Freestyle to Music

Freestyle to Music (from German kür, "freestyle"), originated in 1980 by musician Gaynor Colbourn and GB Olympic Rider Jennie Loriston-Clarke MBE, is a form of dressage competition in which movements are performed to matching music resembling ballet or ice dancing.[1] Movements and figures are choreographed to meet the technical requirements of the particular level with carefully chosen music that highlights the horse-rider combination.[2] Musical Freestyle Dressage entertains and appeals not only to devotees of the sport but also to the general public, which has generated a significant increase in global popularity of Dressage.[3] International level competition comprises Prix St. Georges for Young Riders, Intermediate I and Grand Prix through the Fédération Équestre Internationale (FEI).

History

In October 1980, GB Olympic Rider Jennie Loriston-Clarke MBE met Gaynor Colbourn who, at the age of 17, was already an established classical and session musician, composer and multi-instrumentalist in the recording and TV/Film industry.[4] Their first collaboration was a demonstration of Dressage to Music at Wellington Riding in Heckfield, UK, in which Colbourn played keyboards live in the arena to match every single movement of Loriston-Clarke MBE riding Dutch Courage and Benjamin Bunny. The demonstration also featured a Pas De Deux with Jeremy Michaels and Neirede Goodman, the co-owner of Wellington Riding who rode Wellington Oliver. This event marked the beginnings of Dressage to Music and Colbourn's trademark style of playing keyboards live in order to match every movement, tempo, change and nuance, wherefore she was awarded the Merle Park Rose Bowl Award at the Goodwood International Dressage Festival.[5]

Freestyle to Music was officially recognised by British Dressage in 1980 and the FEI after its official debut at the Atlanta Olympics in 1996 and has since grown considerably.[6] Not only is it compulsory in equestrian Olympic competitions, but it has spread beyond the grand prix circuit to Freestyle classes at local riding club competitions around the world and at all levels.[7]

However, Gaynor Colbourn remains the only person to play, arrange and compose live alongside the horses, which allows her to tailor music to each individual rider and horse.[5] She continues to lead clinics and demonstrations including performances by top international and Olympic riders, but creates music for horses and riders at all levels, which have won Freestyle classes more than 10,000 times with Colbourn's music.[8]

Levels

International Freestyle Dressage tests, organised by the FEI, include Pony Riders, Juniors, Young Riders, Intermediate I, Intermediate A/B and Grand Prix.[9] Most National Federations (i.e. USDF, British Dressage) have their own freestyle levels which usually correspond to their established levels of training.

Each floorplan must comprise of several mandatory movements and paces, depending on the level and federation, however their order and timing is free to the rider's discretion within certain margins. Additionally, movements of the same or lower level which are not listed as compulsory but are permitted may be included to increase the degree of difficulty, but are classed as "calculated risks" by the FEI due to the risk of losing points if not properly executed.[10] Incorporating movements of a higher level than the intended level is forbidden, with penalties varying from elimination in lower levels to specific deductions and limits in FEI events. For example, an Intermediare I rider is not permitted to include passage, piaffe, or a pirouette greater than 360 degrees, and a Grand Prix rider may not do a pirouette that exceeds 720 degrees or advanced airs above the ground. If a rider does so, he or she receives a zero for the element, and in addition the score for Choreography and Degree of Difficulty will not receive a score higher than a 5.[11]

Musical Freestyles are a component of the dressage competition at the Olympics, and the World Equestrian Games, where the Grand Prix Freestyle is used.[12]

Scoring components

The scoring of the freestyle is divided up into two major sections, known as Technical Execution, and Artistic Presentation.[11]

Technical requirements

The technical section is made up of scores for each of the compulsory movements. The technical requirements of each level mirror the level of training and balance expected in the compulsory tests at that level. Competence and ease in the execution of the movements is crucial to a successful program.

While the Technical Execution is divided so as to make up half the final score (50%), the technical components of rhythm, energy and elasticity and harmony between horse and rider are scored on the artistic portion score sheet as replacement for the collective marks on a set test, additionally, poor technical execution can negatively affect the degree of difficulty, Choreography and Music scores, thus the technical execution make up nominally 70% of the final score, and can affect all of the marks.

The format of technical marks in the Grand Prix
Technical MarksScoreCoefficientCorrectionRemarks
1Collected walk
2Extended walk
3Half-pass right (collected trot)
4Half-pass left (collected trot)
5Extended trot
6Half-pass right (collected canter)
7Half-pass left (collected canter)
8Extended canter
95 changes of lead every 2nd stride
107 changes of lead every stride
11Canter pirouette right2
12Canter pirouette left2
13Passage (minimum 20m on one track)2
14Piaffe (minimum 10 steps straight)2
15Transitions Passage-Piaffe and Piaffe-Passage
16Entrance and halt at the beginning and end of the test

Artistic

The Artistic score is usually divided into 5 sections each with a coefficient of four at International competitions,[11] They are:

  • Rhythm, Energy and Elasticity
  • Harmony between horse & rider
  • Choreography
  • Degree of Difficulty
  • Choice and Interpretation of the music

The Rhythm, Energy and Elasticity mark comprises the first two collective marks from a set test, that being Paces and Impulsion, while the Harmony between Horse & Rider mark is made up of the second two: Submission and Rider. The remaining scores are somewhat connected to the technical execution, but are for the most part dependent on the artistic qualities of the test.

Choreography

The choreography must incorporate all the technical requirements for the level but is otherwise open to creative choices and highlighting the horse's strong points. Good marks are awarded to inventive choreography which contains movements not taken directly out of the set tests, but has an element of surprise and adventure to their placement. However, there should still be a logical order and flow to the movements, such as symmetry and without too many changes between the paces. A chaotic freestyle would score worse than a basic one.

Music

When Gaynor Colbourn and Jennie Loriston Clarke originated the sport as we know it in 1980, the whole ethos was for Dressage to Music to be beautiful, as with Ballet and Ice Dancing, and in the earlt 1980's the Grand Prix Freestyle was judged by Prima Ballerina Merle Park, and Ice Skater, Robin Cousins.This ensured that the judging of the Artistic Element was a highly experienced performer.

The music chosen will depend on the horse's movement, type, personality, and the rider's own musical tastes but should serve to accentuate all of them. Music for freestyles can be found in a variety of styles; Classical music, show tunes, movie scores, orchestral versions of pop and contemporary music are common choices.The PPL Licence is required for all music being ridden to at any venue, and is to ensure that Original Music, which is the Intellectual Property of the Composer/Artist is not reproduced by a third party for financial gain, through breach of copyright.

Generally, it is preferred that the music for all three gaits should be of the same genre, but this is by no means set in stone. It is more important that the music flows seamlessly through the transitions.

The interpretation of the music means that it should enhance the horse's way of going and match the tempos of his gaits. The music should suggest the movements; transitions should correspond to the transitions in the music. It is imperative that the choreography interpret the music. Movements and figures should be started and finished at obvious musical phrases.

Degree of difficulty

The level of difficulty should correspond to the horse's abilities so that the ride looks easy. A horse which is more advanced horse for any given level will be able to perform more complex movement combinations, or more extreme movements (e.g. 720° pirouette, 2:3 Half-Pass etc.) which are rewarded as being more difficult. However, this comes at the increased risk of loss of rhythm or a mistake in sequence, which would result in more marks lost that would have been gained. A good freestyle program is entertaining to the audience and pleasing to perform.[13]

References
  1. "The Freestyle: The Perfect Symbiosis of Horse, Rider and Music". Eurodressage. Retrieved 2023-08-25.
  2. Kennedy, Merrit (2021-08-05). "How A Composer Puts A Horse's Movements To Music For The Tokyo Olympics". National Public Radio. Retrieved 2023-08-25.
  3. Steiner, Axel (2015-01-20). "The Evolution of the Musical Freestyle". Dressage Today. Retrieved 2023-08-25.
  4. "Dressage to music - novice level". Horse and Rider. Retrieved 2023-08-25.
  5. "Noteworthy demonstration of dressage to music". Tivyside Advertiser. 2015-07-27. Retrieved 2023-08-25.
  6. "Dressage timeline". British Dressage. Retrieved 2023-08-25.
  7. Triggs, Helen (2020-02-07). "How to maximise your marks in freestyle dressage". Horse & Hound. Retrieved 2023-08-25.
  8. "The Dressage Anywhere Podcast: Dressage Anywhere chats to Gaynor Colbourn". dressageanywhere.libsyn.com. Retrieved 2023-08-25.
  9. "Dressage Tests". FEI. 2012-08-09. Retrieved 2023-08-31.
  10. https://inside.fei.org/system/files/Pony%20Riders%20Freestyle%202022.pdf
  11. "Archived copy" (PDF). Archived from the original (PDF) on 2014-08-12. Retrieved 2014-08-27.{{cite web}}: CS1 maint: archived copy as title (link)
  12. "Archived copy" (PDF). Archived from the original (PDF) on 2014-09-04. Retrieved 2014-08-27.{{cite web}}: CS1 maint: archived copy as title (link)
  13. "Archived copy" (PDF). Archived from the original (PDF) on 2014-08-13. Retrieved 2014-08-27.{{cite web}}: CS1 maint: archived copy as title (link)
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