Reformer Pilates: Single Leg Press

Reformer Repertoire

Leg Work:

Single Leg Press

Alternate Names

Bend & Press

Derived From

Mat Pilates: Side Kick Series

Primary Element

Stability

Why for Primary?

To create, develop and connect with the pelvis stabilisation muscles such as gluteus medius and the deep core transversus abdominis.

Secondary Element

Strength

Why for Secondary?

To develop and improve gluteal and leg muscle strength, particularly in the gluteals and quadriceps of the pressing leg.

Tertiary Element

Mobility

Why Tertiary?

The hip, knee and ankle joints are all working here, although not always through their full range of motion.

Repetitions

8-10 each side

Apparatus Setup

Suggested springs

  • Number system: 2 springs
  • Colour system: 2 x red spring
  • Resistance: medium

 

Foot bar one position down from vertical, or on many Reformers the top angled position.

Use a ball or cushion under the client’s head for neck support, and use a small hand towel or foam under the client’s underside waist to aim for a neutral position even if lying on their side.

Plane of Motion

Sagittal

Targeted Muscles

To create, develop and connect with the pelvis stabilisation muscles the focus is gluteus medius and gluteus maximus and the deep abdominal muscles transversus abdominis.

To work on strengthening the leg muscles the focus is on the below:

The ‘knee extensors’ or quadriceps muscle group of the anterior thigh facilitate the pressing away of the carriage creating a concentric contraction.

They comprise:

  • Rectus femoris
  • Vastus intermedialus
  • Vastus medialis
  • Vastus lateralis

 

Hip extensors – muscles which open or lengthen the front of the hip and move the leg backwards. Primary hip extensors include:

  • Gluteus maximus
  • Posterior head of the adductor magnus
  • Hamstrings

Warnings

This exercise may be difficult for clients with tight hip flexor muscles, as it may be uncomfortable to be close to the stopper in deep hip flexion. Start the client out further away from the stopper and aim to avoid coming too close into the stopper on the return phase of the movement, or not bending the knee in as far.

It may also be unsuitable for clients with some hip, knee or ankle issues.

Execution

Lie on one side on the Reformer leaning on the forearm of the lower arm with the hands behind the shoulder rests, or with the head on the head rest supported by a ball or cushion. Place the foot of the top leg onto the foot bar in a parallel position with toes towards the front end of the bar, and bending the bottom leg. Engage the underside oblique abdominal muscles and shoulder stabilisers to support the torso and lift the underside waist.

Exhale to extend the top leg pressing away from the footbar, inhale to bend the knee bringing the carriage back towards park or the stopper with control.

Observations

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

  • Pelvis
    • Are the hip bones even vertically or is the client leaning their top hip bone back?
    • Is the client arching their back to achieve the hip extension movement, or are they able to stay within a range of motion pressing back that enables the pelvis to stay still?
    • Is the client neutral with their pelvis, with a gap underneath the underside waist?
  • Legs
    • Is the pressing leg knee locked? You’re looking for a soft and straight knee, not dropping inwards and not locked. Have the client reach the knee up slightly to connect more into gluteal stability muscles
    • Is the client able to keep the top leg at hip height or higher? Keep the leg lifted to avoid engaging the hip adductor muscles
  • Feet
    • Are the insides of the foot lifting or leaning outward? (supinated) 
    • Are the insides of the foot rolling inward? (pronated)
  • Apparatus
    • Is there tension on the springs the whole time? Or is the carriage crashing to the stopper or ‘park’ indicating a lack of control and a push by the client beyond their ideal range of motion? If the carriage is crashing encourage the client to reduce their range of motion and slow their movement down to focus on controlling the return phase, or reduce the spring load so the client can control the spring.

Learning Style Technique Cues

Auditory – word associations that connect mind and body

  • Aim to keep the hip, knee and foot of the top leg on the same horizontal line
  • Try to minimise rocking the torso back and forwards
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine that both legs are on the Foot Bar and you’re pushing away. Everything remains the same keeping the structure stable and balanced
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Engage the abdominal muscles to stabilise the torso, maintaining neutral pelvis alignment with a gap under the underside waist
  • Bias most weight into the heel of the top leg rather than the toes to help engage the posterior chain

Modifications and Variations

Regress the exercise by

  • Reducing the spring setting to one red and one blue springs to connect into the pelvis stability component of the exercise, practice deep core muscle activation, and reduce the leg load
  • Reducing repetitions and/or pace
  • Reducing the range of motion so the client can focus on pelvis stability without the hip flexors taking over. Create more of a pulse movement from the extended leg position half way into the stopper to avoid going into deep hip flexion on the return phase
  • Working on Foot Work: Parallel Heels

 

Progress the exercise by

Series and Transitions

This exercise is part of the Leg Work Singles series which includes a range of other exercises in the fundamental and progressive repertoire. The Leg Work series can also be found in the Wunda Chair repertoire and the Cadillac repertoire.

Transition to the second Leg Work exercise by standing up and to the side of the carriage ready for Leg Work: Scooter.

Alternatively transition to Side Kick Series: Bend & Press to challenge stability in the same movement, by placing the top foot into the long strap and bending and straightening the top leg.