Reformer Pilates: Up Stretch

Reformer Repertoire

Long Stretch Series:

Up Stretch

Alternate Names

Pike

Derived From

Classical Reformer: Up Stretch

Primary Element

Mobility

Why for Primary?

To create mobility at the hip joints and work to engage the transversus abdominis to move the carriage forward and in towards the stopper.

Secondary Element

Strength

Why for Secondary?

To create and develop strength in the transversus abdominis muscles.

Tertiary Element

Stability

Why Tertiary?

To create torso stability by engaging and strengthening the transversus abdominis or low abdominal muscles.

Repetitions

8-10

Apparatus Setup

Suggested springs

  • Number system: 1 springs
  • Colour system: 1 x red spring
  • Resistance: light

 

Foot bar one position is set at one position down from vertical, or on many Reformers the top angled position. If the Reformer has a vertical setting it can help to take that top vertical position in order to keep the body weight back as opposed to leaning forward and down to the bar with the body weight too far forward.

Plane of Motion

Sagittal

Targeted Muscles

The shoulder flexors as the arms are pressing into the foot bar and reaching upwards

Shoulder flexors

  • Anterior and Middle Deltoids
  • Pectoralis Major
  • Biceps Brachii

 

The abdominal muscles to keep the torso in the same position throughout, and the transversus abdominis to assist in moving the carriage forwards and tucking the pelvis posterior.

Warnings

This exercise may be unsuitable for clients where abdominal engagement is contraindicated or creates pain, or where a client is unable to stand with their head downwards.

Execution

Stand upright on the Reformer carriage facing the foot bar with the feet forward of the shoulder blocks and the weight into the heels. Place the heels of the hands onto the foot bar shoulder width apart with the fingers relaxed. Aim to keep the spine rounded but note in the video Pilates Instructor Mary McArthur is demonstrating with a neutral spine position.

Inhale to push away from the bar extending the carriage maintaining the arched position of the spine (again note the variation in the above video). Exhale to return to the starting position engaging the transverse abdominals to initiate the movement.

Observations

Do a body scan of the client taking note of the following points

  • Head and Neck
    • Is the back of the neck long and crease free? A slight retraction of the neck with the chin tucked can help avoid straining the neck forward and up as the arms reach forward and upwards
  • Pelvis
    • Are the hip bones even horizontally or is the client leaning to one side?
    • Is the client about to keep a posterior tilt throughout with engagement of the abdominals? Look for the rib cage popping forward, ideally it is kept down and in.
  • Arms
    • Are the arms shoulder width apart with the heels of the palms resting on the foot bar without any white knuckle grip of the fingers?
    • Are the same straight throughout? A soft bend in the elbow is ideal but generally straight arms
  • Legs
    • Are the legs straight throughout? A soft bend in the knees is ideal but generally straight legs

Learning Style Technique Cues

Auditory – word associations that connect mind and body

  • Aim to keep the pelvis and torso still when you extend the legs away from the foot bar
  • Bias the pelvis towards a slight posterior tilt in order that you can avoid extending or arching the lumbar spine
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine the torso and shoulders staying still and the hip hinging the legs forwards and backwards
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Maintain stability in the shoulders and torso, engaging the low abdominals to draw the carriage in
  • Feel the hinge at the shoulder joint and engage the abdominal muscles to draw the carriage back towards park or the stopper

Modifications and Variations

Regress the exercise by

  • Reducing the spring setting to one blue spring
  • Reducing the repetitions and/or pace
  • Bending the knees if the hamstrings feel tight, or stepping forward towards the edge of the carriage
  • Working on Long Stretch series: Down Stretch

 

Progress the exercise by

  • Increasing the repetitions and/or pace
  • Increasing the spring set to one blue spring and one red spring (watching for too much load into the wrists as the resistance of the springs increases)k
  • Working on a single-leg variation with one leg extended back out behind the body
  • Progress into Long Stretch Series: Long Stretch

 

Client sore from loading into the wrists?

  • Activating or connecting into the shoulders can help
  • Try externally rotating the shoulders so the palms face inwards and placing the hands on the outside rounded edges of the foot bar
  • Limit the repetitions or stay from 8 to 10 repetitions only

Series and Transitions

This exercise is part of the Long Stretch series which includes a range of other exercises in the progressive repertoire. The Long Stretch series can also be found in the Mat Work in the variations of Plank or Long Stretch and Pike or Up Stretch.

Transition to Long Stretch Series: Long Stretch by returning to the start position, then transferring the body weight forward and lowering the pelvis in line with the shoulders and ankles into a plank position.

The traditional order of the Long Stretch series is

 

Inspired Academy follows the order to create stability and mobility before building strength.

Progressive repertoire