The final day of the 2025 USEF Horsemastership Training Series, held Jan. 2-5 in Wellington, Florida, began with McLain Ward gathering riders in the middle of the ring, not to outline a jumping course but to scrutinize tack choices, specifically bridles and bits.  

“I feel that people, in general, are getting a little gimmicky with some of their tack, like it’s some kind of magical advancer where a lot of times working a horse in a little bit of a better way or being a little more patient or having better contact with the horse gives you the results you want,” Ward said. “This doesn’t mean that in my own riding, I’m not open-minded to trying something different if I’m really struggling with a horse’s mouth, but I always gravitate toward being more conservative when it comes to tack.” 

Ward then shifted the discussion to the importance of flatwork, particularly in the schooling area before a class. He explained that the warm-up should focus on loosening up the horse in a relaxed and methodical way. Riders should prioritize rhythm, suppleness and responsiveness rather than attempting to teach new skills or demanding an excessive amount. 

“I see people all the time trying to show something or prove something in the warm-up. That’s not the point of the warm-up,” Ward said. “The extra preparation should be done before you arrive at the show, and when you arrive at the show, what you have is what you should work with.” 

The riders began schooling over a 2’6’’ crossrail oxer set a bit off the rail. Ward used the exercise as an opportunity to discuss his approach to warm-up fences before entering the ring. He explained how he typically schools eight to 12 jumps depending on the horse. The main goal is for the horse to enter the ring feeling confident, relaxed and attentive without being overworked or overwhelmed. 

He talked about the importance of tailoring the warm-up to each horse, using a scale from 1 to 10 to determine the amount of seat, contact and leg required. This approach can allow riders to make precise adjustments based on their horse’s needs, ensuring effective communication and minimal effort. 

“Have enough rhythm because it’s an oxer, but I want this jump to just get in your way,” Ward said. 

The course featured a variety of technical elements that required strategy and adaptability. One line was similar to the three-part cavaletti exercise from the previous day with Beezie Madden. To start, all jumps were set at approximately 1 meter, providing a manageable height for riders to establish their rhythm before progressing to more complex elements. Each jump was equipped with ground lines on either side, allowing them to be approached from any direction. 

At one end of the ring, a triple combination was set in a standard one-stride to two strides. The first and last jumps in the combination were verticals, while the middle was a square oxer. 

Another significant element was a diagonal three-part line, which riders could approach in multiple ways, depending on the horse’s stride length. This line could be ridden in four strides to five strides, four strides to six strides or even four strides to seven strides. The first and last parts on the line were square oxers, while the middle jump was a vertical with a plank on it. 

Additionally, the course included a single diagonal oxer and a water jump set at approximately 2’6’’, with guide rails on either side. 

The first course began with riders approaching the crossrail oxer off the right lead. From there, they continued on a circle, setting themselves up for the single diagonal oxer. The riders then made a left turn and jumped only the middle vertical of the three-part line. Next, they made a turn before the oxer at the end of the line, rolling back onto the same diagonal oxer. They then executed the same left turn back onto the middle vertical. 

Maggie Jacobs, riding her mare Fury, was one of the first to tackle the course. Her horse is known for shaking her head when she feels pressure with no release and tends to step sideways and get crooked if she feels too much pressure on the reins. 

“Start by following this mare with enough rhythm that you have something to balance off of,” Ward said. “Don’t start by giving her little bumps in the mouth because she is already kind of jigging.” 

Ward instructed Jacobs to focus on staying with her mare at the jump, emphasizing the importance of getting up to the fence and then sitting back again on the landing. He explained that getting behind the mare would result in having to chase her up to the jump, making it harder to maintain control when she landed. He additionally suggested adding a second rein to the gag bit to enhance communication and steady control over the mare’s mouth. 

For Olivia Sweetnam, Ward stood far in front of the plank vertical, raising his hand in the air to give her a focal point. This allowed Sweetnam to keep her eyes raised and focused ahead, rather than looking down at the jump and peering through her visor. 

“If you think at this stage in my career that I’m not at home picking a focal point, dropping my stirrups and thinking about simple details in my riding every day, then you’re wrong,” Ward said. “I work on those basic things because doing those simple things diligently leads to good habits, which are the key to success.” 

For the second course, the height of the jumps was increased to 1.30-1.45 meters, except for the water jump and the crossrail oxer, both which remained at 2’6″ The ground lines were also adjusted, widening as the jumps increased in height. The main focus of the course was the three-part line, and Ward instructed them to complete the line twice in the same direction, to achieve a flowing four strides to a steady six strides.  

Some riders struggled to get their horses back in time after landing the second jump, making it difficult to fit in the six strides. Ward addressed the issue by advising riders to use all six strides to shorten, “taking a foot every stride” with balance, hands and contact. He also reminded them to make sure they had enough pace in the first four strides so they wouldn’t need to chase their horses to complete the line smoothly. 

The final course introduced the water jump. Ward reminded the riders that if they didn’t feel their horse was in the right place, they could circle and reset because the whole point of the exercise was to train their horse. He also said that once the water jump is executed correctly, there’s no reason to jump it again because you don’t want the horse to become unimpressed by it. 

As Jacobs worked with the added rein, Ward said, “Sit down, slow down, be patient and let things develop. Do less. Imagine in your mind these are crossrails. Your horse is a little mouthy and you’re getting caught up in it. Follow the horse a bit, trust your eye and go with it.” 

Ward explained that the change wouldn’t make a difference overnight and emphasized the importance of Jacobs keeping her hands steady and light, with a constant give and take.  

“I would play with a couple of different things myself,” Ward said. “I like a double twist because it sits nicely in the horse’s mouth, and I would tape the sides with some latex because obviously, you would never want to cut their mouths. I would either do a figure eight [noseband] if she’s crossing her jaw, which she doesn’t look like she’s doing much, so I would just go to a regular noseband and a nice full cheek to help keep her straight.” 

Ward pointed out that regardless of the height of the jumps or the complexity of the course, a rider’s ability to maintain proper rhythm, balance and control comes from strong flatwork. 

“I want to give my horse the training and tests they’re going to see and experience in the ring in a modified version at home,” Ward said. “I want my horse to succeed.” 

ClipMyHorse.tv premium members can watch all the USEF Horsemastership sessions via USEF Network. 

For coverage of the first two days, flatwork with Anne Kursinski and gymnastics with Beezie Madden, click here.