THE
DRESSAGE METHOD
Dressage Theory
Dressage theory is the ever-evolving collection of factors, definitions, ideas, tools, and techniques that we use to understand how dressage works, hone specific skills, and be creative. We use dressage theory along with our commands and choreography just like musicians use music theory along with every note they play.
Dressage is much more than following commands. Before we can even perform the most simple "curl set," we have to show up on time, trot into the arena following the floor texture, and understand screen delay to be confident with our spacing and alignment.​
To make our curl more interesting, we can use affixes like "split" or "canter," we must be active riders, self-evaluating and making precise keystrokes, and we can get creative with complexity,
using transitions and distributions or performing our curl from any shape or alignment. These ideas apply for every movement and every scenario, each with their own layers of depth.
As you explore dressage theory, click the arrows on slideshows to see more diagrams and click the hyperlinks to be taken to related moves/theory concepts' full explanations elsewhere on the SDM. You can even see real applications of theory concepts by clicking on the routine example buttons. Head to the curricula page to see what it's like to learn Simplified Dressage. Join Bronze Butterflies or attend our weekly open lessons to experience it for yourself!
Etiquette
Pay attention and participate​
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Stay focused on the Instructor, the other riders, and your own riding. Be an active participant, asking questions when you have them, sharing your ideas, and answering when prompted with questions.
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No side conversations
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Small comments are alright, but they should come and pass quickly to not detract from the dressage.
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Stay on mute
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The only person off mute should be the Instructor. This minimizes background noise and makes it easier to focus. Feel free to use #no-mic or ask to come off mute if your chats are getting blocked by the filter.
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Arrive early
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If everybody is just 1-2 minutes early, then nobody misses out when the lesson begins right on time. Plus, it's always fun to chat before practice starts!
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Set up your environment for success
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Close your door, have water nearby, sit comfortably at a desk, etc.—choose a good space to play in so you can stay focused!
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Reduce lag
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Close all other programs than SSO.
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Connect to Discord on your phone if needed​.
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In SSO, turn down graphics, turn off shadows, turn off reflections​.
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In SSO, ignore non-club members in the arena.
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This fully stops the game from rendering them. Just toggling their visibility will make them disappear but won't improve your lag.
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Clear storage to have at least 20% of your hard drive free.
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Communicate
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If you need to halt in order to type something, put a . in the chat to let the Instructor know you halted for a reason.
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If you have to go AFK, would like a break, have a suggestion, or have a question, share your thoughts!
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Be kind
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We expect you will make mistakes and have questions, and it can take bravery to put your struggles an ideas out there! Be kind and encouraging to yourself and others.
The Arena
Dot Pattern
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The dots on the arena floor define important locations and lines to ride on or to reference for angle calculation.
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Use the sparkly rake by the entrance of the arena to turn your dots on!​​​
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If you're having trouble seeing the dots, try adjusting some SSO settings:
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Zoom out with "Distance to Camera (Horse)" and/or "Field of View"​
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Play with the "Brightness," "Contrast," and "Saturation" sliders
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Different concepts are easier to see with different camera angles. We recommend you are constantly holding down your right mouse button in order to move your camera at will.​
Pebble Floor Texture
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Beneath the dots, there's a repeating pattern of pebbles of different
sizes and shades. See the precision section to learn how pebbles help us avoid drifting.
Locations
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Center of the arena (X)
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The dark spot in the middle of the light dot found at the intersection of the midline, centerline, and diagonals.​​
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​​Wall Letters
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The dots on the ground next to the labels on the walls.​
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Used for marker timing cues (ex: "canter at C") and orientation cues (ex: "turn towards the A wall")​​​.
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Markers​
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Dots are useful for circle markers, marker timing, precise cuts, clean transition timing, and for formations in distinct moves.
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Dots don't have names except for the wall letters, so we refer to them like coordinates.
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The marker shown here is the (E1/4, A10m) dot—at the intersection of the E quarter line and A 10 meter line​.
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1. Center of the Arena
Primary Lines
​The lines we use most often, whose names and locations should be memorized. They divide the arena evenly, providing visual structure.​
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Wall Lines​
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Centerline and Midline
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Diagonals
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Quarter Lines
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Buddy Lines
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X Slanted Lines
All Primary Lines
Routine Example: Motif in "Jupiter"
We run down the X slanted lines to mirror the music's growing intensity and energy.
Secondary Lines
Every possible line made by connecting dots in straight (parallel with walls) and slanted (45° off from walls) angles.
​​​Fraction Lines
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Straight and long, stretching from the A wall to the C wall.
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Named for how far away they are from the long wall, in fractions.
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B or E is put ​before the fraction for which side of the arena it's on
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Ex: the B eighth line is 1/8th of the arena away from the B wall.
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Don't memorize, count:​
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Eighth Lines: 1 dot away the wall
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Quarter Lines: 2 dots away from the wall/centerline
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Wide Buddy Lines: 1 dot away from centerline
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All Fraction Lines
Meter Lines
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Straight and short, stretching from the B wall to the E wall.
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Named for the circles (around the center, X) we use them for.
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A or C is put before the number for which side of the arena it's on.
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​Circles are named for their diameter, so the meter lines are that many meters way from their pair.
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Ex: the C 15m line is on the C side of the arena and 15m away from the A 15m line.
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Don't memorize, just add 5 for every dot you go out from the midline.​​​
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You can also use the wall letters to remember where the 15m and 25m lines are​.
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All Meter Lines
Gridlines
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Located halfway between all fraction lines and meter lines.
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Some primary gridlines:
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​Buddy Lines: right next to the centerline and midline.
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A and C quarter lines: 17.5 meters apart, in between the 15m and 20m lines.
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Gridlines give us smaller and more precise divisions of space, so they're mainly used as circle markers or choreography markers.​
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Referred to based on the fraction lines (for long gridlines) or meter lines (for short gridlines) they're near.
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Short gridlines have names like the other meter lines, in increments of 2.5 meters instead of 5.​
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All Gridlines
Slanted lines
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Cross through dots at a 45° angle compared to the wall lines​.
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Mainly used for angle calculation and riding in slant alignment.
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​​​Primary slanted lines:
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The X Slanted Lines, which run through the center of the arena in a square X shape.
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They can be used for some peripheral markers for circles around the center of the arena.​
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Most slanted lines don't have their own names, so we describe them based on markers they intersect.
All Slanted Lines
Tertiary Lines
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Lines at any angle, connected between at least 2 dots.
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Because tertiary lines are not secondary lines, they feel like they "skip over" some dots as they stretch across the arena.
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We have one set of primary tertiary lines: the diagonals.
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Notice how the only dots the diagonals intersect are the corners and the center of the arena. Knowing this can with finding the line confidently and avoiding drifting.​
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There are thousands of possible tertiary lines, so we refer to them based on markers.
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We mainly use tertiary lines in moves like rake, in improv, and in routines.
Diagonals (primary)
The Meter System
Adapted from Terrific Tigers
Measuring the Arena
In real life dressage, the distance between letters B and E is always 20 meters. Semi-Realistic Dressage, created by Terrific Tigers, took this idea into SSO to measure the arena.
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Because the distance between B and E is 20 meters, we know that...
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From the centerline to the wall is 10m
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From the quarter line to the wall is 5m
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From the eighth line to the wall is 2.5m​
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We also call the distance between any 2 dots, or 2.5m, 1 Unit.​
Creating Perfect Circles
Measuring with markers
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Circles must have 1 marker for the center and 4 markers for the track, all 4 being the same amount of dots away from the center.
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Using the same math as with measuring the arena, we name our circles for how much distance they cover across the diameter.
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By counting dots, we can ride any circle anywhere in the arena.
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Technique​​​​
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Ride through, not next to, the 4 dots on the track of the circle. Turn your camera to always be looking at the next marker. Even when riding with a group, focus on the track, not the person in front of you.
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To keep the perfect shape, you must consistently tap your turning key in an even rhythm. The rhythm will be faster or slower depending on your gait and the size of the circle.​
Gridline markers and circles
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Notice that when performing 2.5m, 7.5m, 12.5m, and 17.5m circles around the center of the arena, the track markers aren't dots, but intersecting gridlines. We can also make circles of any size using gridline markers away from the center of the arena for more variety.
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The three kinds of markers:
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Dot-Dot (intersection of 2 dotted lines)​
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Dot-Grid (intersection of a dotted line and a gridline)
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Grid-Grid (intersection of 2 gridlines).
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See the diagrams for examples of circles using dot-grid and grid-grid​ markers. Depending on the size and location, we sometimes use different kinds of markers in the same circle.
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It's helpful to visualize dot-grid and grid-grid circles as normal circles that have been shifted up, down, left, and/or right by half of a unit.
Dot-Dot Marker Example
Peripheral Markers
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Dots near the circle track are useful for visualizing it and helping everyone ride the same shape, especially in large circles when the track markers are so far away from each other.
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Common examples:
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For 7.5m circles centered on a dot-dot marker, there are dots intersecting that circle's X slanted lines that you can pass just outside of​
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When crossing the X slanted lines of a 20m using all dot-dot markers, you'll ride to the inside of the 3rd dot out.
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​For 5m grid-grid circles, you'll ride just outside of a 2.5m square
of dots.
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Feel free to go back up to the diagrams of all circle sizes and find your own peripheral markers to use for them!
7.5m with dot-dot center
Curves
Curves are circles that you only ride a portion of. We define them the same way, with markers for the center and track of a specific meter size. You can think of them like very big curl divisions.​
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You stay riding on the curve track for a certain amount of revolutions. It's easiest to do revolutions in multiples of 1/4 (like the straight curl divisions), but by looking at a circle's X slanted lines, you can do them in multiples of 1/8 (like the slanted curl divisions).​
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When multiple curves are put together, it's called a serpentine.​
All 1/4x revolution curves
Look to the Leader
Look to the Leader (LTTL) is the guideline for how beginners to dressage should move around the arena and fix their mistakes. These ideas evolve into active riding as riders become more skilled.
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Know who your leader is
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The leader is first person in line.
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Especially while in split lines or a buddy formation, make sure you know the nickname and appearance of your line leader​.
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Follow the leader
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"Look to the leader"
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If the Instructor calls something you don't know or you're ever unsure of what to do, look at the leader and imitate them.
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You can also use the leader as an anchor while in comb alignment and slant alignment.
Screen Delay & Gaits
Screen Delay
What is screen delay?
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Every time you press a key to trot or turn, it happens instantly for you, but it takes a moment for everyone else to see you move. Likewise, it takes your computer a moment to see that the people around you are pressing their keys. Why?​
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Star Stable is continually sending information across the internet to the computers of everyone sees you ingame. Your computer is also receiving info about everyone you have rendered in. It takes a small but noticeable amount of time, about two seconds, for that info to travel between computers, which is the "delay" in "screen delay." It's a normal and unavoidable part of online gaming.
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Two Perspectives
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​You will always appear a little bit ahead of everybody else on your own screen, while to an observer outside the line, everyone will appear to be moving in sync. We call these two viewpoints the rider perspective (experiencing screen delay) and the observer perspective (not experiencing screen delay).
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One sign that your timing is good is that you look ​early on your screen (from the rider perspective).
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Different for everyone
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Since we don't all have the same internet speed, weather, geographic location, and lag conditions, screen delay is a little different for everyone. Your personal screen delay will usually be the same, but you might experience more or less on average than someone else.
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Our spacing and alignment rules ​are based on the universal average screen delay, but as you attend lessons and get corrections from the Instructor, you'll figure out what your personal screen delay is and the way you need to ride.
Gaits
Screen Delay Intensity of Each Gait
​We use all 8 gaits that exist ingame: backwards, halt, walk, trot, canter, gallop, fast gallop, and faster gallop. Each is some amount of taps with the A/D keys and up/down arrows away from being halted (not in motion).
- You can turn on a gait indicator in your SSO settings to always know which gait you're in!
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Increasing Intensity
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Screen delay feels like it increases when you're moving faster since you cover more distance in the same amount of time. We measure that distance in horse-lengths.
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Note: all spacing and alignment rules change depending on gait.
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See the comb alignment diagrams for a visualization of the varying intensity by gait.​
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Backwards (-1 tap)
Halt
Walk (+1 tap)
Trot (+2 taps)
Canter (+3 taps)
Gallop (+4 taps)
Fast Gallop (+5 taps)
Faster Gallop (+6 taps)
0.33 horse-lengths
0 horse-lengths
0.75 horse-lengths
1 horse-length
1.75 horse-lengths
4.5 horse-lengths
6 horse-lengths
7 horse-lengths
Turning Radius
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The other difference between each gait is their turning radius, or how tightly you can curl. We measure this in meters and units.​​
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Here, you can see the advantage of thinking in units rather than meters, which can get messy and unintuitive.
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We can use the turning radius of each gait to our advantage to help us ride precisely.
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When changing gaits, like for pick and transition moves, our transition timing must be exact to avoid moving off our track due to the smaller or larger turning radius.
Other applications
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Read more about how we use gaits as affixes, in transition moves, and in distributions here on the theory page.
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See how we command gait changes as core moves on the moves page.
Spacing
Spacing refers to the distance between riders. To keep everyone evenly spaced, we use specific spacing rules in different situations.
Spacing situations are in context of improv or routine work. In each situation, the distance between the riders (from the observer perspective) is the same no matter what gait is being used. Given the situation and the gait we want to ride in, we can decide what spacing rule to use.
Spacing Situations & Appearances
Single spacing is generated from the default single line, like when trotting into the arena at the start of a lesson.
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Wide spacing is generated when riders in single spacing split with the normal ABABABAB label pattern. It also generates from tier.
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Dot spacing is mostly used in routines, so is generated by manually lining riders up with the dots. You can move from trotting HI single spacing into dot spacing by having each rider canter when they reach a certain marker.
Single Spacing: half-horse gap
Spacing Rules
Spacing rules are the positions riders maintain (from the rider perspective) in order to keep the gaps between everyone evenly spaced. When changing gait simultaneously, we're automatically thrown into a different spacing rule that has the same appearance from the observer perspective. Riders must learn which rules to use depending on the situation and the gait.
Single Spacing
Trot: HI (halfway inside)
Wide Spacing
Trot: HB (halfway behind)
Dot Spacing
Trot: NTT
Spacing Confidence
There are many different strategies you can use to be confident of your spacing, so you can find what works for you. Take these examples of trotting HI spacing: there are at least 3 different places you can look to judge your correctness.
Because screen delay is slightly different for everyone, your personal spacing rules might be slightly different than these provided average diagrams. Pay attention to corrections from the instructor to learn what correct spacing means for you.
Saddle pads touching
Spacing Corrections
Always use gait changes to adjust your spacing.
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Tap your A/D keys or up/down arrow keys in small bursts.
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If you're much slower than the person above you, be sure to tap up regularly.
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Make many frequent, small adjustments (not infrequent, large ones).
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Why use gait changes instead of wiggles and curving corners?
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Teamwork: gait changes are easier to see, so others around you can be aware of the choices you're making.​
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Efficiency: gait changes can be done any time (as opposed to waiting for a cut or a corner) and move you more, faster than wiggling.
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Precision: especially in circles, it's impossible to wiggle or drift without sacrificing the precision of the shape.
Alignment
Alignment refers to the position of riders compared to each other.
Alignment Vocabulary
Line: any straight or slanted string of connected dots on the arena floor
Track: the line, circle, or curve marked by the dots on the floor which riders align themselves to
Baseline: the shape and angle of a line of riders, visualized by drawing a line through all human avatars​
Individual Angle: the straight or slanted way that an individual rider is facing, or the kind of lines they're parallel to​
Line Alignments
Line alignments describe the positions of riders in the same, single rider line. Each is defined by how the baseline angle and everyone's individual angles compare.
Follow Alignment
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Single-file riders follow the track as well as the leader.
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Baseline angle and individual angles are the same.​
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Making Corrections
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Face your camera angle forward and top-down.
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If you drift off the track, lightly tap your S/D or left/right arrow keys to fall back into line.
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Be sure to maintain your spacing
Follow alignment w/ straight, slanted, circular baselines
Comb Alignment
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Parallel riders face out, square with the baseline.
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Baseline angle and individual angles are 90° off, or perpendicular.​
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Making Corrections
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Left-Right Corrections
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Face your camera forward and top-down to see if you're drifting.​
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Look around; stay evenly spaced with the riders around you.
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Lightly tap your S/D or left/right arrow keys to adjust.
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Up-Down Corrections
Comb alignment w/ straight, slanted, circular baselines
Slant Alignment
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Parallel riders face out, at an angle with the baseline.
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Baseline angle and individual angles are 45° off.
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Making Corrections
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Left-Right Corrections
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Face your camera forward and top-down to see if you're drifting.​
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Look around; stay evenly spaced with the riders around you.
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Lightly tap your S/D or left/right arrow keys to adjust.
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Up-Down Corrections
Slant alignment with straight and slanted baselines
Group Alignments
Group alignments describe the relationship between multiple rider lines.
Staggered
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Riders from the different lines are naturally offset with each other.
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Lines can cross through the same point without riders intersecting
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Merging two staggered lines is smooth, no adjustments needed
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Common situations
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Split at the wall​
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Split comb
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Straight-Across
Staggered lines in follow alignment
Buddy
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Two lines near each other moving together, going the same way
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You have a "buddy" across from you!​​
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Formed by doing a...
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Split U
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Buddy Distances​​
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Normal Buddy: baselines are 1 unit apart, like on the buddy lines
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Wide Buddy: baselines are 2 units/5 meters apart, like on the wide buddy lines
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Close Buddy: baselines are so close, riders' stirrups are touching​
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Normal buddy, staggered
Timing
In order do moves simultaneously, we need cues to know when to press our keys.
"Go" Timing
Most moves are commanded with "go" timing. The moment you hear the "guh" sound at the start of the word "go", press your key.
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Due to screen delay, when you have good timing, you'll appear ahead of everybody else on your screen (from the rider perspective).
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Timing Mistakes
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It's impossible to do curl divisions faster, so you can't correct your timing if you make a mistake.
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Going too early or too late will offset your spacing and alignment, so when you notice your timing is off, prepare to correct it.
- ​Know who your anchor is so that you can realign yourself quickly!​
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When riders near you go late, their spacing and alignment will get off, making yours look wrong too, but don't move! If your timing was good, then you're not offset from the group, so it's your job to stay put while they fix. This is part of active riding.
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Timing Troubles
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If you feel like your timing is good but the Instructor keeps saying you're late, try...
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Checking your internet connection and memory usage (slow connection or overloaded memory = hearing "go"s late)​
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Leaving and rejoining the call
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Reloading Discord
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Marker-Based Timing
We can also use markers (usually arena dots) to know when to do moves. There are many different ways it can look:​​
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Reaching the marker simultaneously​
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For example, if a line combs off the B wall and is meant to curl over the centerline, everyone will reach the centerline at the same time, so everyone will curl at the same time.​
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Not reaching the marker ​simultaneously
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For example, if a line riding along the B wall is meant to canter at V, the leader will reach it first, then the second person in line, then the third, and so on, so not everyone will canter at the same time.​
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Except during Beginner lessons,​ only one "go" is commanded for transition moves. So, the move starts with "go" timing and the transitions are performed with marker-based timing using the gloves rule.
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Using distributions, different people can use different timing cues in the same move.​
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Below are examples of marker-based timing commanding phrases. Notice how they are statements without a "set, go" at the end.
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"Canter at M"
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"U left over the centerline"
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"Slant twirl right over the X slanted line"
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"10 meter right around X and gallop as you enter the circle"
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Judging accuracy
Awareness
Everyone must know what they and those around them are doing in order to work as a team. It's the foundation of all active riding.​​
Awareness Techniques
Field of view: in your SSO settings, zoom out to see more of the arena at once, enough to see space behind you.
Experiment and make small adjustments over time to get used to it to avoid nausea/discomfort.
Camera angle: turn your camera by holding down the right mouse button.
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Top-down to see if you're drifting off your individual angle.
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To the side to check spacing.
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Based on the spacing situation and spacing rule.
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Over your shoulder to see your gloves for marker-based timing.
Counting markers: count dots to find your track or count riders above you to find your letter label.
Self-Evaluation
Switching Focus and Making Choices
Dressage is complex, with many things happening at once. You must switch your focus back and forth, moving your camera and using awareness techniques and to judge your spacing, alignment, and timing. When in doubt, look to the leader or your anchor.
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Especially during Beginner lessons, the Instructor gives individual critique to each rider, like when they went late or when their spacing is off. We give frequent, specific corrections as you first learn the SDM but fewer as you become more skilled. As your knowledge grows, you'll be confident in monitoring yourself and deciding how to make corrections. Learn what it means to you to ride correctly, then do it!
Interconnected Fundamentals
The three big fundamentals (spacing, alignment, and timing) are constantly affecting each other.
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When all three are correct, you feel what it is to perform moves correctly.
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When your timing is late, you get further from the person above you, making your spacing wide.
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When your spacing is wide before doing a move, your alignment becomes off even if your timing is good.
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If you start in perfect comb alignment but then drift, by the time you fix your angle, your spacing will be off.
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If you pay attention to how correct your fundamentals are at any moment, you can reverse-engineer how you got to where you are. By making this a habit, you'll learn what your personal tendencies and struggles are, which helps you be a confident rider.
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Double-Checking
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Double-checking means checking something by looking at two or more factors at once. For example...
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In straight-across buddy:​ you need correct spacing between you and the next rider (usually HB) AND to be anchoring parallel to your buddy across from you (usually one horse/NTT above).​
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Against a "go": if you know how to do transitions without needing a "go," you should perform them that way even if the instructor is commanding them. If you hear the "go" at the same time you choose to transition, you'll know you did it right!
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The Caterpillar Effect
The caterpillar effect happens when a mistake ripples down the line like the bump of a caterpillar inching along the earth. Once the caterpillar effect has started, there is no clean fix, but if you notice it happening you can tell that something went wrong and avoid making the same mistake later. To avoid the caterpillar effect, you have to avoid following riders in front of you when they make mistakes with their spacing or alignment.
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For example, if the line leader is drifting while leading everyone down the diagonal, the caterpillar effect will happen when they notice, adjust to be on the diagonal track, and everyone else follows the same (incorrect!) path. If the second person in line noticed the leader drifting and decided to follow the diagonal track rather than the leader, then the rest of the line would ride the diagonal correctly and the group would be looking perfect again much faster, since only one person (the leader) would need to adjust themselves.
Precision
The Gloves Rule
In SSO, the point around which you rotate is your gloves. (This is true for the knabstruppers most horses, though some larger and newer horses are different). Knowing this, we can look at our gloves in order to make precise keystrokes and decisions for a wide variety of situations.
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Reaching the end angle
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When you complete a curl division and need to let go of your key, you should do so when you see your gloves reach the end angle.
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This will feel ever so slightly early, with your horse not arriving at the same time as your gloves.​
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Turn your camera angle to look over your shoulder to see your gloves.
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Centering
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To perform gait changes or curl divisions centered over a specific line or dot, turn your camera angle to the side and press your key as soon as you see your gloves over the dot/line.​
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Transition Timing
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Every kind of transition is performed at the moment that you reach the end angle of the previous curl division. Speaking precisely, you reach the end angle when you see your gloves over that line, so you should look at your gloves to know when to transition.​
Anchoring
Anchoring refers to making decisions about your position in the arena by aligning to an "anchor" - either a dot or a rider. The idea is, if you anchor to something you know is correct (such as the unmoving arena floor), it will help you be precise. We assign different jobs to different letter labels: A's are responsible for maintaining normal, textbook spacing and alignment with the people in their own line. B's are responsible for anchoring to the A's.
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There are many different situations that call for anchoring, including...
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Split lines, tiers, and buddies
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A's maintain wide spacing and follow alignment while B's...
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maintain ​single spacing with the A they'd be behind in a merged line (for staggered alignment)
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stay one horse/NTT above the A they'd be behind in a merged line (for straight-across alignment)
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Split lines in oncoming comb alignment​
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A's maintain even gaps between each rider while B's adjust if needed to stay centered between two A's.​
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Maintaining symmetry​
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When mirroring someone across the arena at the trot, you should arrive at any given dot exactly one horse-length before they do.​ For other gaits, arrive just as ahead as the screen delay intensity.
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Anchor Webs
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When multiple small groups anchor only within their group, they may eventually fall out of sync. To avoid this, we set up an anchor web. One A becomes the main anchor while the leading A in the other group anchors to them.
Rules of Thumb
Don't drift: angle first, alignment second
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When performing any curl division, your first priority after letting go of your turning key should be making sure you have an accurate angle and are not drifting. Once you're sure of your angle, you can look around to evaluate your spacing and alignment.
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Look at the arena lines parallel to the track you're currently riding on. For example, if you just combed off the E wall and are looking at the B wall, the meter lines will be parallel to you. Make sure you stay the same distance away from the lines on either side of you that you were when you first did the move.
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If you want something more nearby than lines to compare to, look at the pebble texture on the arena floor. Find a pebble or group of pebbles repeating out in front of you and align yourself to it, such as keeping the same large pebble between your horse's ears.​​​
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Order of transition keystrokes: turn, then gait
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Whenever you must press or let go of both a gait key and a turning key in quick succession, do the following:
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Start: press both keys at the same time if possible. If you must choose, press your turning key and then your gait key.​
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End: finish turning and land on the exact correct angle. The moment you reach the end angle, change your gait.
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Anti-Look to the Leader
Anti-LTTL
As beginners, it's important to follow the line leader and follow reminder commands, because you're still building your own knowledge and skills. However, as you get more and more individualized feedback from the instructor to learn what correct means to you, and as you get practice with transitions, marker-based timing, and other experienced techniques, your skill will outweigh the likelihood of the instructor giving the commands perfectly (and of Discord delivering the commands with the exact same amount of call delay).
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As you become confident, go ahead and make decisions and perform moves based on your own discretion. For example:
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Self-evaluate your riding and make corrections without being told to.
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Follow the proper track rather than the leader while in follow alignment, especially on diagonals and circles.
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Perform transitions without waiting for a "go" from the instructor.
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Anchor and double-check yourself constantly, even without the instructor prompting the group to do so.
Label Patterns
Rule of Right (ROR)
As a phrase, "rule of right" is our way of remembering that the default direction riders should turn if none is given is to the right. This being our default direction extends in some other ways throughout the SDM:
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When two rider lines cut onto the same arena line, they should pass on the right of each other.
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When splitting, A's turn right and B's turn left.
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The A line is the dominant over the B line.
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They need to stay ahead of the B's—for example, be on the inside of overlapping circles​.
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A's will be anchored to by the B's.
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Label Patterns
When performing distributions, different riders need to do different things. Different factors are "distributed" down the line according to a specified label pattern:
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Default labels: ABABABAB
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Pair labels: AABBAABB​
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Double labels: [ABAB] [ABAB]
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When two lines that have already split apply ​the default labels within each line
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Other: we can use the alphabet in any pattern as needed. For example...
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ABCABC​
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ABCDABCD
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No Labels | AAAAAAAA
Affixes
Affixes: complexity via commanding
In general, an affix is the umbrella term for prefixes and suffixes - the small parts of words at the beginning or end that contain meaning. In dressage, an affix is a word instructors can add to their commanding phrase to change how moves are performed. We also use them in distinct moves and choreography.
Instructors adding affixes to core moves in-the-moment is how we explore the possibilities of dressage in a way that's both accessible and endlessly creative. They unlock all possible variations without needing to memorize hundreds of similar moves with different names.
Formation & Line Interaction Affixes
​Buddy
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Indicates that riders should end up in buddy alignment.
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For example, "buddy merge" tells the line leaders of a split group approaching the same marker to cut onto the buddy lines into normal buddy.​​
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Close​​
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​Indicates that the distance between two rider lines should be smaller than the default.
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​For example, "close buddy merge"​ tells the line leaders of a split group approaching the same marker to cut onto lines next to each other that will put them in a close buddy.
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Wide
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Indicates that the distance between two rider lines should be wider than the default.
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​For example, "wide buddy merge" tells the line leaders of a split group approaching the same marker to cut onto the wide buddy lines into wide buddy.
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Cross​​​
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Indicates that two rider lines should cross directly through each other over the same marker or line. Mainly used for clarity, but sometimes used to add visual interest.​​
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For example, "cross and buddy merge" tells the line leaders of a split group ​approaching the same marker to cross through that marker and then buddy merge, swapping the sides that each line would be on if they hadn't crossed.
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For example, commanding "comb in and cross X" from follow alignment in a circle tells all riders that they will be crossing through the center of the circle before the instructor gives the next command.
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Pass
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Indicates that two rider lines should pass just next to each other when using the same line or marker to avoid clipping.​
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​For example, "cut to pass" tells the line leaders of a split group approaching symmetrical markers (such as E and B) to cut onto not that line (such as the midline) but just next to it, so that riders won't clip as they pass.
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Remember, Rule of Right tells us that passing lines need to pass on the right of each other.
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Line leaders should be as close to the track as possible without clipping, approximately with their left stirrup brushing it.
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This can be used with any cut, curve, or serpentine, and is the default for moves like twine and moon.
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"​Fall in"/"and return"
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Indicates that for the upcoming move, riders will perform a slant or comb towards the leader that will put the line back into follow alignment.
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For example, "flip and return, set" tells the riders to wait for a final "go" after performing the flip, when they'll slant towards the leader and fall in.
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For example, "fall in towards your leader" called while in comb alignment tells the riders to turn towards their leader at the wall.
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Complexity Affixes
Gait
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Indicates that riders will perform the next move at a specified gait and return to the original gait after reaching the end angle.
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For example, "canter curl, set" or "walk keyhole, set"​
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Pick
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Indicates that riders will perform the next move at a specified gait and stay in that gait after it ends.
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For example, "trot pick curl, set" or "canter pick slant cut at A"
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Transitions
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An open-ended affix used to perform any kind of transition move, with riders doing two or more moves with some variation in quick succession. For example:
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"Curl into comb, set" (move transition)
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"Walk curl into canter curl, set" (gait transition)
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"U right into keyhole left, set" (direction transition)
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"Canter comb left into trot ribbon right, set" (combined transition).​
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Distributions
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An open-ended affix used to perform any move using any kind(s) of distribution, with riders varying how they perform the same move according to their label pattern. For example:
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"A's ​curl and B's comb, set" (move distribution)
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"A's trot curl and B's walk curl, set" (gait distribution)
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"Split backslant, set" (direction distribution)
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"A's keyhole on the first 'go' and B's keyhole on the second 'go,' set" (timing distribution)
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Curl division shapes
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​All curl divisions can be used to alter the shape or angle that riders make when performing marker moves (including cut, tier, split, and merge) and some distinct moves like fate and twirl. For example:
Transitions
Transitions and their place in the SDM
Transitions happen when moves are performed in such quick succession that the keystroke at the start of subsequent moves happen at the same moment the previous move ends. There are three main types of transitions: move, gait, and direction. Different kinds of transitions can also be combined in the same moment. Especially during beginner, full club, and open lessons, instructors usually command "go"s for each transition as reminders, but all transitions are possible to perform with just one "go" to trigger the start of the move.
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SDM instructors tend to improvise affix combinations to describe what riders need to do since this helps avoid memorization, but putting so many words in one commanding phrase can be hard to process. The wordy examples below demonstrate how concepts are stacked, but in our day-to-day dressage, instructors usually either create a temporary move name or use a distinct move that already exists.
Move Transitions
Move transitions are commanded using the word "into" to combine two or more similar moves with no pause between them and no other kind of transition. They're almost always either "curl into [curl division]" or serpentines that only change meter size. For example:
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"Curl into comb, set"
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"Curl into ribbon, set"
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"10 meter 3/4 revolution curve into 5 meter 1/4 revolution curve"
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Timing rule: hold down your turning key or continue tapping your circle/curve until you reach the end angle of the last move.
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Gait Transitions
Gait transitions combine two or more similar moves and involve a gait change in between them. All eight gaits can be used, and riders must take additional care when transitioning between gaits that are two or more taps apart. They're almost always either "[gait] [curl division] into [gait] [curl division]" or "[gait] [circle/curve] into [gait] [circle/curve]." For example:
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"Walk curl into canter curl, set"
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"Trot curl into backwards curl, set"
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"Gallop 10 meter 1/4 revolution curve into canter 5 meter 1/2 revolution curve"
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Timing rule: press your gait key at the moment you reach the end angle of the previous move.
If you need to make multiple key taps, avoid tapping any before you end the previous move and tap the rest as fast as you can without any taps not being registered by the game.
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Distinct move examples include increase, decrease, onion, and dragon.
Direction Transitions
Direction transitions combine two or more similar moves and involve a direction change in between them. They're almost always either
"[Curl division] [direction] into [curl division] [opposite direction]" or "[circle/curve] [direction] into [circle/curve] [opposite direction]." For example:
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"U right into keyhole left, set"
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"Curl left into backslant right, set"
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"10 meter 1/2 revolution curve left into 10 meter 1/2 revolution curve right"
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Timing rule: press your turning key at the moment you reach the end angle of the previous move.
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Combined Transitions
Move, gait, and direction transitions can be combined with any two or all three happening at the same moment. For example:
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"Canter comb left into trot ribbon right, set" (move + gait)
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"Trot U right into canter curl left, set" (gait + direction)
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"10 meter 1/2 revolution curve left into 5 meter 3/4 revolution curve right" (move + direction)
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"Walk curl into keyhole right into trot flip left, set" (move + gait + direction)
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Timing rule: press both your gait key and turning key at the moment you reach the end angle of the previous move.
If you're having trouble pressing both at once, press your turning key and then your gait key. This helps us stay precise.
Move transitions still do not require any special ​transition timing.
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Distinct move examples include pasta, swan, forward swan, back swan, combo, hiss, pearl, and luna.
Distributions
Distributions and their place in the SDM
Distributions happen when different riders perform something different from others at the same moment. There are four main types of distributions: move, gait, direction, and timing, and those factors are "distributed" down the rider line based on the label pattern. Different kinds of distributions can also be combined in the same moment.
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SDM instructors tend to improvise affix combinations to describe what riders need to do since this helps avoid memorization, but putting so many words in one commanding phrase can be hard to process. The wordy examples below demonstrate how concepts are stacked, but in our day-to-day dressage, instructors usually either create a temporary move name or use a distinct move that already exists.
Move Distributions
Move distributions involve A's doing one move while B's do another simultaneously. They're almost always either "A's [curl division] and B's [different curl division]" or "A's [circle/curve] and B's [different circle/curve]." For example:
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"A's curl and B's comb, set"
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"A's keyhole and B's flip, set"
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"A's 10 meter 1/4 revolution curve and B's 10 meter 1/2 revolution curve"
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Gait Distributions
Gait distributions involve A's using one gait while B's use another simultaneously. They're almost always either "A's [gait] [curl division] and B's [different gait] [same curl division]" or "A's [gait] [circle/curve] and B's [different gait] [same circle/curve]." For example:
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"A's trot curl and B's walk curl, set"
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"A's gallop U and B's walk U, set"
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"A's Canter 10 meter 1/4 revolution curve and B's trot 10 meter 1/4 revolution curve"​
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Direction Distributions
Direction distributions involve A's going in one direction while B's go in the other simultaneously. Thanks to rule of right, we can simply use the distinct affix "split" for everyone to know that A's go right and B's go left. For example:
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Timing Distributions
Timing distributions involve A's using one "go" while B's do nothing or use a later "go." There are also distinct timing distributions with specific instructions that result in not everyone pressing their keys simultaneously:
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Partner: A's perform the move on "go" and B's follow the A in front of them through that move.
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Domino: the line leader performs the move on "go" and everyone else performs the move as soon as they see the person above them start to.​​
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Timing distribution commanding examples:
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"A's keyhole on the first 'go' and B's keyhole on the second 'go,' set"
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"Domino slant, set"​
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Distinct move examples include file halt, puzzle, puzzle comb, froggy, and thread.
Combined Distributions
Move, gait, direction, and timing distributions can be combined with any two, three, or four happening at the same moment. For example:
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"A's canter U and B's trotting comb, set" (move + gait)
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"A's comb left and B's keyhole right' set" (move + direction)​
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"A's canter 15 meter 3/4 revolution curve left and B's gallop 15 meter 3/4 revolution curve right" (gait + direction)
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"A's comb left on the first 'go' and B's keyhole right with marker-based timing to follow your partner, set" (move + direction + timing)
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"Domino A's trot comb right and B's walk keyhole left, set" (move + gait + direction + timing)
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Distinct move examples include obliques, blip, weaving, overlap, and pinwheel.
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