Class #463

Mat Workout

60 min - Class
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Malcolm Muirhead brings us another great class taught in the style of Michael King Pilates. While offering informative and detailed cues that refine and educate, Malcolm teaches class focusing on fundamental skills required to do this work well. Enjoy the music, the imagery and depth of connection offered in this class by this talented and fun instructor.
What You'll Need: Mat

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Okay. Sorry. So just to remind you that the key thing is here, I call this intermediate, but that's for me is mental as much as physical. So it's about you taking responsibility and working on the quality, not the quantity, not the level. So you have to make those decisions. I can't tell which muscles you're using all the time, but I can tell when it's not working. Okay. So I'll try and correct you when I see that happening. But you can tell before me, you normally know before me when it's not working.

So you find an alternative level. You use your previous knowledge because any movement I'm doing, it's different to what you're used to. And you're welcome to just take a focus, look at myself, look at someone else, and then get into it. I have no problem with that whatsoever. Okay, so it's not a synchronized class. And if I see you are working together at the same time, I'm going to be a little bit thinking, what have I said wrong? Because for me, that means you're not listening to your breath, your movement pattern, you know, working in your body, you're looking to see what everyone else is doing so it's not synchronized synchronized. We're kind of on the wrong page. Okay, so the key thing is thinking all the time of our principles. So let's get our feet in alignment with the hip. Soccer's not too wide, not too narrow, just shake out the legs so the knees don't look out.

The front of the thighs can be relaxed. The knee caps relaxed. We settle for neutral. We work a lot with a neutral spinal alignment rather than going into imprint. So again, that might be challenging for you today and just try it. Don't strain on her anything, but in this neutral position, roll the pelvis forward and back forward and back.

But I should doing this movement, try not to have the glutes and the quadriceps doing an abdominal wall doing all the work so it could be very small. Now as you roll forward and back, you may already sense that you're connecting into deep, lower abdominal wall. That should be the core muscle group that we're looking for. Keeping it long, you're gonna find a euro forward and back. There's a middle point you pass through where the effort feels fairly even settle into that middle point. That's going to be a neutral. So I like to check the shift in my lower back. The first day to day, depends what I've been doing beforehand.

But always be confident you've made a conscious decision to find your alignment. Now reading different white, just hands the base of the Reps. I like to hold them just here so it breathe into the fingers. Lengthen, weeding and deep to there. And what I want you to think about when you're doing that deep wide breath is that you don't lose the alignment of the body.

So keeping that breath going there. Take one hand to the base of the reps, one hand to the tummy. So keep the breath going wide towards the elbows, not moving into the hands. So remember, if ever that red becomes tense, you need to release. Just relax, breathe and refocus on that breath deep and wide and relax the arms. And I would want to set up some support around the neutral spinal alignment. And the way we're going to connect into is with the pelvic floor specifically. So I don't want you to be thinking about big grabbing here in any of the movements specifically. I want you to be thinking of the pelvic floor area. So these little things are not the pelvic floor, they're not as stabilizers.

So to make sure that we are using the right area, hold your gloves for me. Squeeze them and relax. Yeah, yeah. Enjoy. And you don't have to pinch, you don't have to enjoy it too much. Yeah. So squeeze and relax. Squeeze and relax. So don't squeeze the hand. Squeeze the glutes. Right. I just realized what she was doing.

She's enjoying herself. Squeeze and relax. If you think of that not being the core, not being the pelvic floor area. So now I think of the area between the cheeks and connect to that without squeezing glutes. Okay. That should, pelvic floor area. So whenever I talk about the center, the core of the powerhouse, that should focus for today. If you're used to using other muscle groups, fine on another day to day, try and read a little bit of that subtlety. Yeah, relax that for a second.

The other parts that is we're going to work with a mild connection today or not a big squeeze. Someone actually close your eyes for me and just listen to your body, keeping the line set up the breathing. Make sure you've not loose, lost your neutral shake. Those legs haven't locked out and I want you to visualize in the base of your pelvis, there's a natural sponge and it's filled with water and all you're going to do is taste how much water does not spawn. You're not going to squeeze all the water out. You're just going to give a gen two connection to it and test how much water's in the sponge and take your consciousness away from that.

Open the eyes, and that's what I mean by a mild contraction, a gentle engagement to the core. When we do the movement levels, as you go up the levels, I want you to think that the support comes from the bigger muscles. The stability comes from that gentle connection to the sponge. Okay, so that's a part that might be a little bit different. Enjoy it. Enjoy the variety. You can throw it away tomorrow. You can try it again. And the after, doesn't matter. Overall, we're aiming for the same place with the body, inner and outer muscle partnerships. Okay, so we're going to just release the shoulders. Our shoulders hold so much changed and so we're just going to be very natural and just swing knows.

I kind of have a lot of my clients coming into the classroom or into the see the studio and they just do this automatically. Know they walk in, I look at them and then they just go arms and start circling. Waiting for this machine to be free. They'll come five minutes early just to release it, shake it out, and that probably feels better already. Yeah, we forget to really, that area. So what we're going to do now is just bring your shoulders up to the ears and let gravitate and dying. One more time. All the way up. Gravity. Now the upper body, the shoulder girdle is what we're calling the second core.

So we're going to try and stabilize the scapular. But again, without tension, the Jean took nation. So now you just see if you can pay on your shoulder blades. Two little babies hands, just gently guiding them down to the lower middle back without tension. Yeah, so you've got that connection there. So it's not pushing, not straining, not popping out the chest. And I try to put their arms up in front. Yeah. How far they go before that tension wants to come in. Don't go higher than that.

Come back down. Breathing items. The arms go up. So remember our focus with the technique is always to try and apply the principles. The breath should work with the movement. The fluid movement works in muscles, in violence, passion about the principles being applied to how we work. So here, don't be distracted by the action. Think of the quality, the control, the stabilization of the scapular rather than the arms. No tension. Next time you come up with the arms, come up with a hills. We're into balance. Balance. We all know targets the core muscle group.

So again, think of that breath out allows the Reps. If you've gone too high, we've lost our quality, we're losing the control, so don't go to high. The next time is fine. There's nothing wrong with going past and into struggle as long as you recognize it and come back down and bring back the quality. If we never challenge ourselves, we'll never improve. So trying to breathe out as you go up reading gives you lower grade, not moving, going, staying up the next time. Bring the arms down, take your hands once, thumb onto the ribs once a month to the pelvis and now he'll draw opposite knee bands. Don't rest the heel down. Try and stay up. If you're on the reformer, this is your heel raises, but walking, your goal is to listen to the pelvis and not have it rocking site to site.

Yeah, checking it. The back hasn't lost. There's neutral alignment. So what you're trying to make sure is that the rib stays connected down towards the hip. The back stays open. But if I was to talk about your pelvis, having it being like a tray with marbles, the marbles aren't rolling side to side on the tray. They're not ruling front and back on the tray. So really focus on that alignment.

Breathing it as you go out, breeding energy, lower down, but try not to rest on the hill. So when you come down in the lower hill, just kisses the floor so you can stay permanently connected to the balance muscles that can. Gentle core connection. Remember that sponge can, losing the control. Think of the sponge change. Connect to that gentle squeeze one last time. Come all the way up and Laurie, then evenly rural through the food and keep tall. We're just gonna do a couple of swings. We're going to try and do a little bit of a sequence. Again, it's an intermediate class that we're trying to get the body to prepare, but not making it too stiff. I'm going to do our swings. We're going to do the leg race, and then we're going to do standing spine twist. So let's try to stand in spine twist first. We're going to try and lift.

We'll go for the leg towards the windows. You're gonna [inaudible] bring the leg up, but keep the pelvis down so there's not this hands. Fingertips touched. Thumbs touch the sternum for me and this thing, when you turn, think of the ribs turning towards the res knee, but the knee doesn't move. The face doesn't leave. The face stays above the fingers. Bring it back on the Embraer. Float the leg down. We'll try it. Other side light comes up reading it helps with the center.

Graphite connects to the core reading into the land and breathing out. Turn rotates into the raised leg side. Bring it back. Now if you are warbling in shoot shaking the talk and go back down to the floor again for stability, bring it back down. So we're okay with that. You get an idea, then we're going to add it into a swing. So watch for a second. The swing is about opening out the spine, not rigid and stiff.

You're going to read out. We then into the balance, but not that nice and balanced. Yeah. Then the rotation. Yeah. So read and come back up and rotate out to come to turn. Yeah, ready. Arms in front. Shoulders. Don't think of the scapular. So the chest is open. If you showed us stabilized nicely, sorry. If Natasha in the microphone there, if your shoulder stays open and stabilized, your chair should look open.

So it's not about reaching breathing out. You want to swing her with this by including their rethinking. Come up, try and bring the leg with you into the business mission. Breathing out, turn breathing and bring it back and the leg goes down and swing other side. Remember, if you're losing that stability, the tool can touch the floor for the raised leg. If you shaking and fighting, we'll probably over recruiting. So really want you to think that always is not how far is, how well you can control it without tensing on swing.

So keep that going in your own time. We're not straining, we're not pushing it. It doesn't match. If you finish on the node left, right side, we're not doing lots of repetitions and swing. Trying to soften the knees, get the spine to curve [inaudible] and bring it back on the end and swing on the last one and turn a [inaudible]. I haven't released the down. I'm Sunday nights in Tulsa when I'm going to work on the side movement.

Taking the feet a little bit wider for me. So we're going to get, actually use the legs and gravity for stability and a little bit cause I want to develop it into trying to stretch the waist muscles on the lower back muscles at the same time. But we're going to start with the waist first. So when I take the arm over, it's not the arm, it's the spine. The arm just happens to be here. Yeah. So nice and tall. We'll go towards the windows first. I'm going to go to my, my left. You right. So we're going to lengthen the arm up, take it up, keep the opposite hip down.

Reach Long. Feel the striction decide long, long, long, long, long, long, long breathing out and bring it back up. And again the other side. So try and really focus on getting that lifting of the ribs away from the hips. The side you're moving away from focusing that hip, going down towards the floor, lengthening out [inaudible] and take it back. We're going to go over to the other side again, not leading with the arm, leading with the spine and the ribs. Now this time staying there, let them reach up to the ear. Reach, reach, reach, reach, reach up the shoulder, down and stabilize. Come back out now and all of the time we're doing this.

We should be in a neutral other side. Let anything out. Lightening lateral bins. Trying to think of that opening of the waist. Reach them, reach the shorter pops up to the year. Stabilize the shoulder back down and come back out once more, each side, nice and fluidly. So it becomes almost a sequence. Taking it over first, feel the straits, then the shoulder, then the shoulder comes back, the shorter coming back and leads you coming back up.

Tall reading and as you come up, reading out, [inaudible] reaching shorter comes down first before you come back out. You still live with? Just one second. We're going to add in a diagonal reach as well. But this time when you do the drag no reach, what we're aiming for is we want to go into a under tilt of the pelvis and Wayne we go over with, we never reach Dagley. Like that doesn't happen.

Just stabilizing and then come back out and up. Yeah, so it's definitely been in the knees. Okay. It's not as locked out stress position. It's all about trying to feel here and open the back. Not having the leg stressed. Yep. So again, we'll start this site or to the windows. You'd see so nice and tall.

Still in neutral first taking over. No tuck, tailbone under, open out the lower back and reach diagonally. Reached down into the other corner of the mat, bring it back out. And your last reflection come back to neutral and come back helping it a little bit. You can use the hand is not moving to stabilize with pushing into the thigh. Yeah. So taking over, get the stretch tilt, tailbone under, open at a lower back.

Then reach diagonally, press into the leg and come back out. Keep that going. One either side. I'm just going to try and have a look to see what's going on with your bikes to make sure that your lower back is opening out. When you do the reach diagonal, so you tilt reach, you should feel a stretch. Move into the deep, lower back, pressing down there should help the shoulder stability coming out in the diagonal. The lateral [inaudible] still trying to let it soften the knees a bit more for me. Tilt. There you go. Diagonal reach there. Does it feel more here? Ne Good. That's where we're looking for. Again, try and talk a little bit under for me.

Yeah, diagonal reach more this direction there you get it in earlier. Good. Coming back out. Continuing on just one couple more. Each side. Don't want to vote left and right or look at anyone else opening up that lower back. Then the diagonal reach should move deep into the lower back muscles. There's a muscle called the quadratus lumborum but basically if you sit a lot, it's a muscle that shortens and we're trying to get it with that straight.

Last one. [inaudible] feel the diagonal reach shorter comes back, come into your side reach. I know tall and to neutral and hold it there. Right? So we're going to know, get in the last piece of movement of the spine really, and that's the extension. So I'm going to do this one day movement. I wanted to demonstrate what we're going to do with it. There are very modified versions of this, so we're going to build it up.

We'll build up together, but I just want to show you the top end first. So there's no stress there. When you come down to the mat, we're going to bring the arms in and then we're going to work through the extension and I'll talk you through the breath change as you develop up through, you can find your level and you stay at whatever level works for you. But the highest we're going to go today is from here. And if that feels it's too much in your lower back and you've collapsed in lower back and then you just sit back, I'll stretch out anytime you want. Okay, so standing, draw up the head. Don't talk. Let gravity do it for you. Let yourself fold in naturally. Think of the gentle spines.

Come down to your point to change and soften the knees. Go down onto the hands and knees and come down onto your tummy. Lowering yourself that you still think of that connection to lower back feels low. Now their arms come in so the elbows move down towards the base of the ribs. Hands are sprayed white.

Next long you're going to reach through the crown of the head and as the neck gently extends, shoulders draw down the back, reading out, taking a dive on the in breath, but not Dulac stone lane. Think of that land partnering even as I'm breathing out. Lengthen shoulders drop, keeping all of the forearm on the mat, taking it down on the m breath. The breath is there to try and help. Make sure that you keep that lower back supported. So I don't want you to think that if there's a bunch of fly under your low, your tummy, you're not squashing the butterfly. Yeah, developing it there.

Now the next time you come up as you take it through the neck, gentle extension, lengthen through the neck. Let the next thing stand gently. The thoracic extend gently. Okay? You can move a little bit into lumber. The ribs may even come away. You can move the elbows off the floor and control it back down. Now run this point. If you feel you got the support in your lower back.

What I want you to think about, you can change the breath to the inbred cause you come up, because listen, listen to your lower back. Now in breath could leave you unsupported, not true. If that suddenly feels that you're compressing into the lower back, go back to your protected breaths. They without range. Now you've got that range of movement. You may be all the way up onto the hands. The hipbones will come away, but [inaudible] presence tomorrow, the glutes and hamstrings will be engaged coming down. Keep them engaged. They're going to lift off the floor.

You're creating like a rocking chair feeling that's happening and your lower back and the weight being continuous. Next time you go them up, if you're ready for it, we can go for the rock up and they're controlled. Be Honest. When you come up to the help position, hold it. They're just trying to connect to the center and relax your shoulders. Feel good. Does your lower back feel good? Try and open out. Lower back control, breathing and ready on time. Keep that going. As long as your low back feels positive.

But think that neck, the thoracic, not just the lower back. So when you come up, try and come up and lengthen there. Yes you do the difference. Or do we feel that tightness in there when you coming up the next thing. Good day. Come up, dropped off truck there a better good. Next one. Come up. Hold it there. Ah, by just ease at lower back. Even here, don't drop the bottom onto the heels. Lift the bottom off. Tuck the tailbone under. Curve that lower back. Feel the arch and connect to the center.

So you should feel really small in the lower back. And then if you're looking, kneeling, Roback up to sitting, and I just want to show you the next movement. The presser we're going to do with the press up is I'm going to actually make you stay in a box position. I'm only going to do one, it's a full sequence, but I want to show you the box position that I'm asking you to try. We're going to use balance in our white hand position in the box. Instead of going down here, I'm going to ask you to keep neutral and this.

To do that, you're going to have to go forward in time with the breath breathing out as you piss away. So just think for two seconds I want you to sit nice and tall and listen to your breath. Give your breath a number. So my numbers for the year number could be three. It doesn't matter when you do the press that point down, it should be that number when you push away. She'd been at number. Yes. So let's go to our box position. The hands are wider, so I'm not wanting it to be about the triceps.

I want to be at valley shoulder stability and open chest connect. Dying. The knees are beneath the hip sockets, so we're able to go forward. Now think of that lower back being in neutral. You should feel the connection to the whole trunk and breathing out. Connected. You're gentle sponge. That mild contraction, so you're going to Airbus can go anywhere you want them to go.

As long as your shoulders stay in the position you're looking for. We'll work on animals another time. Once the shoulders are good, taking it forward. Breathing in, ruling out, generally pushing that should have felt a little bit more centered than normal. Curl the toes under. Walk the hands back, heels, draw, roll light through again. Keep the center conation. The shoulders stabilize the heads. The last piece to fit on top, you're taller than before and rolled down again. So it's a full sequence of the journey from neutral, rolling down, walking out into your box position, but all the time.

Trying to think that you're staying supported and connected with that gentle stability in the shoulders. The chest feels open, you can get good. That's better. Taking it down on the [inaudible]. Don't worry about my queuing. If you're moving into ahead of my cuing, that's fine. But relaxing the legs so the hamstrings can be relaxed. Walking the hands back. So one press up.

I think you probably felt one press that should be enough to fill the challenge. We don't want to overload any one area in this movement each time. Two or three more of these for me. So each time just be more conscious that you connected to your center when you go forward with the hand. So when you take, you look back a little bit into more of a box. Yup. Yes. And laying your shoulders there but not there now against connect. Good.

And now this time triangle here, feel the difference to the center. Little bit more work here than normal. Good. So every time you come back down to there, try that. Yeah. And slow with the breath. Keeping on going. Over time when we moved to a street to leg version, I want you to be able to feel that same muscle work through the deep and superficial abdominal wall, that wonderful stability and challenge to the scapulas.

There's no feeling of collapsing. You see how easy it is to lose it rolling back out, building the vertebral row, one by one, by one by one. Come to the top. Taller hopefully than when you started last one. When you finish doing what if you there another people still moving [inaudible] I really take time to think. What's my coat? Good down forward for that count for the difference to here and slowly back out. When you come to standing the good.

See when you've got that shaking happening the next time you wouldn't go so far because I was going to just struggle as a walk back. So whenever we get that shaking, that tells us going a little bit too far. He'll raise his guys. So do you want to stay up off the mat? Do Your heel raises? Just a little comfortable. Good. Okay, so hopefully the breasts up with a little bit different there. I wanted to feel all of the abdominals, the lower back on the shoulder stability open chest rather than just going for a straight pretty shot.

Cause you can probably all do and use your shoulders from your shoulders here. Yes, normally. Right. We're going to move into a next minute. Claim the tree sort of like you do. Just come right into the front of your mat and take yourself down onto your bottom. And we'll do this one together. Like climb the tree for me is a transition movement. Okay. So we'll just work it as a transition movement and we're going to use it to get up and down from the mat. I said, well that doesn't work. So in this position, first lane, Knight, one leg, the other one, it comes in bent, landed to the ceiling. Take the hand up to the top, but I don't want you to grab, you've got to imagine that you've been over moisturizing your legs. Yeah.

So press with the fingers. Pool the leg to you with pressing walk the hands down the carves one. Tilt the pelvis two into the back of the knee, three into the back of the thigh, four into the bottom of the tight tall, rolling it back up hand and the back of the thigh, back of the knee. Think of the stabilization through the center. Think of that growth curve taught.

If you're used to doing it and taking the food at the top and stretching out. By all means go for it. Yep. One more. We'll try the other side. Now the control and the journey up and day. I have got quite nasty, tight hamstrings as my excuse anyway, so I like to soften my knee at the bottom. That's fine. As you go away, the leg will have to move a Louie a little bit. Otherwise you can come up this next one to the leg. No, try the other side.

Leg length is high. Walk up the link. Shoulders here. Make this side. Your focus is the shoulders and the chest. Do you walk the hands down? Tilt him from the pelvis. Think about gentle connection again. So if you're used to feeling a strong connection to the abdominal wall, I want you to think of that connection from the center.

So when you get to that sticky point, we all recognize it. Use your connection to that sponge walking on down. Again, [inaudible] judge sees that position there. Just do the little bit more focused. See here, I want you to keep this. So rather than feeling the hamstring stage, I want you to focus on your shoulder stability and often the Jeff too. That would be what I do with you as a client. [inaudible] Nah, take it down. No, I use the rule up as a transition. So from there we're going to go down to the mat, ready for the a hundred and a hundred I want to talk you through some very specific differences of hopefully a little bit focused more on that sponge again. So from there, if you're okay with roll up, I'm going to actually ask you to try and think about something.

The arms are free, the head can move and you're going to tilt and roll yourself down to the floor with that free movement. To your best position with the legs bent. So our a hundred starts with the legs bent. Okay, then now here we are. If you want to slide down a little bit, keep your head in the mat and that should be fine. Okay, you're all on the mat. You're good, right? So starting up, first of all in neutral, again, ruin the pelvis, finding that lower back so it doesn't imprint. That's an arch. It feels a gentle curve in the lower back without straps and want wonder when asked you to do here is to put one hand onto your tummy and one hand just to lower back. Don't push it under the lower back just to take it to, to put it touches somebody. Yes. No, you're going to check that. You're saying we just going to support your movement.

So think of that gentle connection to your sponge. Now as we move up through the levels here, we're going to go to two legs. But if you lose control of the sponge, you need to find the right level for you today that span that sandwich. You have control. So breathing out, float first one leg up into the tabletop RightAngle position. Nothing should change. Breathing in, check your sets up, breathing out.

Second leg comes up to join it. How have you done with a sandwich? If that sign was of control is there, the bank hasn't left your hand. The other hand hasn't been pushed into the breathing's not going there. We were ready to develop, um, stand by your sight leg school longer. They don't have to go straight. Just go longer but not high at 45 so, so rather than going up too high, go this direction, it's more weight.

You might want to do a little bit movement. It's tight. If you can go straight leg, go straight leg. But think of that sign. We just strength again. So one of the things that about resting a cup of water on your tummy, there's no breath going there. There's no loss of control there. Finding the level where you can control it. If with two legs it's not there, go back down to one that could just be today.

You've done a class before coming to this class, possibly. Maybe you ran a marathon before coming to this class. So today, don't be surprised. Bring the legs in, hold them into your chest, open at the lower back, let it imprint, push into the mat. Take one leg back at the table top. Take the other leg back to the table. Talk to the hands to the ceiling. Now as we take the legs long together, you can bring in your flection. Flections fine. No problem with flection at all.

It's going to work the muscles differently. So as you lengthen through the legs, reach the arms, drawing by the side, Chris at the ribs. Peel the spine off, but keep the base of the scapular touching. So your gaze is looking towards your knees, not your toes holding it there. Take your arms to the ceiling. Bring the arms down in the yard nice and slow and control with the breath. Remember not rushing it. Next time the arms come down, you're going to take the legs in and take yourself down into neutral hug table, tabletop.

So go back to tabletop and keep the arms there. And as you take the legs this time, stay down. So try and do the same thing but with neutral applied with the lower back and it's natural curve with the sign which in place so the arms can move with the breath and you don't times okay but they are, the legs stay low so their arms go up on the end. They go down on the arch. But listen to lower back, keeping it down if you can. This time. So we're going to do some time and some are, when we're down, we're working front and back. When we're up we're focusing more on the front, the two things together, no problem finding the level.

So after two or three breaths with the neutral implied, the next time the arms come down and you can flex. When you flex, you may find it easier if you finding easier. Check what's happened to your center. Think of that gentle sponge, keeping the center there. I don't want it to be easier. I want it to be about different. No, just so you understand what we're working here, we're trying to give ourselves a levels that we can do a few repetitions on. So next time you go down and take it back down to neutral, bring legs into the head, shoulders down. Yeah, and move the arms.

If you go back to Joseph's original book, He only did 20 for the first time he did the a hundred he didn't do a hundred he did 21 two, three, four in-breath, one, two, three, four I ref. That was our 10 twenties all he did, we don't have to kill ourselves here. Oh, okay. Bring legs in. Does their self handle, do they start lower back one leg down the other leg down, ruling onto your side towards the windows. We're going to do our sidekick and again, I'm going to focus on the psyche. So length note, nice and law onto your arm. Head, fingertips on the Martin Front. Now again, and I know that there's many different variations of the psychic, so please, since it's the first time I worked with you, try to think, okay, maybe Malcolm's going to give me a little bit of a different sensation.

I want not to be part of what you're aiming for. So fingertips when you're on those fingertips, the feeling is that there's no nail marks left in the Mites then no Armando, there's no nail marks left in the wood. The head's long. Now in that position, gently press down into the lower shoulder and lower hit. You press that into those. The lower ribs in way should feel lighter. Yes, connect to the center. Lengthen. Now with the next day breath, the top leg comes up to just hip socket. Height is not too high. It goes too high. You're gonna have a problem bringing the bottom one to join it.

Next type ref bottleneck comes up to join. It sets up your balance. Now if you warbling in tshirt struggling in shaking, you find your levels stay there. There's no need to add movement, although it's called the side cake. The kicks supposed to challenge control. We need the control first. If you've got the control, the hand can go to the ceiling. Now what I'm looking for is I look around the class is that your legs are long, the feet are relaxed. The reaches through the ankle, not necessarily the toes. The lower back is nice and open. The ribs are not popping out.

I don't want you to squeeze the ribs down either, but I do want you to think that your alignment is exactly the same standing. If that's beautifully in control, you're welcome to move the top leg forward. I'm going to talk just the nature to not big. If I see it moving big, then I'm going to presume you're cheating and if you're using your hand in front, we're not going to add movement because that means you're using your hand in front to stabilize instead of your center. This movement has got an element of balance and that's going to be my focus in this version, so your hand to the ceiling shouldn't be wobbling forward or back. If I'm holding onto your fingers, you wouldn't be pulling onto my hand keeping the length always the lens comes from the ankle.

Some of you obviously know how to points, that's fine, but if you feel you're going to cramp up that point, please relax the foods lentil through the ankle and the knee and the hip, but the bottom leg stays perfectly still. So when the bottom leg goes along the top like can go forth to the difference. You're counter balancing just a little bit there. That's better. I try and think of this in your peripheral vision. Don't let it go back. She'd be a little bit more challenging now. Yeah. Yes. Got You.

Good is moving so easily. I drill listed back in [inaudible]. Take yourself over onto your back and shuffle around onto your other side so you're facing the camera this time. This time you have to smile. Okay. We insist on it. Doesn't have to be a real smile. A grimaces we can tell. Okay. After make it look easy, I'll lie down for you here. No problem.

This lane happens and again, I'm going to focus on the psyche. So length note nice and long onto your arm. Head down, fingertips on the Martin Front. Connect to the center. Lengthen. Now with the next out breath, the top leg comes up to just hip socket. Height is not too high. [inaudible] almost invisible. Sense of challenge. Are you ready for movement?

If that wobbles happening, that says going to be fighting and grabbing the wrong muscles. So I'm [inaudible] are you here? Take that finger down. You're not going to be the same on both sides. Are you Alexa head. So listen to the body. Let it be about subtle control. And it's not important how far the leg moves.

What's important is how well you control the body. So remember I've just put, let's see, we're getting to this time of Dave and maybe could have a glass of champagne behind the bottom leg. We don't want to spill it. So keep that feeling that you're touching. He found pain. You don't want it, we'll take it. But the top layer, you see how subtle that movement is, doesn't have to be big a toll. When you feel you want to challenge it and create, go for the challenge of, you know, it's not working. Go back to your fingertips and think of the subtlety. So one of the, think about that internal sponge, that powerhouse, the pelvic floor area.

If you've just squeezed all the water out of it, you're on the wrong level. [inaudible] and then Dinesen bring yourself to sitting. Am I going to move on to our rule series? So bringing ourselves up with fluid control. Oh, well too late. What we focused on, what we're trying to focus on is every transition should haven't seen quality of awareness so that when we're here to come up, if we're coming up, this weight is centered on over to the side. If it's from the floor, it's over. It's long control. Every movement is controlled through the whole 45 minutes in the class.

I want you to think about that. Next time we did this. Um, okay. The rollout, I'm not interested in going all the way to the floor. If you can't come back up with the quality. You've heard it so many times, but I want you to be honest with yourself because we want to add more challenge to a little bit too rotation and things to this. So starting off nice and tall, I soften the knees always and I let the heels like, okay, so it's up to you. But the key thing is I don't want this to become our focus. The articulation. So what the 40 seconds because the key thing is when we come up, we're not going to go stretching over because we sit that way all day long, but I don't want you to come up that way either. That's going to really cause that tension. So when you come up, you're going to keep the curve until the shoulders are above the hips.

I'll turn sideways. So when you're coming up, the shoulders are above the hips then lent NATO. Yeah. Each time you enjoy that height before you go into that stipulation in from the sacrum again. Nice and tall. Yeah. Okay. I remember arms and head from when we went through transition, so the feeling of softness. Okay. I called my, my friends in Mumbai called the Mumbai nodes and is talking to you. The head me releases the neck muscles. So if you feel you're tensing, just shake the arms, reach the head, start small breathing and breathing out.

Tilt from the taken small. Stop breathing out. Come back up. Keep the curve. Lengthen. I always like to start small and build. Next time you move further. Think of the center. Control the speed. Taking it down and breathing and coming back up.

Think of that control landing at the tall. Wonderful, good, well done. Very pleasing. No further. Each time. If you show that same quality each time you come back out, now the arms can go behind only through Ribstone pork rolling back up. Chest is open. [inaudible] not tall until now. Again, the goal is to find the level that you can do a number of repetitions with. For the moment, we're going to give more variation.

So let's presume we've been able to do this for maybe five to 10. Yeah, nice and tall. We're gonna add in our tilt plus rotation, so it's flection and rotation. Rotation comes from the ribs. I shouldn't see and I'll be coming around to check your toes doing that. Okay, so watch what you seconds if you want. I'll do the first one with you. You can join me or you can watch. It's up to you. Nice and tall. We're going to go down with the arms to the window. You're going to draw the elbow back and lift the elbow are taking it as with it just the lower by try and get a lower back touch.

They're coming back up with the quality. If the low back is too far and you lost that quality in the, when tight, just go to the sacrum. It's the same curve. It's flection with rotations. What are the most challenging things for the spine? It's taken from the reformer cds under the former. You've got a spring tension to help you. This is harder. Yeah, so don't, don't be afraid to go for a smaller range because just remember our principles ultimately control and if that's lost, if we're losing that quality fluid movement.

Remember it wasn't a fluid movement guy, but his goal was the body moved fluidly. If that's not happening, then we need to reduce the range. Next time you go down, the opposite legs going to come up. You got less help with the weight of the legs as you come back up the leg rich away. Yes. If suddenly you've moved into stress and you can't read, don't add the leg. Yeah. You're past. The caregiver said rotation leg comes up reading up you go.

Nice. And one more east side. So what I'm looking for is that I still get that lovely opening of the lower back with the strength from the center and the superficial muscles at the same time coming back up, the leg moves fluidly back down as you come up. Try and focus on that tilt is if you're turning an old fashioned car seat. If you've got those new electric ones, fine. But let's imagine you've got the dial ones correct. Good, good. Last one. It doesn't matter if it's right or left.

We've done enough for it to balance out, but really try and think is a secret even or suddenly one side if you notice it now, next time, don't go too far or don't add leg movement. Okay, ready for teaser teaser again, lots of levels. So we're coming in. The class target is intermediate, but what kind of play with some movements coming into them? We're going to add in the teaser where for us as an NGO movement, we're going to bring the one leg up and it stays at the same height. I got shaky legs. They, for some reason she collects syndrome. You may notice it, but the key thing is do I get the articulation in the control? Then food should not go lower or higher, but only go to the lower back.

Don't go onto the shoulders and go into neutral roll back out. The leg doesn't go lower or higher. Come back up, transfer over to the other side. Yeah. Over the weeks we can add in rotation. You could make this a sequence with the roller control and think of the shoulders, the chest staying open, the scapular down the next long, come to the v at the top and alternate one more. Each side they we're going to try two legs.

[inaudible] rolling back up. Other side, lengthening as the tall untilled. So again, it's a subtlety. It's a control. Comes from northern intense breath from the lateral thoracic breath. Yes, but not intense deep grabbing. Bray last one. Right? Okay. Now two legs. The key thing is here that when we find height they shouldn't move such as a little bit of a test. We're going to get to know each other very well.

We are all happy with getting to know each other better. Can you guys come closer together and touch tours? You guys come together? No, we've got a little bit of a difference in leg length here, so this could be fun, but the ideas here is put her toes towards each other. Yeah, like bend coming in a bit more right now. Then take the legs up. Okay. Now if you need to change position, you need to go back a bit more. You need to come in a bit more. Legs Up. Find the height. Long leg, long leg reach like long Mitch, like long, long, long, long [inaudible] there you go. Yes. No. As you move away, your toes must stay. Contact. Tell the pelvis. No, just the toes. Tilt and roll.

Not Pushing into each other. The toes get that rubber cap coming up. Nice and tall. [inaudible] do you feel the pressure on one side more than another? Good. So as you move away, the hills will separate the toe. She stay together supporting the feet. If one person's pushing, that means they're using their legs more than they're using their center.

So be honest. Talk to each other. Tells him from the pelvis one, the last one. Last one. You're doing great guys. Absolutely wonderful. I love partner work. I love to be able to do a partner class in the future and bend the knees in a shake like that. No, we grabbed the hip places a lot. They're selects to lactose to find, to open them up. Yes. So come back off your mask on your mat a little bit.

And again with the like to super and want to see a lot is the hands get pinched in behind. So show you what I'm not looking for. I'm not looking for this. Yeah, I'm looking for a wider hand. The shoulders should be open and when you go up you should see my face. You shouldn't be seeing me this way. My face is going towards the windows all times. So why don't you think you guys at the most, the top of those windows with your face and you guys mostly top of those windows? Yeah. The key thing is as I go up, the hits go up, you learn through the front of the foot and the chest opens out.

But the shoulders don't pinch. Yeah. So keeps neutral, nice and tall. Lean back into it. Set up your neutral. Think of your center. Yep. I'm breathing out. Reach and take it up. So the shoulders don't go back onto the hands. The hips move away from the shoulders and take it down.

Case the flow with the bottom. Don't rest and breathing out. So this is how we would introduce like to super in, but the head relax. If you want to just take your Chin head a little bit, remember them on my note. Enjoy that feeling again. So keep it free movement. So at least you can look at me and talk as you're doing this movement.

That would be fantastic. So the head's resting there. Yeah, they should be less stress on the neck. Ticking it done. If you need to sit up. Ease the wrist on a lover of that cause it means every time you go back, you've got everything set up, set up, set up. How am I doing it or doing it bad, right? Good. The more you're going tonight and set up, the better you're going to be in your set up. Eventually. Next time, check your elbows. Some of you got a tendency to locate your elbows. Try and think of a soft elbow. Yeah, leaning back. Soften the elbow. When you straighten the arm, don't bend. Go into hyperextension the elbow. Think of the shoulder stability, taking it down.

Last one. If you need to really stress, no problem at wider handstand should allow your shoulders stay wide and control it. Day in the boat and forward. Roll yourself back down into the mat. Ready for shoulder bridge and I'm going to demonstrate shorter rhythm. You know it, but I really want you to enjoy the mobility part for the lower back that we do with this movement. To do that. We need to have the heels nice and close towards the knees, but in language, the hip sockets always, but the heels close enough to the knees that you're not going to overuse the back of the legs and glutes.

We're gonna use them enough in the movement now in this position, set up your new show every time. Come back to neutral. Whenever you feel your back grabbing. Come back to neutral. Now remember the car seat. Tell the car seat pure. Want the ceiling. Lower back imprints. Peel the bottom. Peel the sacrament. Roll the spine bicycle chain coming away from this floor mat.

Link by link. Now taking it back down. Roll the spine from the mid thoracic, lower thoracic lumbar spine. See crumb before the glutes. I don't care how bad you think your glutes are. Your lower back should touch before then rolling it back into neutral, then back up. The breathing here shouldn't make a big difference, but ultimately breathing out as you go down should help you open out the lower back. Now here is we're doing this movement. I want you to think how much of this is coming from your legs and how much is coming from your center. Think of the sponge.

You can use the glutes, you can use the hamstrings. But if the dominant we can progress taking up to the ski slope or that bridge position, they were in neutral holding it there the next time. Now, and that's bridge position where you're holding it. If you could think of holding it there for an extended period and think more, my lower back will be grabbing. You're not ready for the next level of you, then okay, I'm fine. No problem. Then take your toms and touch your bottom that your little finger to the floor and you've just put like a small softball on your back. So thinking to the floor, there you go there. Feel the sternum.

Reach away from the chin. Now in this position, take one leg up into tabletop. Nice and controlled. Take it back down to the floor exactly the same position. Be Precise. Precision is one of our principles. Bring the other one out. So the transition should not involve any movement. Change onto your thumbs. Try again. One more each changing site.

So I'm progressing you through the levels that I might do over three or four weeks. Breathing out of the light comes up reading it. Is it Loris now the next leg raise. Keep it there, keep it up so it comes up. No keeping the Phi from coming in towards you any further. Reaching away. Take the foot to the ceiling so the knee doesn't change his position. Great. Now reach the foot aware towards the wall. Open out the hip ticket.

Pass the knee if you can. Focusing on the lower back, not losing as a layman coming back up the wall, reaching higher, higher, high. Bend the knee and place the foot down precisely in the place that left the floor. If you are doing this on the machine, you couldn't miss the foot bar. You've got to put it back in exactly the same place, other site, but the lengthening without the ribs popping without the lower back arching. The lengthening is what's critical to get the hip plates that are opening. So we're going to work that hip flexor into the top of the thigh, but we also want to stretch it, but we don't want to tighten those lower back muscles.

If those are starting to tighten, then you need to roll back down the next time and release that lower back. Yeah. Anytime you feel that starts to happen then you just do it. And if you don't want to do the leg movement, I have no problem cause they articulate and see that coming up. Go back down every time you go up. Do that as well. Everything they don't do, the role really opens up the lower back. There's not compression in the lower back during that movement. So one of the all the movements who've got with no compression.

Okay, next one. When you do it next leg, I'm just going to check and see how your lower back feels. You don't want it to go into more extension, so I want to keep this distance to see how few go. Nice and long. The key thing is you reach long, the pelvis is controlled so you just losing that arch. You confessing a little bit more. They're doing keep back tuck under there. Yep. So you get more of a hip opening. It feels straight in the hip. More good.

That's what we're looking for. [inaudible] and the last one, doesn't matter which side you're on, you're rolling it back down and easily go. That lower back. Sacrum touches before bring one leg in, reach the other leg, long pushed the fire. We pull the hands into the leg, roll up into a sitting position. Now there is an element of mobility in the preparation. That movement, we love mobility for the lower back. This one we're going to do is rolling, but we need to control getting ready for Jack next. So I'm, I still think this might be a new invention of Michael because he did this one time on a convention stage and I've always said he keeps them coming up with things they've never seen before and he goes, well, you just have to be around a bit longer. This is called ruling Jackknife. The idea is that you're gonna roll, come to just between the shoulders had not touched in the floor of it.

Touches it, only touches, doesn't take weight, and then the feet are going to go above. The hands are going to travel the leg. So watch for two seconds. It's not as bad as it sounds. You're going to roll and come back to the balance. Nice and simple. Five or six of those nice meeting. Yes. Okay. Nice and tall. Breathing in and out, in and out, in and out, in and out. It's too much reading and I want you to think that you can slow it down and just do an ice bath to go up and in bread to come back to the balance.

But the quality of the balance when you come to that balance length night, be in a nice top position and until you take the flection back in, Landon lentil in Linkedin, come up, come up, come up there. So he left from here. Now when you do the toe flex and go back in, try and make it more fluid, less tense. So allow that to be a little bit momentum. But think of that gentle sponge control again, that center control as a feeling. Okay? Should feel a little connection to the center. It should be. Again, trying to make too tense so there's not the strength of Jackknife but it has a little bit of control. Good.

Feel you positive you feel any work. So think of the hips instead of the feet. So think of the hips going up rather than the feet. Is that more? That better connection. Good. And last movement. After this come back down.

We're going to finish with Sidebench. Now where you are at the moment you're going to come towards the window. So see what you are facing in and crossover. You'll for this leg to me sitting up. Crossovers like to then bring that cheek away.

Turn around and face. Yeah. Now in that position are going to position with United in that position. You bought your back chicks off the floor. Bottom leg long. Yeah. Hand goes under the shoulder. Now from here they say I was soft. So it's building to shoulder, not out here.

If it's beneath the shoulder you can get hit higher and more stretch cause I hear it becomes more of a s applying. Yeah. So try and bring under soft elbow first. Yeah. So soften the elbow because if you push up the hip should already come off the floor. Pretty sure this leg, hips go to the ceiling. Ready? One, two, three, up, bottom. Like hold it there for me. Bottom. I come away from underneath and back in and who can underneath and take it down yet that should come all from top leg. The strength and the stability in the shoulder.

You're trying to get the stretch. So when you go up, this hit was that direction. This red goes that direction. So you get the stretch and the height. Yup. So it's like someone's pulling you from both directions. I won't use the word rack because it's supposed to feel good. Okay. Right. Ready? Breathing at Longreach.

Take the foot away. Bring this it back. Taking it back down. Yes. Taking up hips first. Reach them away from these reps. Reach the ribs away from the hips. Taking it back down. I forgot the fruit. You're right. But don't add the food if you're not feeling the stretch.

Go for the stretch triangle. So bring that hand in again for me. Closer, closer, closer. Stay in that bottom leg straight and right. There we go. Get the food into there. Keep that bottleneck street. Yup. You Ready? This time you should feel more. Stretch. Push up straight. It's high, high, high, high, high, high, high, high, high, higher, higher, higher, higher. There you go. The heel straight though. No, you can move the leg. Okay. And then you're on time. Couple more. Remember, you can always get into the elbow. It is challenging for the shoulder.

If you need to release it, release it. Go to the elbow if you wish. It's not a problem. It's finding the right level. So strong with muscle strengthening. Bring it back down. The last one, taking it down. Turn to face the center. Ready? Nice and tall. Okay.

You have whole site's up crossover again. Oh, I'll turn this way. So do the other side. Turn over. So I'll show you my back but it'll be fine. Fit a cross fit down hun beneath hip off nice and balanced. So ready to send to works already. Oblique work. Hand over the shoulder from here. Pushing through the top leg up.

You go often over [inaudible]. See how you feel about that lower leg moving away. The more you can do this without the lower leg feeling, any major shift in weight, the better it means your movements coming from the top leg on the lower arm and shoulder. Dang. Yeah, so you get the stretch. Now here, if I'm looking from your foot to your head, I will see a straight line. Remember elbows. Okay, please, please, please don't hurt your shoulders.

That feeling is that your body's moving there on June. There, there straight in this one. Straight this way. There we go. There you go. And ticket there. Last one. [inaudible]. Next time you go up, take it right onto both hands into a plank. Walk the back in.

Take the bottoms to the ceiling, walk it back in. Come back up to a standing position and walking around to the range of your mats for me. Arms Up, shoulder stabilize. Swing up. This thing we did the breath in open. Extend looked to the ceiling, but we can just, nick, I think of looking to the ceiling with the sternum. Arms come around up.

I'm just come down, close the eyes, take your focus on your breath. Just breathe in, fully. Fill the rib cage all the way when you'd be like, ah, let all the attention from any movement. You just didn't melt that spine. Landon, another full breath redone. Oh yeah. Don't worry about where the breath is going. Let it go any anyway at once. Tummy ribs fried again.

One last time. I'm thank you for coming to the class today. I appreciate coming today. Okay. Thank you very much.

Comments

Great class! Wonderful cuing and imagery. Thank you so much!
Thank you Malcolm - taking away a couple of movements for tonight's class. Hope you'll be back in UK before too long
Well done!! (I have just finished watching this for the fourth time!!) The cues and imagery you give are exceptional and very effective. I have learned several things to improve my own teaching so thank you very much.
Love it Malcolm! Thank you!
After having the pleasure of working with Malcolm recently, I am reminded of the importance of 'precision'. I have put into practice much of the MK Pilates repertoire and can honestly say client feedback is fantastic. Thank you sir, for this wee reminder. This truly is 'teaching' at it's best. I hope we can meet again.
great class... reminds me of the classes I used to do with my favourite teacher... looking forward to the progression through the levels..
This class is almost "yoga-like" in its serenity and deliberate slowness. Thank you for providing variety.
I really enjoyed the simplicity and beauty of this class! Thank you so much Malcolm!
Wonderful...studied this one on a Sunday morning - perfect way to start the day. Loved the rotating rollup, rolling jackknife & my re-education on side bend...oh & that blasted sponge! Thank you
2 people like this.
Thanks for your wonderful positive comments everyone. I thoroughly enjoyed the experience of teaching for Pilates Anytime and look forward, now even more, to the next opportunity to present a class. let me know what you would like me to do if you have any thoughts.
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