Class #2462

Rhythm and Tempo Flow

50 min - Class
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Channel your inner musician in this Reformer workout with Amy Havens! She brings elements of musicality like rhythm and tempo so you can feel the intensity and integrity of each movement in a different way. She encourages you to move with flow and control while you feel the music within.
What You'll Need: Reformer w/Box

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Hi everyone. I'm here for reformer workout. And what I'm doing with this class today is bringing in a few elements of musicality, rhythm, tempo, and kind of just playing a little bit with that instead of having everything the same pace all the time, uh, which is fine. I think we miss some of the energy and intensity and integrity of what some of the exercises can be, or if you're used to doing it one way, maybe I'll show you a slight change of ways to do it where you can feel some different things. So if you're used to doing something fast, we might slow it down and vice versa. Um, intermediate level, all you need is a box and I'm on three red springs to start footwork. So come on down, have a little fun and take a few moments here to settle into reformer. And if you're just watching this, that's fine too.

Take a look at what's happening outside. We've got an amazing, uh, energy source in our water today. And that's also kind of what's inspiring me for the workout is, um, energy, and I'm trying to channel my inner musician, my inner choreographer from way back in the day. So here we go. Have some fun. We'll start in Pele's V and this workout will introduce and kind of bring in some tempos of waltzing tempo. So kind of Adagio type of stuff and also some Staccato, some faster. All right, so here we go.

We're doing three counts to press the carriage out and press the carriage in. So we have a one to three n n, two, three n press two, three and pool two or three. So yeah, out and in and out. So that's the waltzing tempo. If you're not really musical, that, that idea of three counts and out two or three n n and press and, um, two more out and in and out and yeah, and unless change the footwork position two arches or prehensile, same thing. Three counts one and in two, three the breath. So without my snapping, I won't do that all hour, I promise.

I would drive everybody crazy, but try to have that metronomic kind of sense inside and find it. So one, two, three and in two three press out. Two, three n n. So really never stops or starts in my mind, I'm not thinking carriage out kerogen, I'm stretching, I'm pulling, I'm pressing, I'm pulling. A couple more reps.

Inhale becomes the exhale becomes the inhale becomes the exhale. Same thing with heels. Flex 10 repetitions. We go two, three and stretch to three and fold and stretch. So I'm really doing my best to squeeze my inner thighs from, get the tone in there. And I'm also just trying to stay in a flow of movement. Okay, so today maybe a little less discussion of muscle groups and just more of quality of movement.

Couple more and nothing wrong with playing music while you work out, but your music is actually inside. It's in your breath and it's actually in your own kind of way. You move yourself. Let's go to [inaudible] balls of feet and stretch to three all the way out. Lower the heels.

So down to three and up and down to three and up and lower to three and rise. So even when I lower my heels, I'm trying to think of extending length up through the top of my spine when I arise, I'm still trying to lengthen my tailbone down toward my feet. Down under eyes. Four more, down to three and rise and down. Two three and rise and lower. Lower, lower lift, lift, lift and lower. Lower lift, lift, lift. This run in place are kind of prancing, so down and two up, down, up, down. It's a little more change of rhythm, down, up, down.

Focus on the up, up and down, up and down, up and down. Just for three, two and one and bend. Okay. Let's come up for a little bit of single leg work. So I'm taking off one spring, so I'll be leaving to red springs. You've seen me do this pattern before. I kind of like it.

It's very leggy and it has some more adagio kind of quality to it. So you start with one leg extended, the other foot's on the foot bar in men turned out. Both sides actually are turned out. So let's just do a little ballet. Okay. So you're gonna take your toe to your knee and then that leg all the way to the ceiling. Let's flex both feet. Flex. I'm just going to teach you the pattern. Reach the leg forward, bring the leg up and go back through your passe stretch. Let's do it again.

Breaking it down. So toe to knee, all the way up. Flex both feet and point both feet. Reach out, lift the leg, and then come back in and stretch. So if I count musically, I'm gonna do the three counts again. One, two, three, two, two, three, three, two, three, four, two, five, two, three, six, two, seven, two, three, eight. Couple more. One, two, two, three, two, three, four to three. You reach a little further. Each little up. Bend. One more pattern. And Ben, two, three, stretch. Never stop moving. Let one movement flow right into the next. Keep reaching.

Can you go further? Can you bend a little bit more and reach. Okay. Five patterns. This dude on the other side market first, so you have towed in the knee, leg to the ceiling. Both feet flex both feet point. This leg reaches forward to touch the bar. Back on up.

Ben both knees straight and let's practice it one more time. Towed the knee, lift the leg, flex both feet. Point both feet. How far can you reach? How Square can you keep your hips bend. Here we go to tempo. One, two, three.

Up to three flex point. Reach a little further out to the bar. Lift the leg up, bend and extend. Fluid and strong. Flex to 3.23 reach up and bend and was forgotten. One more. I'm in the moment here.

Flex and up and the feet and feet. Reach forward. Lift the thigh and bend and extend. Okay, let's do some spinal articulation. So I want you to place your feet.

This is different on the side edges of the foot bar and some of you may have tighter ankles, which won't allow you to get the foot all the way on the, on the bar here. Do what you can. Take your head rest down. Okay. We're gonna do a four count roll up the spine level. Pelvis is one. Pelvis is two, rib cage three, shoulder blades four and then rolling down in four. Okay, so let's breathe in. We're at level pelvis one go to the back of the pelvis to back of the ribs three all the way up, four rolling down and one and two landmark yourself. Three and four roll off the pelvis, one through the ribs to shoulder blades. Three.

This is actually the correct tempo. Four all the way up and shoulder blades and ribs back of the pelvis. Neutral pelvis. Couple more. You've noticed I've moved away from the foot bar. I'm not mad at myself for doing that. Don't worry about it. Move your spine. Come down through your ribs, Cross your lower back neutral pelvis. One more to the back of the pelvis.

Rib Cage, shoulder blades and lift. Come down through the landmarks of your spine. Okay, I am going to drop myself in now. So let's do it again. Four counts to roll up. We'll do four movements of the carriage. I call it a moving bridge and then four accounts to roll down.

A lot of work in the back line. Here we go. And one, two, three and four. We can move the tempo and in press, n n press and n and press and four accounts to come down and to pull yourself forward. Let's go again and one and two and three, four movements and out and in and out and in. And three and four roll it down and two, let's go. Two more roundtrips through. And for three I have to keep scooting my feet and floor and press pool, press pool. So by changing tempo, look my body having to work a little differently than just keeping it the same old rhythm. One more round. One, two, three, hips up four and press San Pool, press, pool, shoulders, back.

Arms are strong. Here we go to roll down and six and seven and eight. Hug your knees and bring your head in your chest up. Bring your spine into a curve, extend your legs so that you kind of stretch out those hamstrings. Okay? Yeah, so just playing with rhythm, playing with tempo change. Let's take our bar down, everybody you can work on to red springs for the a hundred and some coordination pattern where you can go down to red and blue or a single if you'd like. I'm going to stay on to red, picking up your straps.

Okay. Now we're moving into a little rhythm from some of the Fletcher a work which is the percussive tempo. Sounds like the, and that is the rhythm. So however you'd like to count that, but it is a little swift, right? Like that. And not doing the hundred and fives. So you've seen me do these before as well. Start with your knees and your tabletop arms are straight up to the sky. Set your shoulders, take a breath to prepare. Let's curl up.

We're starting here. So we have [inaudible] three for now. This fifth one, stretch your legs to the ceiling and in level the pelvis. Three, four lower, one leg, two a scissor, and two, three for other scissor on the fifth set of breathing in. So I'm still working to try to curl up high and for now bring both legs to open frog. Here's the last set, three, four, five and hold. Close the knees. Stretch your legs. Just hold your hundred. So what I want us to do next is just keep working. Extension of hips, flection of hips.

A few more times the arms stay static reaching. This is kind of a transition to more stretch, fold, stretch and stay. Arms go up and down four times. I'm going to take it up. One, two, and down. Two one, two. Press down last to press it down. This is challenging my forward deflection of my spine. Everyone come in, arms go up. Okay, a coordination pattern.

Let's take eight counts to curl up to the position. Two, three, four. Open your arms and legs. Seven and eight. The legs cross, they'll do it again. Flex feet parallel. One, two, three, four. Lower down, two, three, four. Here we go. Up for four, four and open. Four crosses. [inaudible] flex the feet in one, three, four and one, two, three, four. Close. Flex in lower, two more sets up. Two, three, four. Open to for an n I n f Lexa feats, sharp inner thighs. Back to parallel. Flex your do last round. One, two, three, four. Open and flex. Two, three, four.

[inaudible]. Flexi, ankles, energy in the arms, four counts. Parallel, four counts all the way down. Take a little moment. My Heart's beating a little bit faster than normal. Talking and doing this as harder, however, but just changing the normal routine gives a body an opportunity to work a little differently. Maybe your breathing, maybe your brain, hopefully you have are having some fun. Bring your arms up. So arm circles. We're going to go staccato. Four counts. One, rotate to open. Three close on. Four, one turn. Open in, pull, rotate, widen, close, pull, rotate, reverse direction.

So I want you to kind of think about slicing through the air. Slice, slice, turn, slights, pull down, lift. We're going to repeat the whole thing four times each direction. Here we go, Paul slice. Now, this may not be your most artistic movements quality, but just feel what's going on in your muscles and reverse slice, pull life doesn't happen in the same tempo. It's never the same. Constantly changing.

So adapt to the changes. Last one, pull close. Lift, cheerleader, one arm out. Let's do Adagio. One, two, three, up to three, change to three lift. So one arm comes down both arms down, excuse me, one goes out to t as the other. Come straight up. Here we go. Picking it up down to three, open two, three. Now you may be noticing some things happening in your rib cage of shifting or a little scooting or perhaps your knees and feet are swiveling.

That could be a sign that your springs are too heavy, so drop it down if you're experiencing that. I'm going to keep going about eight more reps anyway, down to three and down to three pressed into your inner thighs. Really pressing together. We've got four more to do. Go a little deeper. You can always add chest lift in these things.

If you want more abdominal work with your head up, press two. They're really nice alternating patterns. Don't keep your elbows straight and let's just do bend and straighten back to the Staccato rhythm. Three and four more and one and two. Collarbone wide, three and four stretch. Okay, lift the arms. Place your feet down. But this wraps in one hand. If you wanna change your springs, now would be the time. I'm going to keep mine on too red.

You can also go down a red and blue or heavier if you'd like. I wouldn't suggest too much heavy than what we have. Alright? Hold one strap in each hand and try this with me, everybody. Instead of doing maybe your standard push and stick one leg up, I want you to think about what might be happening in this sigh joint. Your low back joints. You're in a twist right there or a little bit of offsetting.

And if we suddenly start to pull tension on that leg, your sia joint might be a little bit out of position. So play with trying, try hold on strong. You did all that arm work, so you're ready to hold the straps like this. Pick up your buttons, stick your feet in that will your pelvis stays level. I think you'll like the difference there. Little challenge, arms by the sides.

Extend your legs. Okay, let's do some circles. Okay, so leg circles, and I want you to start at 90 degrees, legs or vertical to your pelvis. If you can keep a level. If not, you're going to start a little lower. Visualize three circles. Just do it like Valentine did a class not too long ago where they're at like a snowman. The top was small, the body was a little bigger. The bottom was big. You can think of that or you could just have them all the same size, not really too concerned, but let's have these a little bit dynamic like circle and circle and circle. Okay, let's see what happens. Three of them will take us down and we'll draw a straight line up the middle.

We're ready to go. One, two, three. Straight up the middle. One, two, three. So they're sharp. Again, that kind of Staccato, close, close. I'm actually tapping my feet together in the middle. I'm going to do four more. Close to three, lift, close, close, close, and live. Try to see it. The quicker tempo with these, so don't go too big. I would suggest one, two, three, up the middle.

Hold. Let's reverse SAR down here. Eight reps, three circles. Come up. Here we go. One, two, three. Strong. Pull down one. So you might start to feel the work in the legs differently than usual. Clothes, clothes, clothes. Pull down. One, two, three, four, one, two, three, four. Last, two to three and four and one and two, and three and four. Relax for a second. Just notice I did. It feels different. It feels good. Okay. Stretch out.

Now. Adagio a little slower. Flex both feet. Ben, one knee. The other leg is going straight up to the ceiling and you're doing a kind of a walking movement. And then back down. And one, two, three, four, pull down, two, three, four. So this tempo again, and the quality is a little bit more kind of Ooey gooey. And one, two, three, four, and maybe a long inhale and a long exhale.

[inaudible] keep going. See if you can keep the same amount of resistance, tension on the straps, not easy to push for more everybody you one, three, four, and and left and down. Last two, one, two, three, four and lower and noun, two, three, four. Let's stay at the lower level. Turn your legs out, open up, and just stretch. So I'm going to take my arms way up here. I'm going to open them and kind of let my arms pull on the straps in a teeter totter a little bit. If this bothers your knees, you're not abnormal, just bend them a little bit like that. It's a huge stretch on your inner thighs and hamstrings. Okay, so let's take a look at short spine with that alternating leg walking business.

That's kind of a fun one. So if we start low, bend your right knee first kind of tabletop, and just keep going up to short spine. You can do it. Just go right on up and come right back down. So when I roll down, I'm in a pull with this hamstring group. I'm going to pull with this one and I'm rural, rolling down the legs. We'll change out there. Let's just mark it on the other side. Roll up, roll down.

Place your pelvis, stand in the loops. Eight counts. One, two, three, four. We're getting there. Six in seven and eight coming down to four and out and change. Two, three, four. We're getting up six and seven and eight so that uh, landmarks from bridge at the very beginning. Pelvis, low back, ribs, shoulder blades, shoulder blades, ribs, pelvis, neutral. Happens here. And so we have one, two there. Your landmarks, three in your shoulders. Keep arising. Six, seven, eight and down to three place the pelvis. Stretch. I'm getting off temple cause I'm talking three, four, five, six, seven, eight and down and out.

I'll just do one more each side and one do three, four, lift the hips. Six, seven, eight down to four. Stretch out both legs. Steroid for a second and one, two, three, four and five, six, seven, eight n down. It feels really nice on the spine. Six and seven and eight. Okay. Let's take the straps out. Very similar way. So both hands. One has each loop. Step out, close the knees, and you can just simply hang your straps up.

We're done with those for a while so everybody roll yourself up. Let's drop this. Spring is down to one red. I like the middle red. We're looking for symmetry. I'm going on a low bar. Well balanced would be one spring symmetry would be two on either side. Okay. It's put your feet up on the bar. Stomach massage time.

Now I am going to approach it today. I'd like us to not forcing ourselves to sit all the way at the edge. I honor and respect that, but today I want to not do that and I want to sit back here and I'd like to start myself. Have you start turned out first position, sitting as tall as you can comfortably. All right then just hold your arms light, fingertips at the front of the Mat. Heels are lifted and come into your curve.

Now I am not all the way at the bumper yet. I'm not going to worry about it. I want to move the carriage back thinking my pelvis moves the carriage, my pelvis moves the carriage. Let's just do that a few times. Pelvis moves the carriage and pelvis moves the kerogen. Okay. Ideally, shoulders sing right above pelvis and in. Now Open your arms just a little wider off of the reformer and we're going to mark a new pattern so we're taking ourselves back and to rule up to sitting and to one arm comes up to the other car.

Arm comes up. Now I'm going to do a high back bend. I don't want to throw my ribs forward. I'm going to try to look up to the wall ceiling connection, lift my chest up, open the arms, and then fold all the way in, reversing it. The arms go wide. I'm going to open up the chest, let my arms go behind me just a little bit. Pick up the body sitting tall. I'll give you counsel in a minute. Arm and arm and flex forward.

Everything is going to get a couple counts. So we have one and two sitting up tall, three and four. One arm, five and six second arm, seven eight and lift two arms open, three and four. You have four counts to contract all the way in reverse. Two, three, four all the way up. Seven and eight. One arm lowers, one arm lowers.

You have four accounts do come in, six we'll do just a little bit faster. Here we go. And one, two, roll up, three and four. So your legs have to be very strong. Lift your spine. Four counts. We go up and up and open, open, and in two, three reversing and arms go open. One and three. So when I work out alone, a lot of times this is what's going on in my head.

This music and in contract we'll do one more round, maybe be, I'll go a little faster. Do three, four, five and six and seven. You can feel the difference in energy and reverse and three, four and left. Seven and eight and arm and arm. And in my lungs are getting a good workout, counting and talking, all this. So one single leg, stomach massage. Still on one red spring. Put One foot on the bar, the other leg underneath. Just sit up tall.

That's not easy. This inner thigh and hip joint have to early go to work. Just do four out in your pelvis, moves the carriage back your pelvis, pulls it forward. Pelvis back, pelvis forward, pelvis back. Now I'm going to turn away from my bent leg. I'm going to turn away and center. Let your arms do whatever they want to do. Believe it or not, I'm actually gonna go a little bit up this way.

Make a little figure eight with my arms for a more. This is challenging the uprightness of a spine and in out and hit flexor strength, which we need for lots of things other side. Okay for just pressing set up, lift. Try to pick your pelvis up and for accounts just for regular movements. Then we'll take our tours that are rotate away from this leg. Here we go.

Turn away back toward it. Turn away, try to keep the other leg up. You notice I'm not doing a rhythm of sped it up and go on in and two and in pelvis back in and back and n. Okay, let's do a monkey stretch. Open your feet, hands on the middle school, your hips in stretch. Just listen to some music in your body, okay? Even in this stretch, thinking about your pelvis being way back here, you're on the back edges of your sit bones.

You can lower your heels from more stretch. You could put your hands on the foot bar. Pull yourself down. Okay, let's bring on our show, our box for short box and I'm going to take the bar all the way down. Of course. Of course. There I go. All the springs.

So so far this has been kind of a lyrical or Adagio ish lyrical tempo. Don't worry, there'll be some staccato coming in a while. Short box, no bar, have your foot get really get yourself hooked in your strap and take a look at the brackets there. And if it, if it's not straight like mine, just wasn't, get both brackets straight so you don't have a surprise at some point. Lean out as far as you can really feel your s your strengthened leaning hip, stacked over hip. You know all your fundamentals. Take your bottom arm and slice it right down by your hip. The other arm over.

So reaching two counts in opposite directions. One and two. Now pick yourself up. Three turn four accounts to council. Bring you over to counsel, bring you up. Repeat it. One to pick it all the way up. No counter stretch. Go over to the straight leg. Okay, so it's Kinda two counts of everything.

One and two. One and do one and two. One, two and one. Two, one, two. You kind of get the picture. Six, seven, eight. How about a breath and reach a little further over one. Do we got lost? Three, four, an over six. I'm going to do two more sets. Yeah. So again, try to keep continually moving rather than just making some shapes.

Nothing wrong with the shapes. Just feel what's different by constantly being in motion and want to lift and rotate and and lengthen. Reach a little further up. Counter stretch all over. Okay, so we did five patterns. By the way, that doesn't just work your obliques in the front. You're going to feel that back here.

Do you have leaks in the back muffin top ish kind of stuff. Really good for that. Okay. Who has a muffin top? It's always stretch out to counts to add, lift and reach. Hang up and stretch and lift and over. Be Mindful not to use momentum.

Okay. If once you start to get a little fatigued you might be throwing your arms around. I've been there so I kind of know what, what that feels and looks like. Remember move with flow and control and lift. Reach and up and reach and over two more sets. Then one, two and one two and one. 2:00 AM over. Go up and over.

We have one more round and one two n rotate. Lean over side overs again, both arms reaching and up and side and that is enough. That's all I wanted to do. Let's take our box away and then we'll be coming back to the front for some long stretch. So headrest is up. Yup. Can take it down to two springs to read.

I like the heavier ones. Okay. On feed at the where the crack is. So we're at the bottom of the slope of the headrest and just stand there and look down at your toes. See that the ball of the foot is right there on where the break of the headrest is and the all toes are parallel, not in Nepalis, v not turned out.

And then find yourself in your plank line three counts back to the foot work tempo, one g three and pull two three and out and in two three and out an n. Find the relationship of pushing and pulling two more. And then I've got a little mat exploration here. Put your right hand in the middle of the bar, pivot and take your underneath foot. That's my right foot, side edge of the foot on the shoulder. Block. The other one on the top of their shoulder block and just stay.

You can see what this is. Arm overhead. So I want to lift my inside side. That's going to be my right hip, right ribs, right armpit. I'm going to try to create a bow or a like a rainbow shape. I'm pushing down significantly with my right arm lifting my right hip. Let's do the reverse. Whoops, let the hip dip.

I'm not collapsing. I'm stretching that inside boarder. My right border. I'm actually pushing quite a bit into this foot. Let's go up over four accounts. One, two, three, four, wall down, two, three. You're between two panes of glass. Remember too it was for me and too.

One more time only and left do three and four and down. Two and three and four and I'm going to fast forward to a little back support. Ah, long back stretch. Tuck the hips, push lower back it in. Tuck. Push back. Two more. Lift to back and up and lift down.

Now we have that whole other side to do. So flip your other hand. Get onto the border of that other foot. Lift yourself up, stack the other leg. Okay, for a moment, is this inside side lifted top arm open. Now I'm going to push down with my reformer arm, the carriage arm, and I'm going to lift my hips up and my ribs and up. No one has stretched what I just contracted. Suddenly I've lost my rhythm again.

Okay, four counts. One, two, three, four, down, two, three, four, two more. One, two, three, four. Dow Two not collapsing. Last one, one, two, three, four and down. I've got to go back to long back stretch and pick up the other direction so we have to dip down. Then Push, lift, return, dip and lift two more down and have a beautiful ocean to look at. Say Up and lift and step off and restaurants. Okay. How are you feeling? I'm breathing heavier. As you can tell, it's good to change things up. Chariot with some are more common to do one red.

You can leave that up. So let's Neil grab your straps. I like going up on the tape. Some up on top. Just look straight ahead. So different than chest expansion, chest expansion. We know starts here. Chariot arms come in front because they have to go back. So we have four accounts. Imagine that. One, two, three, four, one, two. Well, we can also take it back into that waltz tempo. I'm gonna try that. One, two, three, two, two, three.

Up and in and rotate and center and rotate. I kinda like the threes and one, two, three. Hold the arm still. As you'd kneel in lower. Then they move. Rotate beyond the front and the kneecaps again. Long arms pull back. Chessie is open. Lift, lift, lift. Let's do the left arm now guys.

Left arm center, right arm. Do more patterns. Pull two, three. Sit and lift. Two, three arms left. Arm pull and center. Last one coming. Here we go. One, two, three. Down and up. Forward. Left arm center, right arm center. Release. Okay.

You can choose to stay on a red or drop it down. I'm going to go down today to a blue. If you're on a four spring reformer with just the springs of four, they're all pretty much the same resistance. We're kind of lucky to have the variables here, so stretch out into kneeling arm overhead position for a moment. Open up your side ribs.

[inaudible] but what I want to do is draw a sword. Then in arm circle you might want to just mark this a couple of times as draws sword. Then the arms circle. Okay. That way. So for accounts, one, two, three, four, one, let your shoulder blade rotate over your ribs. One. Sure they're black. And one, two, three. I'm gonna try four more today. Keeping it moving. One, two, three, four. Last two, one too big or stretch and pull.

Left and down and center inside. Hand. Other arm out to the side. This arm has been to go straight up to the ceiling and then down and up and lower. I'm going to move over this way just a little bit. Here we go. And again, there we are cause I don't want to tap the bumper too early. I want to be able to get that arm down. So I'm going to do four counts. One, two and three. Four one, two and three for two and three. Just one more of this pattern. One, two, and three other side we have to face the other way.

Change it around. Do your kneeling arm overhead stretch first just so you get a good sense of opening up that side. Rib Cage, even weight on your knees. Melt your neck down. Here we go. And one, think of your shoulder blade, rotating around your ribs. Pull, stretch, go a little further in that arc of the arm. One, two and four. Three four more. And one, three, four one three two more. One, two, four and one, two. My arm is getting tired just in the nick of time to change you over just a little bit. Here we go.

I'm go straight up by the ear and that out toward the risers in up open two more and up and open and in and up. And that is enough. Okay. Set this down. Going back to some weight bearing knee stretch series. So can't do rhythm and tempo my opinion without any stretch series because the accent is the in, in, in climb on down. Cause if you normally do knee stretches, just kind of think you might be missing it. There's a lot of fun to be had on the end. Okay, here we go. So find your around back, get your body, they're ready, it's fast.

And we go out and in June three feel the accent in five, six, seven, eight, nine, 10 and 10 arched back 10 times in to keep the chest open. Push strong through the heels. Five, six, seven, eight, nine and 10 yes. Knees off. Here we go. One, three, four. If you can get lower. Seven, eight, nine sister slowing down in 10 okay, step ahead with one foot crouched down. Now let's just do some kind of balance here so I'm not going to really think about tempo. I just want you to stand up straight and both knees [inaudible] after all that vigor.

Okay. Kind of interesting to test out something very opposite of it. One more time. Try to push down through both feet, evenly. Heel in the back, ball of the foot in the front. Squeeze your inner thighs toward one another is above the tummy.

All of our fundamentals matter because we're going back to some vigor pushing the back leg for eight, seven, six, four, three oops, two and one and set forward change feet. Let's do the balance twice. Press back with the back heel down through the front foot, taking this space around you with those arms. Nice and tall, standing strong, balance and back. One more time.

Uh, I'm kind of hearing waltzing music again. G No surprise. And suddenly it's another Staccato and back and two and three and four. Five push. Six. Just two more. Seven and eight. And Stephanie, now we're almost there guys. We're stretching.

Now take off one spring. Leave yourself with a red. Put yourself in Eve's lunge and lean your hip more forward. I didn't do down stretch, but if we were in down, stretch the pelvis a lot more. Forward the front of the ribs up and it's find yourself in an arch. No stretch back. More of a flat. Back two, three.

And for five, six. My outside knee is staying bent the whole time. I'm just trying to destroy wretch long. Need to hip, opening that line and coming down one more time and reach hip up away from me or knee back away from hip. Whichever resonates. Lift the knee. No.

Now what I'm going to have us do is an inner thigh stretch. So bring your carriage home. I'm going to pivot into face the reformer and adjust this foot and try to get my heel near that shoulder rest. This outside foot has to hop over here a bit and crouch down. Okay.

I feel like I'm in jazz class all over again from way back in the day when we had these really low stretches for inner thighs and hamstrings. So you can just feel free to stay here and watch it. If you don't like it, you can move the carriage to and Bro. All right. And again, I'm not going in musicality on this part because it could be anything you want. You can rock out to Bon Jovi if you want, but on some Beethoven, whatever. Okay, one more time.

Okay. Stand with control. Maybe toe, heel, the foot. Try to be real quiet on my carriage. Other side. So as the lunch first and then the duction stretch. So again, bring your hip, your pelvis, really forward toward the bar and then pull the whole front line up.

It makes me feel like arching, so feel free to, but I want distance between this knee and this hip. Really a lot of distance. And then as I go back still distance, but in a flat back relatively, and a little more extension. Oh, and a little more flat line. Two more to go. Can think about contracting the inner thighs together toward one another. Last one. Knee back. Hip Up.

[inaudible] okay. Stay low. Pivot. Get in there as much as you can. Try to keep your chest up, squatting down. You can just stay there. You can pitch over the reform. I want to try to stay up here and just move a little bit side to, okay. Stretch. There we go. Two more to go.

Guys were for this musical reformer [inaudible] and as always, I'm really interested in feedback because it makes me teach things outside of my comfort zone too. So let me know how it goes. Thank you so much. Bye.

Comments

1 person likes this.
Fabulous class! Thanks for the inspiration :)
2 people like this.
Loved the concept of rhythm in your class. Discovered that I need more work on the side bend...??
Thanks for a great class
Z A
1 person likes this.
I liked it alot:)) can we have a similar one with cadillac Amy:)
1 person likes this.
Loved this class, thank you Amy! The rhythm counting helped me to focus on control, use less momentum and pay more attention to the muscles involved. You have inspired me to try other exercises with rhythm!
2 people like this.
Great class Amy and I love the tempo you added to it.Thanks for calling out which springs to use as sometimes instructors forget to call that out for those who are doing it at home.
Kim W
1 person likes this.
So happy to see something new to do with feet in straps. Always a fan favorite, but can get a little stale. My clients will love it!
4 people like this.
Hi gals----wow, thank you for all this wonderful feedback! I think musicality and rhythm is so important and it sounds like ya'll do to! :) I'll keep playing with this and bring some more! I love to play music when I workout alone, and silence is good too. In the silence...there is rhythm though --- in breath and intention. That's the connection I feel we can tap into more often! :)
2 people like this.
I could totally here the rhythm in my head and feel the rhythm in my body. The queue for me that was huge was moving from my pelvis when doing stomach massage.. that was great! Loved your version of coordination...ouch (but in a good way)! I feel as if I'm going to sway my way through the night now! Thanks Amy!
1 person likes this.
Awesome class amy! Thank u for a great workout! ??
1 person likes this.
Loved this class Amy! Really helped me focus. The single leg footwork and stomach massage were challenging! Loved it. Thank you:)
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