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Freestyle - Karlyn Pipes-Neilsen

Important Note to the Viewer

LESSONS: 23 VIDEOS

Streamline!

Streamline!

Streamline is basic to all good swimming! It’s so basic that it’s more than a focus point…it’s the most important thing you can do to go faster. Streamline is the one thing you should think about every time you go to the pool…and every time you push off the wall. Keep your hands in a thumb-lock position. Try to get your hands locked like this, even if your shoulders are not very flexible. If you lock your hands, it helps you extend through the shoulders. Squeeze and extend until your shoulders are tight against your ears or head. Keep your head in line with your spine, and don’t look forward. Hold your streamline as you kick into your first stroke. Practice holding a super streamline off every wall…every day. It’s the 1 way to swim faster! If you race only in open water, streamlining is still important. By streamlining off every wall at the pool, you’ll go faster in open water, and you’ll increase the range of motion in your shoulders.

Focus on the Tiles

Focus on the Tiles

Coaches used to tell swimmers to look forward and keep the waterline just above your goggles – like this. But when you look forward, what usually happens is that your hips and feet go down – like this. If you look forward, it takes a lot of work – or a really big kick -- to move your body through the water. Looking down and slightly forward allows the hips to stay near the surface. Looking down keeps your body horizontal and reduces drag. It lets you get the most out of every pull and kick. One way to know that you’re really looking down is to focus on the tiles. Don’t just look at the bottom…really zoom in on the tiles. Looking at the tiles keeps your head in line with your spine. In this clip, notice that Karlyn's upper back is slightly rounded. She's thinking about drawing her belly button up to her spine. This helps her get a long, straight bodyline, and allows her to feel like she's planing across the water, not plowing through it. If you focus on the tiles and your feet are still dragging, it’s usually because your ankles aren’t very flexible. Lots of runners and triathletes look like this in the water, due to years of running and biking. If you have trouble keeping your feet near the surface… …try swimming and drilling with fins, so that you can feel what it’s like to be horizontal. Standard fins will work, but Karlyn has found that these fins – Alpha Fins -- are especially helpful. As you can see, they float. And when you swim, they help your feet stay near the surface. With regular use, they also help increase your ankle flexibility. When you use fins, try not to overkick. Use them to give you a little extra momentum and to help keep your body balanced and horizontal. Here’s one of Karlyn's favorite drills. She uses it to feel the difference between looking at the tiles and looking forward. Swim half a length with your eyes looking toward the end of the pool. Feel the strain on your neck and the arch in your back – and notice where your feet are. Swim the remainder of the length with your eyes on the tiles and your back slightly rounded. Feel your hips and legs rise, and feel how much easier it is to move forward. Repeat this for several lengths. You can even try it with fins. Some swimmers think that fins are cheating. But Karlyn believes fins can actually improve your technique. Fins can help you focus on things like body position, head position, breathing, and on Karlyn's next focus point – hand entry.

Don't Cross The Centerline

Don't Cross The Centerline

Karlyn has what’s called a wide-entry freestyle. Her hand enters flat and slightly outside the shoulder. Her stroke is based on the same principles used in surfing and paddling. If you’ve ever paddled a canoe, you know that you never reach out and put your oar in front of the board or under the boat. It’s the same when you paddle a surfboard. The hands reach forward, but not in front of the board. If you reach in front, you will zigzag down the pool. The hands go in to the side and pull back alongside the board – like this. When Karlyn applies this concept to swimming, it’s all about where the power is in the stroke. There’s very little power if your hands cross the centerline of your body. Here’s something you can try to get a feel for where your power is. In the deep end, place your hands palm down on the deck and push yourself up and out of the water. Where did you place your hands? Without thinking about it, you probably placed them just outside your shoulders. This is where you have the most power and leverage. When you swim freestyle, try entering each hand just outside the shoulder. The hand should enter flat, with your palm as close to the surface as possible. Let’s watch that in slow motion. Karlyn thinks about skimming her fingernails just under the surface. They won’t be that high, but the idea is to not drive the hand toward the bottom. She wants to create a flat surface for the catch. Imagine your hand is like a plane coming in for a landing. It dips slightly into the water to start the pull. The flat hand provides a solid platform -- or ledge -- for the start of the stroke. Use the black line as a reference point for hand entry. Each hand should enter and stay outside the black line, at least until the finish of the stroke. Here’s the black line again, from a different angle. Here’s what Karlyn calls the water-polo drill, and it’s great for watching your hand entry and learning not to cross the centerline. Put on some fins. Swim half a length with your head out of the water and looking straight ahead – not side to side. Use a wide-entry stroke and don’t cross the centerline. Finish the length with your head down, but maintain the same hand width on entry. Stick with 25s for this drill, and look straight ahead when your head is out of the water. Notice that when Karlyn swims with a wide hand entry, her shoulders are somewhat flat. She thinks about “quieting” the shoulders as she places her hand in the water. If Karlyn rolls her shoulders, it looks like this. This makes it difficult to have a wide hand entry, and it makes her wiggle down the pool. Rotation in swimming comes from your hips and core, not from your shoulders. Here’s a drill that will show you the difference between core rotation…and shoulder rotation. Swim half a length with minimal shoulder roll… …then swim half a length with lots of shoulder roll. Repeat this for several 25s. Be sure to emphasize shoulder roll and not hip roll. This should convince you that rolling the shoulders is a misapplication of rotation. Now quiet the shoulders and swim again, this time rotating just the hips and core. From this angle you can see that Karlyn gets lots of body rotation, and that her hands are still entering wide and flat. She rotates, but her hands don’t cross the centerline. Karlyn has found that this is a very powerful combination for swimming freestyle.

Extend and Pause

Extend and Pause

Once your hand enters wide, the next step is to extend and pause. Let’s watch that in slow motion. The hand enters wide…extends forward…then pauses briefly before starting the pull. This simple pause will lower your stroke rate, increase efficiency, and lengthen your body. It also allows you to glide past the bubbles attached to your hand. This gives you clear, solid water in which to start the pull. You may think that pausing will slow you down, since you are gliding and not pulling right away, but -- as you can see here – Karlyn is still moving forward at this point. Think of your pull as ending in front of your body -- here, at the top -- rather than at your hip. For maximum power, don’t let your hand cross the centerline as you extend forward. If you reach across the centerline, like this, it may feel like you’re reaching forward, but it will cause you to zigzag down the pool. Be aware that on your “breath stroke,” your extended arm may drift toward the centerline as you turn your head to breathe – like this. You may need to over-emphasize and use a really wide entry to compensate for the extra roll that occurs when you take a breath. You may feel like you’re swimming lopsided -- as if one hand is entering wider than the other – but you’ll really be swimming straight. Another way to avoid zigzagging and crossing the centerline is to take fewer breaths. Non-breathing strokes tend to be more symmetrical than breathing strokes. During the breath, the pulling hand also has a tendency to cross the centerline – as you can see here. So you may need to exaggerate the width of the pulling arm as well as the width of the extending arm. But the main focus is to extend outside the centerline…and then pause. This sets you up for a longer, more powerful pull. As you pick up the pace, the pause will shorten…but it’s still there. Extend and pause on every stroke.

Surfboard Catch and Pull

Surfboard Catch and Pull

In this clip, watch Karlyn’s elbows. Notice that she initiates the catch – here -- by bending the elbow. Here it is again. She LIFTS the elbow…to start the catch. Karlyn likes to keep her elbows high – near the surface of the water. She sometimes imagines she is swimming in a very shallow pool – or over a coral reef. She lifts the elbows to keep from scraping her fingers on the coral. Here’s a drill that will help you work on a high-elbow catch. Karlyn calls it Single-Arm Kickboard drill, and she learned it from triathlon coach and author Marc Evans. Place one arm on the middle of a kickboard, and use the other arm to pull. Any kickboard will work, but a smaller and lighter board will put less strain on your shoulders. Karlyn likes this drill because she can watch her pull from start to finish. As she keeps the elbow high, notice how the arm automatically bends early to create the catch. In these next clips, watch Karlyn’s hands and forearms. Notice that the palm, wrist, and forearm work as one unit. We’ll freeze it – here – and you can see that there’s no bend at the wrist. When Karlyn swims, she imagines there’s a metal plate in each arm, and it runs from the center of the palm to about three inches above the wrist. This metal plate does not bend. And your wrist should not bend. Let’s slow it down again. Notice how Karlyn transfers power to the pull along this plate. She catches and pulls not just with her hand…but with the entire surface, from fingertips to elbow. This may make your stroke feel mechanical or crab-like. And you can see why Karlyn’s friends call her “Spider.” But this stroke – with a high-elbow catch and a straight wrist on the pull -- gives Karlyn tremendous lift, power, and acceleration. Here’s a drill you can use to work on this key focus point. Doggy Dig is modified dog paddle, with small quick pulls that start just past the chin and end at the chest. The hand and wrist are firm with no “break” in the fingers or wrist. The goal is to emphasize a straight wrist, and to learn where to apply power in the pull. Swimmers always ask, “What kind of a pull pattern should I use?” In this clip, you can see the pattern that works best for Karlyn. It’s the same pattern you would use to paddle a surfboard. Let’s slow it down. The fingertips point to the bottom, not sideways in either direction, and never over the centerline. As the arm sweeps past the torso, the shoulder accommodates the pull and shifts back. Notice that there’s no internal rotation at the shoulders. Finish the pull by drawing your hand toward your hip, and only slightly under your body. As the hand moves toward the hip, the hip should roll slightly away. Let’s watch that again. The hand moves in a straight line toward the hip. It’s the body that shifts, not the hand. Notice that Karlyn’s shoulders are quiet. The rotation is in her torso and hips. And notice again how similar this looks to paddling a surfboard.

Put The UMPH In The Front

Put The UMPH In The Front

Most swimmers have been taught to apply force at the finish of the stroke – as Karlyn is doing here. By placing the umph at the finish, you rely on your triceps for power, and this is a small muscle group. Now watch as Karlyn puts the umph in the front. We’ll freeze it – here – to show how there’s almost a curve underneath her arm as she hooks in with the hand, and starts to engage the lats, pectorals, biceps, and the muscles all along her side. This is a larger muscle group – and it creates a lot of power. Let’s watch again. The power phase occurs early in the stroke, when large muscle groups are available. She applies pressure -- or umph! -- almost immediately after the catch, then releases the pressure as her hand nears the ribcage. Keep your wrist straight and fingertips pointed at the bottom to maintain a solid hold on the water. Feel yourself move or shift forward in the water, and feel your body lift up. Then ease up and round off the pull at the hips. Some swimmers may not be able to apply pressure at the top part of the stroke. It’s OK to put the umph in the middle or slightly later – like this. Just remember: The power is not in the back! Think again about how you would paddle a surfboard or canoe. You do not press past vertical. The power is in the front, then you release and bring the arm or paddle out of the water. Release your hand at the hip or slightly sooner, and try not to finish past the thigh. At the finish, simply allow your hand and arm to flow with the water, and bring them out of the water and into the recovery. The hand may travel toward the thigh, but there should be no umph or power behind the movement. Put the umph in the front.