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ANALYSIS
OF THE PASO FINO GAIT
Reprinted
with the permission of the Author Fernando Montealegre
R.
MUSIC
Sound
ON
INTRODUCTION
Since I knew Paso Fino
horses, I have been astounded with their form at walk, by
their smoothness and harmony as well as by the rapidity of
their movements. Enlivened I felt growing my curiosity each
time I saw a horse that moved with an astonishing rapidity,
printing to its gait the stamp of its brio and vivacity, but
carrying on its back a rider that seemed hung of invisible
threads, that kept him static, indifferent to the roar
produced under their seat.
I did not realize my amazement to hear to talk to the people
with knowledge of the subject, assuring that a horse was
displacing by laterals, making it in eight beats; where a
unskilled eye as mine, only appreciate a broadside of trodden
very quick and rhythmic, but impossible to distinguishing on
the moving.
Encouraged by these incomprehensible matters for me, I
proposed myself to find the answers to these and other similar
questions. I consulted the books and magazines that were
trying this topic and I was gathering information that I used
to form my own opinion about this topic.
The most difficult part to
understand for me, was that the explanatory graphics of the
eight beats or movements, were not enough oriented to explain
the harmony and smoothness that I so much was seeking to
understand.
QUESTIONS
Determined to find a way to decipher this mystery, I came back
to read again books and magazines, to consult notes and hear
opinions, but this time from a different perspective.
I attempted to discover under the light of a technical point
of view :
- How a horse did to have
an harmonious looking in its gait.
- What the reason was to,
in spite of executing movements very much complex that
those done by a trotting horse, its rider stayed
surprisingly more quiet.
- What a sequence followed
the displacement of its extremities to give that agreeable
sensation of continuous movement, without shocks of no
class and where its hoofs touched the soil with
astonishing regularity and synchronism.
PREMISES
To continue with my study, I consider the recognized bases all
over the sources that I consulted:
- There exist eight
movements or beats that constitute a complete cycle. (
Which, for demonstration purposes I will number 1, 2 , 3 ,
4 , 5 , 6 , 7 and 8).
- These eight movements are
reduced to different four, executed alternatively, once by
the rear foot of the right side ( 1, 2, 3, and 4) and then
by rear foot of the left side ( 5, 6, 7 and 8).
- In terms of the supports,
or hoofs on those is sustained the horse, there are two
classes:
double (or on only two hoofs) and
triple (or on three hoofs).
- During the eight
movements, there are four triple supports (1, 3, 5 and 7),
alternated with four double supports (2, 4, 6 and 8).
- During the four triple
supports, there are two of them executed by one hand and
two feet (1 and 5), alternated with two by one foot and
two hands (3 and 7).
- During the four double
supports there are two executed by one hand and one
opposite side foot (2 and 6), alternated with two by one
hand and one foot of the same side (4 and 8).
HYPOTHESIS
Starting with what I had gathered, I tried to discover what
was lacking for me. For that, it outlined some hypothesis, for
then to attempt to prove them with the theories that would let
me to state the following :
- Analyzing the graphics,
exposed by the consulted authors about the decomposition
of the movement, they all agree with the existence of
eight beats or times.
- There are five recognized
times with support in land (or impulse phase), and three
aerial (or recovery phase).
- Considering the
displacement of the horse, each extremity advances by the
air in three of these eight times, in the sense of the
movement of the horse. On the other hand, in the impulse
phase, once put the hoof on the floor, this remains there
without amending its support and is body which is
displaced, giving the impression that the hoof is moved in
opposite sense; this happens in five of the eight
movements.
- If the horse is really
soft for its rider, it must exist other factor to
consider: the horse must be well balanced; in other words,
its weight and that of its rider always should be
correctly balanced. As a result of these considerations, I
suggested the hypothesis that in the triple supports, the
hand or foot of simple support, must be found in the
middle of its course or aplomb point (3), while the two
feet or hands of the double support, should be in extreme
opposite positions (1 and 5).
- If the repeated cycle
this compound by eight movements and if the trodden are
synchronous, and the horse have four feet, it is concluded
that each two movements must be produced the contact of a
hoof with the floor.
If I set out from the base of the already established
supports, in a triple support, the unique hoof that in the
air is the one which must fall immediately and it must
make it after an intermediate movement. And so that is
present that triple support (1, 3, 5 or 7), in that moment
it must fall a hoof, because in the previous there was
only a double support (2, 4, 6 or 8).
The eight movements in which
agree the consulted authors are reduced to repeated four
alternatively beats by the right side and the left, and they
are, with their order of execution their/its supports in the
floor and the relative position that they should keep the
hoofs amongst them:
Click here for a
Graphical Depiction
Analysis
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