CHOREOGRAPHY
See also General, Music

Dear Klassic Kur:
The score sheet says that the choreography must be balanced. Does that means you have to do movements on both reins? Isn't that redundant since it is a requirement of most of the compulsory movements anyway? Or does it mean that what is done on one rein must be EXACTLY repeated on the other? That would restrict us to doing only symmetrical patterns. I'm confused.

Terry answers:
Good questions. You are correct in saying most compulsory movements must be done on both reins. In some way, the "balance" issue does apply to rein work though. Let's say you had completed a pattern but needed to add something to fill out the space, so you repeated a movement. Later on in the freestyle, you need to fill out another part, so you repeat the same movement. You could conceivably end up doing three shoulder-ins (or half passes, or whatever) on the right and only one on the left. That would not be balanced.

Mostly, the balance issue is considered at the end of the performance. In other words, by the time the freestyle has concluded, the arena should have been used in its entirety (use of the arena); there should have been interesting patterns or combinations of moves (ingenuity, inventiveness, creativity); the choreography should have made sense (cohesive); and the"weight" of the movements should have been distributed in such a way that the arena did not "tip" in any direction (balance). Symmetrical patterns could be, but do not necessarily have to be, part of the concept which makes the choreography feel balanced. It is really more a matter of how the movements are distributed around the entire arena.

Dear Klassic Kur:
I am doing a Level 2 freestyle and thought I would try to be "inventive" by putting my travers on a diagonal line. I was eliminated for being above the level. I have gone back to being conventional and have put my travers on the rail. I'm a little upset. How can I be "creative" and still do what I'm supposed to?

Terry answers:
I'm sorry to hear of your problem. There are several issues involved here. The first is that travers on a diagonal line (and maybe even shoulder in) could be mistaken for a half pass. This would definitely be above Level 2. The elimination rule applies to national level tests from some other countries and also to the FEI levels, but it does not apply to USDF, however. In your predicament and under USDF rules, the judge would have been within his/her rights to give you a 0 for each of the travers, plus deduct 4 points from your total score for being above the level. For future reference, please note that these rules are clearly stated right on the score sheet, so if you need to make an appeal to the technical delegate, you have something tangible to bring with you.

As for the issue of creativity, I must honestly say that Level 2 is the most difficult for me. I would as soon go from Level 1 (which I love to choreograph) to Level 3, and skip Level 2 entirely. Rather than dictating to you what you could do, let me suggest that you read through the upper level tests and look at videos to get ideas. You will not be able to copy their moves (above the level), but you might be able to adapt the principles they used (showing extraordinary flexibility or elasticity through the use of unusual transitions, etc.) and apply them to your level. Whatever you do, clarity must be foremost. You must make your intentions very understandable for the judge.

Dear Klassic Kur:
Could you please give me a hint as to how to handle the level 2 ruling regarding renvers/travers?

Terry Answers:
You have the option to do either travers OR renvers. To be safe, choose only the one your horse does better and do it right and left. If you choose to do both, however, I would suggest splitting your trot work. For example, you could either do one travers and one renvers in the first part, then I would do an exact mirror image of your pattern in the second part. Whatever you choose, remember that it is the RIDER'S responsibility to make his/her intensions clear to the judge.

Dear Klassic Kur:
I can't seem to change my movement at the letter and make it work with the music. Would it be OK for the transition to be off the letter?

Terry answers:
No problem. That is perfectly fine. Showing musical interpretation is a major ingredient in having a successful freestyle. The only caution is that you have done enough of the element before/after you change so that you have fulfilled your requirement.

Dear Klassic Kur:
I had a comment on my score sheet that said my choreography was "test like". What exactly does that mean, and how do I fix it?

Terry answers:
I am not sure what your choreography looked like, however, the comment generally refers to either taking a pattern directly from a test, or keeping all the elements of your freestyle isolated. One way to create interest is to use more unusual lines, such as short diagonals or quarterlines. Another way is to put moves back to back, such as leg yield to circle, circle to lengthening, and so on, for Level 1. The same thinking applies to all levels.

Dear Klassic Kur:
In a 2nd level freestyle, if a rider does a serpentine of three equal loops in counter canter, with simple changes of lead from counter canter to counter canter, would the simple changes receive technical marks?

Terry answers:
Not only will this pattern receive credit for the technical mark, but it will also receive a bonus for difficulty. The only stipulation is that the pattern must be performed cleanly. If not, it will receive a deduction under both technical and under difficulty for having "unacceptable risk." Upgrades in the difficulty category are contingent upon execution.

Dear Klassic Kur:
The freestyle rules generally state that you cannot use movements that are found in higher level tests. However on the score sheet, I read that halt-canter-halt is clearly allowed in first and second level. Does this mean that I can use 8 meter trot circles in a second level freestyle? Can I use a canter down the center line into a halt in a first or second level freestyle?

Terry answers:
You bring up a very interesting point. There is a difference between movements, patterns, and transitions. Whereas you cannot use specific movements from above your level (movements are leg-yield, pirouettes, tempis, etc.) you may do any transitions or patterns you wish.

Because this is a confusing topic, the USDF added clarity to it by citing all possible legal and illegal combinations inside the score sheet. All of this is to say that the answer to both your questions is "yes."

Dear Klassic Kur:
I notice that most riders use music for an introduction, and either trot or canter directly to X, then execute their halt and salute. Can a rider be a little more creative with his/her entrance and perhaps perform a movement, such as tempi flying changes from A to X before halting and saluting?

Music, Choreography, General

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Terry Ciotti-Gallo
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