Speaker #0Free audio post-production. BioPhonic.com Hi and welcome to BioPilates Deep Dive. Today I invite you to explore an exercise that is both simple and extremely formative within the reformer repertoire. The Mid-Back Series Triceps Press. Behind the movement of extending the elbows toward the carriage lies a true lesson in postural organization. coordinated breathing, and applied anatomy. My intention is to guide you step by step in clear sentences so you can both teach it and practice it with precision. I begin by setting myself up carefully. I lie on my back with my head supported by the headrest adjusted to my morphology to preserve cervical alignment. I place my legs in tabletop with hips and knees flexed to about 90 degrees. and I choose an imprint pelvis if I am a beginner or if I want greater lumbopelvic stability. As my control develops, I gradually progress toward a neutral pelvis, without pressing the lumbar spine into the mat and without letting my lower back arch excessively. I sense my ribcage floating above the pelvis, and I actively organize my shoulder blades against the ribcage as if they were sliding into back pockets. without squeezing or lifting the shoulders. I hold the straps in my hands, place the elbows bent close to the body with slight tension in the ropes, and I breathe to prepare. I then coordinate breathing and movement. I inhale to prepare, expanding my ribs laterally and engaging my center. Then I exhale and extend my elbows, directing the palms toward the carriage. I allow the springs to move without losing scapular stability. or the alignment of my neck. I inhale to bend the elbows and control the return of the carriage, maintaining the same organization as in the extension phase. I repeat this calm and precise cycle five times, ensuring that the ribcage does not flare, that the shoulders do not rise, and that my pelvis remains exactly where I placed it. Now let us describe the muscle I want to train with intelligence. The triceps brachy lies at the back of the upper arm and consists of three heads whose origins and functions determine the quality of the gesture. The long head originates from the infraglenoid tubercle of the scapula. It crosses both the shoulder and the elbow, which gives it a particular role in stabilizing the glenohumeral joint while also extending the elbow. The lateral head originates on the posterior surface of the humerus. above the radial groove and it is especially active in quick and powerful extensions. The medial head originates on the posterior surface of the humerus, below the radial groove. It is deeper and often considered the endurance head, most active during eccentric phases such as controlling the carriage on its way back. All three converge into a common tendon that inserts onto the olecranon of the ulna. Their innervation is provided by the radial nerve, mainly from spinal roots C6 to C8. Their primary action is elbow extension, while the long head also contributes to shoulder extension and adduction. From a physiological perspective, the triceps contains different proportions of muscle fiber types. The lateral head is rich in fast twitch type 2 fibers, which explains its ability to produce experience. explosive impulses during the push phase. The medial head is rich in slow-twitch type 1 fibers, which stabilize and control the motion during slower, more precise returns. The long head has a mixed composition, which allows it to combine both strength and postural support. At the microscopic level, the pennate architecture of certain portions increases fiber density and therefore force production, while the continuity of intramuscular connective tissue transmits tension evenly toward the tendon. This knowledge encourages me to choose the right resistance, to avoid jerky movements, and to maintain a breathing pattern that supports control rather than disrupts it. I apply the principles of Pilates explicitly. I respect axial alignment by lengthening the spine and positioning the ribcage directly above the pelvis. I center the movement by engaging the deep abdominals, especially the transverse, so the trunk acts as a quiet pillar. I control the gesture by maintaining scapular stability because shoulders that rise toward the ears betray a loss of support. and transfer the effort away from the triceps into neck tension. I seek flow by synchronizing exhalation with elbow extension and inhalation with elbow flexion. I aim for precision in the elbow angle, the trajectory of the wrists, and the constant tension in the ropes. I also use hand positions as a pedagogical tool. When I place my hands in pronation, with palms turned down toward the carriage, The lateral and medial heads are emphasized, and the effort feels more direct and powerful. When I supinate, with palms turned up, the long head is more engaged, which requires additional stability at the shoulder. When I keep the palms facing each other in a neutral position, the three heads are activated more evenly, promoting global recruitment and balanced proprioceptive awareness. These variations are not cosmetic. They are true tools of modulation. I select them depending on my goal, power, shoulder stability, or balance strength. I pay close attention to pelvic placement because it conditions the chain above. In imprint, I secure the lumbar area when the legs are in tabletop, and I connect breath with abdominal engagement. In neutral, I demand more refined segmental control and allow the natural curve of the lumbar spine to return. provided I can maintain trunk stability and effective breathing. I do not impose one or the other. I choose what best serves my pedagogical intention and the practitioner's level. I now describe the complete sequence as I want to hear it. I inhale to prepare, expanding the ribs, placing the shoulder blades, and letting my sternum float without lifting. I exhale, extend the elbows, Keep the wrists long and neutral and press the palms toward the carriage without collapsing the chest. I feel my triceps lengthening the gesture all the way to the olokranon. I inhale to control the return. I resist the pull of the springs. I maintain the width of the shoulders and I bring the elbows back into position without losing alignment. I repeat five steady repetitions, avoiding hyperextension at the elbow and favoring active length. through the arms. I also describe useful variations. If I turn the palms toward the hips, I feel the line of effort closer to the body as if I were pressing against the carriage rather than toward the floor. If I turn the palms up, I open the front of the arm, lengthen the biceps which co-stabilizes, and engage the long head of the triceps more strongly. If I place the palms facing each other, I keep a neutral orientation that... It balances the work of all three heads and encourages scapular stability. I adapt the resistance with one or two springs depending on the quality of control, not on ego, because too much resistance can hide shoulder instability, while too little can reduce the sense of direction. I state clearly the common mistakes to prevent them. If the shoulders rise, I lose scapular anchoring and overload the neck. if the chest flares forward I disconnect the rib cage from the pelvis. If the wrists collapse, I disrupt the line of force and overload the forearm. If the pelvis leaves its position, I turn the triceps press into a compensation through the lumbar spine. I correct these issues with simple cues. I keep the collarbones wide, let the back of the ribs rest into the mat, press long through the palms without breaking the wrists, and let the exhalation drive the extension. This exercise matters to me as a teacher because it shows that the arms never work alone. Elbow extension is the result of an organized chain from the pelvic floor and transverse abdominis to the scapular stabilizers. It is precisely this orchestration that distinguishes a mere muscular effort from an intelligent, integrated gesture. by refining breathing, adjusting pelvic placement, and varying hand positions. I turn an apparently local exercise into a laboratory of postural integration. To conclude, the Mid-Back Series Triceps Press becomes a powerful training ground when I combine anatomical accuracy, respect for the principles of the method, and a sensitive listening to the body. I place my legs in tabletop and choose imprint or neutral pelvis depending on the objective. I anchor my shoulder blades, lengthen my neck, and organize my breathing so that exhalation accompanies extension. and inhalation prepares the return. I understand that the triceps has three heads with distinct origins, a common insertion on the olecranon, precise innervation by the radial nerve, and a fiber composition that requires intelligent use of resistance. I use pronation, supination, and neutral hand grips to modulate recruitment without losing quality. When all these elements align, the movement becomes clear. stable, and surprisingly economical. I feel strength radiate from my center to the tips of my fingers, and I rediscover the promise of Pilates, calm power in the service of an organized body. Thank you for sharing this exploration with me. I will see you again very soon for another episode of BioPilates Deep Dive.
