycle of applying neck pressure and then softening the instant the horse moves his neck to the inside, many different times. The direct rein can be used as a help in the initial stages in teaching the horse to move his neck away from outside rein pressure. Just reach down with your free hand to use the direct rein (left rein to turn tip the nose left) as you maintain pressure on the neck with your rein hand.

As with anything, repetition is the key, and avoid moving on to the trot until your mare is steering reliably at the walk. A horse with a good handle, light and responsive to the neck rein slightest pressure, is a joy to ride.

Q. I plan to show this season for the first time in trail, but the courses are so complicated I’m afraid I’ll get lost! I have a hard time remembering showmanship and equitation patterns. I write them down accurately and memorize them, but when it’s my turn, I often forget what comes next. Please help.

A. I have struggled with the same thing myself, so I know where you’re coming from. I’ve been lost on countless hunter courses as a teenager! Everyone memorizes material in a different way – some are visual learners (learning through diagrams, demonstrations) and some auditory (responding to descriptions, word pictures). Others are kinesthetic (learning my movement and experience. Knowing your learning style is helpful. Try a number of memorization styles in each of these categories and see what works. I’ll give you a few suggestions.

Memorize the middle. Often we get the first part of a pattern, poem or song down, but get stuck in the middle of the second verse. Start at the middle rather than rehearsing from the beginning over and over. Get to the point where you can start at obstacle three or five and pick it up from there.

Rhyme it. Word association, rhyme, or alliteration appeals to auditory learners. For example "Lope left after logs." or "Keep right a smidge after the bridge." Perhaps a green obstacle will remind you to go faster, like a traffic light (ie. Pick up a lope.) Give word pictures to the obstacles based on their shape and put them together in groups, or clusters of three. For example gate, fan, wagon wheel. You can do the same thing with a sequence of jumps of movements in an equitation pattern.

Walk it. I have my students set up pylons in the barn area and walk through patterns on foot. Actually putting yourself into the situation appeals to kinesthetic learners.

Put it in perspective. When memorizing a pattern, imagine where the in gate is. Where are the judges sitting? Mentally put yourself in the ring. If possible, watch the competitors in the class before you, preferably from a few different locations at ringside – not just the gate. By all means, get into the ring and ride or walk around the obstacles if show management permits.

Give yourself time. If possible, pick up your pattern the day before your class – don’t cram. The more hurried you get, the more you’ll forget!