Choreographing Your Dressage Freestyle

Everything You Need to Know

By Sally O’Dwyer, with expert contributions from Janet “Dolly” Hannon.

Dressage freestyles are the ultimate blend of artistry and technical skill. Developing choreography involves designing a floor plan that takes required technical movements and transforms them into a flowing performance. While there is a learning curve, riders can develop choreography once they learn how they are judged, their purpose, and the rules. And, riders know their horses best and are uniquely positioned to design choreography that highlights their mount’s strengths and minimizes weaknesses

Why Create Choreography?

Choreographing movements transforms our understanding of dressage. Perspective shifts the focus from isolated movements to a continuous, flowing ride. Developing choreography builds spatial awareness and understanding of arena geometry, which helps riders perform accurate circles and execute precise lines, making them better competitors overall. Beyond practical benefits, creating a freestyle is an incredible experience that deserves a spot on every dressage rider’s bucket list. 

In a dressage musical freestyle, technical execution and artistic impression each account for 50% of the overall score.

A good way to understand choreography is to consider two main components.

1. Technical Movements–individually scored

• Required Test Movements: Specific movements for each level listed on the score sheet
• Permitted Movements: Additional movements from the same level or below that can be included to increase the degree of difficulty
• Prohibited Movements: Movements you may not use in your choreography

2. Connecting Elements that unite technical movements–these are evaluated holistically as part of the overall artistic impression scores

• Figures and Patterns: Circles, serpentines, and other geometric patterns 
• Lines and Tracks: Center line, quarter lines, diagonals
• Transitions: The connections between movements and gaits 

The requirements for each level can be found at: https://www.usdf.org/downloads/forms/index.asp?TypePass=Tests

Choreography Tips

Showcase Strengths

Riders can enter the arena from either direction—judging doesn’t begin until the transition into the halt. Try not to perform a half circle back after the first halt, and ride through the short end at the start before including a judged movement, as this can lower your choreography score. Halt at D or L and show the judge what you can do immediately.

Feature your strongest movements at the beginning and the end of the test. Emphasize movements with a coefficient of 2 in your test. Every movement repetition must be judged, and too many repetitions are not appreciated. If your horse tires easily, ride the canter tour first. If the horse needs a few moments to relax in the arena, then begin with the trot work.

Balance and Flow

Combine complementary movements along the length of the arena (not necessarily on the rail). Build in moments to rebalance and prepare the horse for each new combination. Create emotion and drama through strategic lengthenings or extensions, depending on the test level. Incorporate graceful bending lines during the walk tour to enhance aesthetics and the horse’s walk quality. Create progressions between movements that feel organic rather than disconnected to create a cohesive dance.

Spatial Planning: The Dance Floor

Balanced patterns throughout the arena create visual appeal. A pattern covering the whole arena demonstrates thoughtful choreography, and the ability to maintain straightness throughout and balance in the corners.

Quarter lines add dimension, interest, and degree of difficulty. Design elements that carry you to different arena areas and sides.  Incorporate movements on both diagonal lines for a balanced pattern. Use short diagonals (from H to B, or R to V) and try long diagonals to A or C (from M to A, or K to C).

While judges do not evaluate whether you ride to a particular letter, arena letters are useful as reference points. Without considering arena letters in choreography, the rider risks not knowing whether they are riding the appropriate length, geometry, and direction as asked for in the test.

Consider highlighting complex movements (that you excel at!) at letters directly before the judge for maximum impact. How about using the center line? Avoid clustering movements in one area.  Be cautious with small circles—10-meter circles in corners may be difficult for judges to see clearly, and they can be confused with 10-meter half circles if both are included.

If you are designing choreography for higher-level tests (Third Level and beyond), adding an “insurance” or “joker” canter line into the plan offers the rider a second opportunity to ride flying changes or other challenging movements if it did not go well the first try.   This extra line can be ridden as an extension if it isn’t needed. 

Do not perform too many flying changes at Third Level as this makes judging and scribing difficult.  After Third Level each change is not scored individually.  They are scored for mistakes in the tempis, or if there is a bad change after a half pass or counter canter or pirouette, the total movement score would be lowered.

You don’t have to ride a mirror pattern in both directions, but mirrored patterns can help judges predict what’s coming next, which puts them at ease. When designing choreography for your test, meet at least the minimum required distances and geometry for each movement. For example, if the test specifies 20 meters of medium walk, demonstrate a full, continuous 20-meter segment of medium walk. Similarly, ensure the choreography incorporates the additional 20-meter requirement specifically for free or lengthened walk portions.

Failing to choreograph the required length or geometry for any required test segment will significantly reduce the choreography score, as judges carefully evaluate whether you’ve fulfilled the distance requirements. The penalty for an omitted movement is a 0 for the movement and a 5.5 for both degrees of difficulty and choreography.  The coefficient for the degree of difficulty increases with the respective level.

The best choreography scores come from clear patterns that include all required elements in a way that’s easy for judges to follow. If you plan to compete at regionals and Finals, consider your choreography from the perspectives of judges both on the side and at C.

Consider the Judge

When scoring a freestyle, judges have a complex job that requires them to evaluate and score both artistry and technical ability simultaneously. Aside from scoring your movements (like in a regular dressage test), they must verify that all mandatory movements for your level are included, note errors that require deductions, and determine the degree of difficulty.  During the performance, judges must time the ride, and assess your choreography and how well you use the arena, while tracking your position in the pattern.

This multitasking explains why clear, logical, predictive, and sequential choreography that helps the judge follow your pattern is so important—it allows them to focus on performance quality rather than decipher where you’re going next. While it’s good to consider the judge’s perspective, you cannot always place movements facing the judge—your freestyle will be too long if you try.  Judges can assess your horse from behind as well.

Judges evaluate the harmony between horse and rider, so don’t attempt a level of difficulty beyond your current ability. Riders must qualify to ride a freestyle (see the rules about qualifying), and judges expect them to be accomplished at the level and able to perform their choreography easily.  Freestyles have no minimum time requirement, but judges often appreciate shorter routines, especially at Training and First Levels.  Choreography should be written to ensure the rider doesn’t ride more than five minutes.  Time begins when the horse moves forward after the first halt and ends with the final halt.

Know the Rules

Follow the USDF freestyle test rules to avoid penalties. Even if you hire someone to design your freestyle, take responsibility for ensuring that the performance meets all requirements.

For rules and more, go to: https://www.usdf.org/education/other-programs/musical-freestyle/index.asp

Memorable freestyles are those whose apparent effortlessness masks the extensive preparation behind every transition, every movement, and every musical phrase.

Choreography “Don’ts”

Although the term “freestyle” implies spontaneity and free artistic expression, a dressage musical freestyle is carefully orchestrated. While riding a freestyle is exhilarating, the fun factor is deceptive. A freestyle can’t be slapped together, set to a favorite song, and then ridden for a good time. Winging it will result in low scores. 

Freestyles allow for creative freedom, but choreographers must work within specific parameters for each level. The days of including movements from higher levels are gone, creating boundaries to creativity. Choreographers must understand the rules and requirements, and work within these guidelines. Lower level freestyles are primarily technical rides that are musically enhanced (like how FEI freestyles have always been).

Common Pitfalls to Avoid

Don’t:

• Create a routine that exceeds the time limit – Too long routines result in penalties, while finishing too quickly misses opportunities to showcase your horse’s strengths
• Include excessive non-judged circles – They consume valuable time and create a visually dizzying effect for judges and spectators.
• Throw the horse off balance – Add time between movements and elements to allow the horse to transition to the new bend or direction.  
• Start with a weak introduction – Start boldly to capture attention and establish presence in the arena.
• Construct an ending that lacks impact – An abrupt, fizzling out, or weak finale leaves judges with a diminished impression.
• Miss the ending –running out of music or finishing before the music ends effects impact and possible choreography and interpretations scores.
• Dedicate excessive time to unscored movements or elements – Be strategic.
• Borrow choreography designed for different horse-rider combinations – Create patterns that highlight your specific partnership’s strengths.
• Use repetitive patterns – This will reduce artistic impression.
• Forget to show trot steps out of walk before canter at First Level.
• Embed walk pirouettes (Unless you are riding the Junior FEI test that requires it).  These do not usually enhance choreography.
• Forget to salute at beginning and end.
• Develop an overcrowded choreography – Cramming choreography with excessive moments and elements creates a busy floor plan that is hard to judge. Leave breathing room between movements so your horse can show quality in each component.
• Design aimless choreography – Avoid long lines where nothing is happening; use letters and be predictable.
• Create a freestyle that is too “test-like” – This means your choreography should not ride exactly like the tests. Your freestyle should show mastery of the level, not repeat a standard test.
• Fail to maintain required movement specifications – Ensure you ride the proper number of meters for each movement and incorporate correct geometry.  Be especially careful of the walk tour.
• Design patterns that exceed current capabilities – No one wants to watch a rider struggle or over face their horse.
• Halt to canter – Through Fourth Level, directly cantering from halt is not allowed. You may ride a few walks steps and then begin your canter from the walk. At Training and First Levels, the canter may only be ridden from the trot.
• Forget who you are riding for – The Judge(s)!
• Miss riding a movement in both directions – check your test.

How to Get Started

Phase one: Research and Inspiration

• Use the test requirements as a checklist to ensure your choreography meets all the requirements. All the information you need on this is on the USDF website.
• Watch other riders’ performances at shows or online to inspire creativity. Consider how they use the arena, combine movements, and incorporate elements.  Ask yourself what you like about the ride. The purpose of reviewing other rides is to learn, not to copy.
• Attend the USDF Continuing Education in Dressage Judging Program session on Musical Freestyles (offered both in-person or remotely), which discusses judging the artistic marks of freestyles. These programs are offered through your local Group Member Organization (GMO), and contain valuable information on how freestyles are judged.
• Consult with your trainer and fellow freestyle competitors, who can provide valuable insights.

Phase two: Create a Design

• Ride and experiment with natural combinations, test their flow, and let choreography develop organically. Practice choreography in a regulation-sized arena.
• Identify areas to feature and manage weaknesses.
• Draw out your choreography. For musical freestyle dressage arena templates, you may wish to download the “Freestyle Freebies” offered by the Creative Equestrian.
• Once drawn, check for balanced arena usage and logical flow. This visual representation will immediately show any overused or neglected areas.

Phase 3: Testing and Refinement

• Work without music to perfect technical elements. Ride your choreography to see if it meets your horse’s comfort and confidence—what looks good on paper might not work for you and your horse. 
• Use your lesson time to work on the freestyle.
• Have someone film your practice sessions from the judge’s perspective at C to give you insight into how the patterns and transitions appear from where they’ll be judged. If your goal is to attend Regionals or Finals, video from B/E to see what it looks like to the side judge as well
• Refine your pattern until you can ride it effortlessly! 
• Because editing music takes considerable time, wait until your choreography is completed before putting your ride to music.

Phase 4: Feedback: The Better You Know It, The Better You Show It.

When you show before the judge for the first time, take their comments to heart and adjust your choreography as needed. Don’t be afraid to make changes; your freestyle is not set in cement. Tweak choreography as you receive feedback from judges and develop new ideas for improvement.

• Track scores for both technical and artistic components and work to improve.
• Note specific judge comments and how you addressed them.
• Consider increasing the level of difficulty as you and your horse progress during the competition season. For example, a single flying change is required at Third Level in each direction.  As your competency improves, you might want to ride three changes in each direction–make sure there are at least five strides between changes.

Don’t be afraid to do a freestyle!!! While designing choreography may appear challenging, you can do it! You will improve with practice, learn new skills, and create a performance celebrating your bond with your horse.

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Many thanks to ‘S’ Judge Dolly Hannon for her support, wisdom, and willingness to share her vast knowledge of the art of dressage freestyles.