Welcome to the The Weekly Ride by Cycling Fusion
No more hunting for new music or counting out cues to develop your ride profile. Here is your ready to ride profile for a fully choreographed ride, that can be displayed from your phone, or printed out onto cue cards for your class. This ride is timed out, down to the second, to make your life as easy as possible!
The Power of the Pedal Stroke – Anatomical View
For a road cyclist pedaling while in the saddle, most of the power happens between the 12 o’clock and 5 o’clock position of the pedal stroke. This is when a majority of the primary muscles are activated. Hip and knee extension, along with hip flexion, are the main movements of a pedal stroke. Between the 6 and 12 o’clock position in the pedal revolution, there is some knee flexion to help bring the pedal back to the top, but the downward force being placed on the opposite pedal by the opposite leg is generally far greater. Lessening this negative (downward) force through the back half of the pedal stroke is accomplished through the action of the hamstrings and calves at the bottom of the stroke pulling the foot backward, to the hip flexors at the top, lifting the foot and knee back to the 12 o’clock position.
The power phase happens while the hip and knee extend, pressing downward on the pedal. This action starts with a combination of the gluteus and quadriceps muscles but then is joined by the hamstrings and calf muscles a quarter ways through the revolution. This shows the need for equally strong hamstrings, hips, and quadriceps. These muscles are some of the largest in the body and are the primary power producers in a pedal revolution.
A Brief on Pedal Torque
Is there such a thing as the perfect pedaling technique? And does anyone have it? The answer to both of these questions is probably ‘no' but the answer to ‘is there good technique?' is definitely ‘yes' and answering the question ‘what's the difference between good and bad technique?' is the objective of this article.
Let's consider the following four scenarios:
1. Cranks at 3 o'clock (horizontal). Pressing down on the front pedal will cause the cranks to rotate in the direction that we want them to go. Pressing down on the rear pedal will cause the cranks to turn in the wrong direction. If the force on the front pedal (lever) is greater than the force on the rear (lever), then we'll get some rotation in the right direction. Any downward force on the rear pedal has to be overcome by downward force on the front pedal before any effort is used to propel the bike forward. Let's keep that in mind.
2. Cranks at 6 o'clock (vertical). Theoretically pressing down on the top pedal won't cause the cranks to rotate but in practice, it will simply because the position is unstable. Whether it causes them to rotate forward (to 3) or backward is anyone's guess. Pressing down on the lower pedal will not cause the cranks to rotate – in fact, it will stop them. In addition to being 100% ineffective, a straight downward force at when pedals are positioned at 6 and 12 o’clock is also biomechanically stressful, and over time may result in pain or injury to the knee joint.
3. Cranks between 1 and 2 o'clock. Pressing down on the top pedal will cause the cranks to rotate in the direction we want them to go – but only a small part of the force will contribute to the rotation. The rest of the force is wasted. Pressing down on the bottom pedal will cause the cranks to rotate in the wrong direction – but again with only part of the force. As long as the force on the top pedal is greater than the one on the bottom rotation will be in the right direction.
4. Cranks between 4 and 5 o'clock. Similarly to 3, a proportion of the downward force applied to each pedal will affect the rotation, the remainder will have no effect.
If we look at the diagram below, we can understand why bad pedaling works (i.e. why anyone can ride a bike – or a stationary one at least). Pressing harder on one pedal than the other will result in the pedals turning in one direction or the other. It's easy to apply a large force to the front pedal through the 3 o'clock position, enough to turn the pedals to 6 o'clock. There will be enough momentum in the legs to get past the vertical after which it's easy to exert a larger downward force on the upper crank than the lower one. The momentum (energy applied to the pedal) ensures that the rotation direction remains the same.
In the diagrams above the direction of travel is left to right (as with the animations below). The black arrow represents applied force. The colored arrows show the applied force resolved radially (in red) and tangentially (in blue and green).
Bad pedaling works because the blue arrows are longer than the green ones. The effective contribution is blue minus green, I've shown that in amber. The amber arrows represent the ‘torque'.
Bad pedaling is bad because all of the force represented by the red and green arrows is wasted.
The aim of good pedaling is to modify the direction of the black force to minimize radial forces and maximize torque.
The Ankling Technique
Deriving from the above explanation of Torque, we can conclude that the main application of force to the pedals is in the downward thrust which comes naturally to almost everyone. The technique of drawing force across the bottom of the revolution arc and upwards to the start of the downward thrust is called ankling. The action involves a lowering of the heel as the downward force of the pedals takes place, and a lifting of the heel as the pedal begins the upward movement of its revolution. Think of scraping mud off the bottom of your shoe at the bottom of the pedal stroke. Ankling enables the application of constant pressure upon the pedals throughout the revolution eliminating the dead spots at the upper and lower points. This pedal stroke requires less peak muscle contraction which spreads the load over the muscles (engaging more calf muscles) and promotes a smooth efficient style that allows the production of more power with less difficulty.
Different cyclists will vary in the position of their heel while pedaling. Depending on one's flexibility and basic biomechanics, some of us will use a high heel action and some may use a low heel action. Heel height also depends on one's cadence (see illustration bellow). One may end up injured if an attempt to change the basic heel height of the pedal stroke if it doesn’t feel natural. One should try to develop ankling within the constraints of their basic pedaling movement. A proper bike fit along with cleat positioning goes hand in hand with this and is well worth the money to optimize your pedal stroke. Because good anklng technique is dependent on proper foot placement on the pedal, it is important to remind indoor riders who do not use cleated shoes to place the BALL of the foot on the pedal before tightening the toe straps. Placing one’s foot all the way to the end of the cage can result in the arch of the foot being on the pedal and restrict ankle movement.
The faster one's cadence, the more difficult and unnecessary it will be to use the ankling technique. The downwards force on the pedals and the muscle contraction will be so quick in a sprint at 150 RPM that one won’t be able to do this effectively. However, we can observe that track sprinters will often use a high heel action when in a full sprint. Indoor riders are notorious for riding with an overly exaggerated “toe down” style, especially at high RPMs. However, unlike the outdoor sprinter, this style indoor usually reveals an inability of the rider to “keep up” with the momentum of the weighted flywheel.
Road cyclists often use a low heel action resulting from their cleat being positioned past the ball of the foot (towards the toe). The low heel technique is important in hill climbing while sitting back on the saddle and one can notice an improvement in climbing abilities upon mastering this technique. (note: keep in mind this technique most likely does NOT apply indoors, as simulation of a “hill” is simply an increase in resistance; there is no real incline to lift the front portion of the bike above the rear).
See illustration below for an example on heel action at different cadences (pay more attention to the pedal angle than the heel angle in these pictures. The heel appears to be higher than I would suggest. This will depend on the flexibility of the rider).
Understanding the role of the ankle joint is quite important; however cueing indoor riders about foot position (i.e., “point your toes,” or lift your toes up”, etc.) are NOT likely to result in better ankling technique, or more effective force generation. Instead, remind riders to keep their ankle “loose and flexible”, while seeking to apply effective force to the pedals with cues that describe the circular nature of the pedal stroke and the role of the primary force producers in the pedal stroke. This will encourage good ankling to occur naturally.
Co-authored by Stages Master Educators Paulo Stroud-Baranda and Lenita Anthony
Welcome to the The Weekly Ride by Cycling Fusion
No more hunting for new music or counting out cues to develop your ride profile. Here is your ready to ride profile for a fully choreographed ride, that can be displayed from your phone, or printed out onto cue cards for your class. This ride is timed out, down to the second, to make your life as easy as possible!
A great question from one of the riders in yesterday's Performance Cycle class. An observation that shows he's paying attention + it gives me the chance to clear this up, so you can properly explain this anomaly to your participants.
The short answer is you don't* If resistance and cadence remains the same, in or out of the saddle doesn't matter. The amount of power/watts you are creating doesn't change… because it can't.
The bike decides the right amount of power
You know that Power = Force x Cadence. So let's assume this participant is riding seated and pedaling @80RPM. Their resistance is set to a level that results in the console display showing 150 watts.
Our legs create the perfect amount of force required to get the job done, which in this instance is overcoming the resistance to pedal @ 80RPM. If your resistance setting on the cycle requires “X” amount of force to push down the pedal, your muscles will create exactly “X” – no extra force is created and no less. The combination of that force, multiplied by a cadence of 80 RPM results in the power meter showing 150 watts.
In fact there's an actual law of physics that says that it's impossible to get the same amount of power out of a machine with a reduced amount of power added into it – which is why I'm saying the amount of power/watts you are creating stays exactly the same, if you make no change other than to stand and ride out of the saddle.
My response was; “you're right it does and there's a simple answer why…**[wlm_private ‘PRO-Platinum|PRO-Monthly|PRO-Gratis|PRO-Seasonal|Platinum-trial|Monthly-trial|PRO-Military|30-Days-of-PRO|90 Day PRO|Stages-Instructor|Schwinn-Instructor|Instructor-Bonus|28 Day Challenge']
Let me begin with the basics. I teach at a Life Time Fitness Athletic Club and we ride FreeMotion S11.9 with the Carbon Drive belts. FreeMotion's measure power only through the left crankarm as you can see here.
This is my personal S11.0 (the home version) which is why it's black and not the normal silver color. The electronics are identical across all models.
Yes, the meter shows a drop in power…
Many of us who teach or ride on this Indoor Cycle have noticed that the power meter will show a lower wattage number when you transition out of the saddle, without giving any thought as to why. As I explained above, it shouldn't > the wattage number should remain the same. Again; Power is equal to force times cadence. If you didn't change the resistance setting, and you're maintaining the same cadence, the power meter should continue to show the same wattage… but it doesn't because >>>> your legs aren't the same strength.
Your dominate (stronger) leg does more work
The force required to pedal is divided between your two legs – but not equally. Because many (if not all) of us have one leg that's stronger than the other, our brains automatically proportion the amount of force from each. Remember: our legs only create exactly what's needed. Unless you consciously choose otherwise > more force is unconsciously asked from the stronger leg and the opposite leg adds what's left, equaling the total required.
Some quick research showed me that it's very common for one leg to be stronger in most people. Your dominant/stronger leg is typically the same as your writing hand. Since ~90% of people are right handed, the majority of your class will be seeing lower wattages when the come out of the saddle > because they are doing more work with their right leg. The FreeMotion's left hand power meter sensors are seeing a lower amount, of the total amount of work, as coming from your left leg.
Because this IC can only sense force on the left side, when you stand your stronger leg carries a greater percentage of your body weight = the wattages appear lower.
So standing or seated at the same cadence, you continue to create the exact same amount of power. It's just that the power meter doesn't see all of it and displays the reduced amount = the misperception that we create less power standing… which you now understand isn't true 🙂
Make this a feature (not a bug) in your class
Since the Freemotion can show leg strength disparity, why not use it as a training tool?
Novel idea, right?
Start by teaching everyone which leg is their stronger/dominate leg. The simplest way I know is by doing Step-Ups on a box or step raised to the proper level as shown in this short video.
This exercise was eye opening to me, when we did them in Boot Camp. Learning that my right leg is considerably stronger, I'm now really focusing on making my left leg do more work. Hopefully over time, a stronger left leg will result in me having a higher FTP and greater overall muscular endurance.
I suggest having your riders do this as an after class activity > or you could bring a box into your studio and have everyone take a turn.
Using a pair of reasonably sized dumbbells, perform 8-12 reps all on one side and then the other. It should be quickly apparent which (or if) they have a leg strength disparity.
We'll explore drills to exploit this feature and help riders train their weaker leg in future posts! [/wlm_private]
* I'm not referring to pedaling efficiency here, which is a completely different subject.
** Please let me know if this isn't clear, if I've confused you or you have an alternate method of explaining this.
Welcome to the The Weekly Ride by Cycling Fusion:
This is post one in a multi-post series that will explain how to use and select music to compliment your class. As the series progresses, I will be sure to include the links to the previous posts so that the entire series can be found in the latest post.
As an instructor, music can become the most challenging part of any indoor class; however it can be one of the most important parts of the class. I have heard it said that we are not DJs on a bike, we are cycling coaches. While I may agree with the sentiment, we can not underestimate the importance of music in the delivery of a class. You could structure the most ideal training program with the very best designed drills, but if your music is off and does not match the work, chances are very good that the class will disappoint your riders. While we believe that the class focus and design should be well thought out before the music is added, the addition of music to your drills will truly make or brake your class.
What is it that makes the selection of music so crucial; music is a one of the most powerful mediums. It can facilitate communication that goes beyond words, enables meanings to be shared, and promotes the development and maintenance of individual, group, cultural and national identities. Music can alter movements, moods and emotions. Few other items that you come in contact with can effect such a wide range of human functions and feelings.
So, how do we begin with the so important task of selecting the right music for your class? It all begins with belief. You must believe in your music and your playlist or your class will not believe in it either. While there are seemingly endless types and styles of music and everyone in your class can have a different preference, it is your ability to believe and sell the ride that will matter. To make it a little easier, if you incorporate some basic principles, you will succeed more times than not:
Know Your Demographic
The demographics of an indoor cycling class can be affected by many factors including your club’s location (city vs. suburbs), day of the week and time of day that your class is offered, and if your class is designed around a specific focus or theme. One of the easiest ways to accomplish this principle is to take the time to learn what your riders like by simply asking them. You will never be able to please everyone all of the time, but people appreciate being listened to and will respect you if they believe your are doing your best to give everyone something they enjoy. Please, remember to remind your people that not all great music is great indoor cycling music and that it may take a few weeks to get their requests into one of your rides.
For Foundational classes (beginner), remember the overall focus is to provide a fun environment for people to gain some initial cycling fitness or possibly just fitness in general. With the exception of the warm-up (and possibly the cool-down/stretch), working songs should be music your riders will recognize, and maybe even sing along to. While the beat matching of the ride is still critical, you should take extra time with this group to be sure the music is fun and will keep them coming back for more.
For intermediate and advanced classes, it is critical that the music be beat-matched and of similar intensity to the work that you are asking of the riders. When we ask more of the riders, this also demands more of us as instructors. We need to put in the extra time to find “just the right music” that will not only support our drills, but it will also enhance them. Ideally, the riders should be able to close their eyes, or look away from the cycle display, and still hold the proper cadence by focusing on the beat and feel of the music. Aside from the beat, the intensity is also important: an epic climb demands an epic musical work to help us reach the summit.
One of our foundations at Cycling Fusion is that songs used for the first warm-up segment should NOT have vocals. The warm-up is where you spend a good portion of the time introducing yourself, the purpose of the class and give various instructions such as safety guidelines, proper position and how to gauge the level of effort. It is important that your voice be the only one heard in the cycling studio during the warm-up so riders have a clear understanding of expectations and how to approach the class.
In the next post, we will talk about Pulse, BPM and RPM and how using them will enhance your ride and heighten the student’s experience.