| Preface | | 8 | |
| Introduction | | 9 | |
|
| Biography | |
| Egon von Neindorff: A servant to the pure teachings of classical horsemanship | | 10 | |
| The purpose of education Rider and horse need a common language |
| | 27 | |
| | 27 | |
| | 28 | |
| With feeling and self-control |
| | 31 | |
| ... and they move regardless! |
| | 32 | |
| Observe, feel and compare |
| | 33 | |
| Gradually increasing the demands |
| | 35 | |
| Always searching while remaining flexible |
| | 36 | |
| Riding that uses without misusing the horse |
| | 39 | |
| Leveling off: or a downward decline? |
| | 41 | |
| | 42 | |
| A riding horse matures only with time |
| | 51 | |
| | 51 | |
| Finding the correct measure: a serious must |
| | 52 | |
| The more genuine the love |
| | 53 | |
| From the first time we mount |
| | 54 | |
| | 56 | |
| A good seat can be learned |
| | 59 | |
| | 60 | |
| | 62 | |
| | 64 | |
| The orchestra of the rider's aids |
| | 67 | |
| Seat, feeling, collection or balance in movement |
| | 68 | |
| Exercises to develop a good seat as a basis |
| | 70 | |
| Permeability ... (willing compliance and the uninhibited energy flowing through the horse) |
| | 71 | |
| To the piaffe with merely a halter |
| | 72 | |
| Forehand elevation from hindquarter flexion - balance in the levade |
| | 72 | |
| | 75 | |
| | 79 | |
| From impulsion to the halt |
| | 80 | |
| | 80 | |
| From the foal to the young saddle horse |
| | 83 | |
| From trust to understanding |
| | 84 | |
| The cavesson is not a luxury |
| | 85 | |
| | 87 | |
| Preparation and moderation |
| | 88 | |
| The seat used for a young horse |
| | 89 | |
| From loosening to the first collection |
| | 92 | |
| Work on the lunge line: versatile and irreplaceable From the young horse to the advanced school horse |
| | 95 | |
| From nursery to elementary school |
| | 95 | |
| | 97 | |
| Collection can only develop through suppleness |
| | 97 | |
| With correctly adjusted side reins |
| | 98 | |
| Early stages with an assistant |
| | 100 | |
| On the way to becoming a saddle horse |
| | 103 | |
| | 104 | |
| Driving without overdriving |
| | 105 | |
| | 107 | |
| | 107 | |
| | 109 | |
| The prospective saddle horse |
| | 111 | |
| Everything smooth, graceful and yet with impulsion |
| | 111 | |
| True obedience to the leg |
| | 112 | |
| Cadence: the unerring witness |
| | 113 | |
| Auxiliary aids, but not coercion |
| | 113 | |
| No restraint without driving |
| | 116 | |
| Balanced means supple The sensible building blocks of schooling in dressage |
| | 119 | |
| Sitting ``in'' the horse: the rider's passport |
| | 119 | |
| Impulsion and self-carriage |
| | 120 | |
| | 120 | |
| Logical development without conflict |
| | 122 | |
| Furthering and forming From the foundation to the end result |
| | 125 | |
| Preferably three years ``too long'' |
| | 125 | |
| | 127 | |
| Suppleness and relaxation from horse and rider |
| | 127 | |
| The indispensable school horse |
| | 128 | |
| Practicing but within reason |
| | 128 | |
| The seat - independent from the reins |
| | 129 | |
| Correct corners with the young horse |
| | 131 | |
| The walk - the most difficult gait |
| | 135 | |
| Self-control and correction |
| | 136 | |
| A friendly filter: the rider's hands |
| | 136 | |
| The trot - the most important gait |
| | 141 | |
| Resounding words and clear facts |
| | 141 | |
| The forward driving seat and posting trot |
| | 143 | |
| | 144 | |
| The gallop or canter - the third gait Uphill in a clear three-beat rhythm |
| | 147 | |
| The jump as an extended canter stride |
| | 147 | |
| | 148 | |
| The hand that is always ready and willing to yield |
| | 150 | |
| Drive, half-halt, and light again |
| | 151 | |
| Frequent canter transitions on curved lines |
| | 152 | |
| The canter's influence on the trot |
| | 153 | |
| Not a secret science: about straightness, position and flexion |
| | 155 | |
| The first schooling ``in hand'' |
| | 157 | |
| The correction forward, even when flexed |
| | 157 | |
| | 159 | |
| An equal measure - not excess |
| | 159 | |
| | 160 | |
| Impulsion and inner tranquility |
| | 161 | |
| Never sideward without remaining forward |
| | 163 | |
| The shoulder-in and its preparation |
| | 167 | |
| | 168 | |
| Always more forward than sideward |
| | 171 | |
| Renvers, travers and half-pass |
| | 173 | |
| From the basis to its refinement |
| | 175 | |
| The essential prerequisites |
| | 176 | |
| Characterized by forward impulsion: turning on the spot and moving backwards |
| | 181 | |
| | 182 | |
| About the harmony of the aids |
| | 182 | |
| Schooling the entire horse |
| | 184 | |
| Never backwards without forwards |
| | 185 | |
| Forward when moving backward With the correct measure and a goal: the service horse and the high school |
| | 187 | |
| Prerequisite: permeability - the unimpeded flow of energy through the horse |
| | 188 | |
| No advancement without preparation |
| | 190 | |
| | 190 | |
| For the masters only: ``taking drastic measures'' |
| | 192 | |
| Only for experts and connoisseurs: the double bridle is a finely honed instrument |
| | 195 | |
| About elementary dressage |
| | 196 | |
| The double bridle must fit |
| | 198 | |
| The rider's hands must be ready for the double bridle |
| | 199 | |
| The naturally oriented school canter Without constraint and based on a sound foundation |
| | 203 | |
| The spring - elastic yet maintaining tension |
| | 204 | |
| The flying change of lead |
| | 206 | |
| The key figure, the piaffe |
| | 208 | |
| The aids - not just temporary help |
| | 210 | |
| Free from constraint The shoulder-in canter (plie) and the canter half-pass |
| | 215 | |
| The goal and the foundation: the uphill piaffe under saddle |
| | 221 | |
| Where the spectator turns away in disgust |
| | 223 | |
| Pushed, held and elevated? |
| | 224 | |
| Without resistance but concentrated |
| | 225 | |
| | 228 | |
| | 229 | |
| Cadenced steps with great energy The genuine passage - ripe fruit of patient preparation |
| | 233 | |
| | 235 | |
| The powerhouse: the hindquarters |
| | 237 | |
| | 238 | |
| From the airs above the ground to lessons in the classical art of riding About the essential features and preconditions for the pirouette |
| | 243 | |
| Preparation and development |
| | 246 | |
| Aids, mistakes and corrections |
| | 247 | |
| With driving lines and leading reins Weightless riding |
| | 251 | |
| | 251 | |
| About the schooling ``in hand'' |
| | 253 | |
| | 256 | |
| The schooling ``in hand'': established, refined and improved Between largo and staccato |
| | 263 | |
| Sensitivity without restlessness |
| | 265 | |
| Everything forward - even when not moving forward |
| | 267 | |
| | 270 | |
| About Melissa Simms | | 271 | |
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