Exercise to Music - Sample Manual by HealthFitnessEducation

Exercise to Music Level 2 Student Manual

Contents

Exercise to Music Instructor Certificate Level 2 Student Manual

Table of Contents Section

Title

Page

Introduction to Exercise to Music

Gathering Information and Planning Lessons

Using Music for Exercise

Choreographing Exercise to Music Classes

Warming-up and Cooling-down

MSE Concepts and Exercises

Body Conditioning Concepts and Exercise

Aerobic Training Concepts and Exercises

Flexibility Concepts and Stretch Techniques

Instructing, Teaching and Evaluation Skills

Appendix 1 - Sample Lesson Plan

Appendix 2 - Choreography Inspiration

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Fifth Edition: March 2017

Section 01

Introduction to Exercise to Music

Exercise to Music Instructor Certificate Level 2 Student Manual

Section 01

Introduction to Exercise to Music Why this Qualification is so Important According to the 2015 ‘State of the Fitness Industry Report’, the health and fitness sector hit a record high with more than 1 in every 8 people in the UK being a member of a health club – this represented an all-time high of 13.8% of the UK population. The industry has been steadily growing at a rate of 3.5-5% year-on-year and this trend shows no signs of reversing anytime soon. The future really is bright for those working in the fitness profession! With over 8.8 million people using gym and health club facilities in the UK, a sizable portion of these users frequently participate in group exercise programmes, of which freestyle choreography-based classes like high-lo aerobics, Zumba, legs, bums and tums, and step exercise to music programmes are still very popular. More recently however, pre-choreographed programmes created by the likes of Les Mills (Bodypump™, Bodycombat™, Bodybalance™ etc.) and Beach Body (e.g. Insanity and Brazil Butt Lift) have become increasingly more popular to the point that they are now perhaps more prevalent than the traditional ‘aerobics-style’ of class. The skills required to teach pre-choreographed programmes are however the same as those needed to teach freestyle choreography classes. Aside from the ability to teach both safe and effective exercises, instructors need to be able to do this in a timely manner to the beat and phrase of the music - this is a skill that is not as easy as some make it look. It is a skill nonetheless and like all skills, they must be learned. Exercise to music instructors must understand the structure of the music and how they can use this structure to create an uplifting and engaging environment for their participants to exercise. This is why this qualification is so important. Whether you are planning to teach your own classes with your own choreography, or take the pre-choreographed route, the knowledge and skills contained within this qualification will be fundamental to your success. That is why the Level 2 Exercise to Music qualification is a prerequisite for most of the branded training programmes like Bodybalance™, Bodyattack™, Bodypump™ and Bodycombat™, to name but a few.

Exercise to Music - The Job Exercise to music instructors will normally have a great deal of variety in their working day because of the freelance nature in which most instructors are employed. They will often be required to teach a variety of classes, and depending on whether they are employed or selfemployed, they will also likely teach at a variety of sites/ facilities. Some instructors have full-time jobs and teach classes because it’s their passion and they enjoy it. For others, teaching classes is their full-time job. This is really the beauty of a career in group exercise, you can do as much or as little as you want. What is absolutely certain is that nobody could ever call this career boring. The role of a group exercise to music instructor will vary considerably between employers - it will also depend on the qualifications the instructor holds. The following however represents, in outline, a number of the key responsibilities an exercise to music instructor would have: •

• • •

•

• 2

To instruct a variety of group exercise classes in keeping with the agreed programmes and in-line with personal qualifications To record and monitor exercise class attendances To contribute to regular reviews of the group exercise programme To supervise the use of the facilities by customers to ensure compliance with appropriate rules and admissions policy To provide guidance and practical demonstrations as to the safe execution of movements and the use of any equipment To assist with the safe erection, dismantling and storage of exercise class equipment

Section 02

Gathering Information and Planning Lessons

Exercise to Music Instructor Certificate Level 2 Student Manual

Group Exercise - PAR-Q and You (A Questionnaire for People Aged 15 to 69)

2. Do you feel pain in your chest when you do physical

Regular physical activity is fun and healthy, and increasingly, more people are starting to become more active every day. Being more active is very safe for most people. However, some people should check with their doctor before they start becoming much more physically active.

3. In the past month, have you had a chest pain when you

If you are planning to become much more physically active than you are now, start by answering the seven questions that follow. If you are between the ages of 15 and 69, the PAR-Q will tell you if you should check with your doctor before you start. If you are over 69 years of age, and you are not used to being very active, check with your doctor.

6. Is your doctor currently prescribing you drugs (for

Common sense is your best guide when you answer these questions. Please read the questions carefully and answer each one honestly.

1. Has your doctor ever said that you have a heart condition and that you should only do physical activity when recommended by a doctor?

Client Name

were not doing physical activity?

4. Do you lose balance because of dizziness or do you ever lose consciousness?

5. Do you have a bone or joint problem that could be made worse by a change in your physical activity? example water pills) for your blood pressure or heart?

7. Do you know any other reason why you should not do physical activity?

Informed use of the PAR-Q: The Canadian Society for Exercise Physiology, Health Canada, and their agents assume no liability for persons who undertake physical activity, and if in doubt after completing this questionnaire, consult your doctor prior to physical activity. I hereby confirm that I have read, understood and completed this questionnaire. Any questions I had were answered to my full satisfaction.

PAR-Q Response Signature Date No Yes

1 2 3 4 5 6 7 8 9 10 11 12

activity?

Instructor Comments / Advice

Section 02

Gathering Information and Planning Lessons

Exercise to Music Instructor Certificate Level 2 Student Manual

for the client’s long-term motivation. When setting these goals it is imperative they are realistic; unrealistic goals are unlikely to be achieved and will result in frustration and disappointment for the participant. The following SMART principle is widely used in goal setting to maximise the chance that the required behavioural change or outcome will be realised:

Specific - The goal should be stated and recorded using as much detail as possible to clearly define the desired outcome. Give exact and precise targets and where relevant try to quantify the goal. progress made towards the attainment of the goal; without this how will you know when the goal has been achieved?

and provide further guidance on how instructors can utilise these principles to create safe and effective choreographed sessions.

Agreed - The participant and any other parties involved

FITT

Measurable - A system should be set in place to monitor

should agree to the goal and its associated activities.

Realistic - If the goal is unrealistic the likelihood of achievement will be very low. This will inevitably lead to frustration and a loss of interest on the client’s behalf.

Timed - As previously stated, goals are dreams with deadlines but without a time scale the client is likely to put off any goal related behaviours. Goals should also be exciting and rewarding - the smart principle chould therefore be modified to become SMARTER.

Class Versatility All planned exercise programmes should only serve as a guide and may be subject to change if a class member, or indeed the group as a whole are unable perform the planned activities. The planned activities may also need to be changed if the exercises become too easy, or where equipment has unexpectedly become unavailable. The exercise to music instructor should be flexible enough in their practices to prevent these circumstances from affecting the quality of their class. By effectively offering a range of alternatives, adaptations and progressions within the group exercise session, instructors should be better able to cater for everybody’s needs.

The Plan Planning sessions is perhaps one of the most important aspect of the exercise to music instructor’s role because the structure and content of the session will effectively make or break the class. The remainder of this section therefore seeks to outline the principles of exercise programming in the context of group exercise to music

The FIIT acronym is commonly used to illustrate the key principles of exercise programming. These principles are those factors of the programme or plan that can adjusted by the participant or their instructor, in order to make it easier or harder. These principles are therefore used to adapt every exercise programme, whether it is gym or studio-based, to make the programme more individual and bespoke to the participant(s).

Frequency: This simply refers to the number of

times per week the class will be completed. Rest is an important aspect of any training programme and without it injury and staleness are likely to occur. Instructors should encourage class members to take regular rest days between classes to ensure optimum recovery is achieved.

Intensity: This describes the level of physical difficulty within the class or session. The intensity of an exercise is dictated a number of factors, some of which will be applicable to specific types of exercise (aerobic, conditioning etc.), others will not. Broadly speaking, intensity is affected by the following 5 variables:

Resistance - levers, gravity, external load and body weight all influence the resistance created within an exercise.

Repetitions - the number of times an exercise/ movement is performed - this is often abbreviated as ‘reps’. Groups of reps are referred to as ‘sets’.

Range - the range of movement the exercise is performed through - larger ranges are more intense and smaller ranges are less intense.

Section 02

Gathering Information and Planning Lessons

Exercise to Music Instructor Certificate Level 2 Student Manual

Example Choreography Session Plan Student Name: Joe Bloggs

Component: Mobility / Pulse-raiser

Venue: Jims Gym - Manchester

Duration: 5-6 mins

Music Speed: 135 BPM

Music Track: Hammer to the Heart

Music Breakdown

Choreography / Exercise

Beats per rep

Reps

Teaching Points

Alternative, Adaptation, Progression Alternative Toe taps

8888

Heel digs on the right leg Heel digs on the left leg

2 2

8 8

Keep the supporting knee soft, chest lifted and shoulders back

8888

Alternate heel digs

Supporting knee soft, toes back

8888

Knee raises (4 left, 4 right)

Avoid leaning forwards, keep chest high and raise knee to 90Â°

Adaptation Heel digs / curl

8888

Alternate knee raises

Supporting knee soft, chest high

8888 8888

Step touch Step touch

Place the heels down with each step, keep the chest high

Alternative March

8888 8888

Double step touch (R)

2 steps to the right instead of one

Progression Grapevine

8888

Double step touch (R) with shrugs

Bring shoulders towards ears and avoid tilting the head

Alternative Lat raise / push

8888

Double step touch (R) with bicep curl

Flex and extend the arm fully with each step

Adaptation No arms

8888 8888

March forwards and backwards 4, push and pull with the arms

Avoid leaning forwards, place the heels down and tap on the 4th step

Adaptation Use bicep curls

8888 8888

Grapevine (R) with lateral raise

Step behind and step together, place heels down and raise arms to shoulder height

Progression Take arms above the head

8888 8888 8888 8888

Grapevine (R) with lateral raise march forwards and backwards 4, push and pull with the arms

16 (both moves)

As per steps 9 and 10; perform 1 grapevine right and back, then progress straight into forward and backwards marching

Adaptation Perform double step touch with the biceps.

Exercise to Music Instructor Certificate Level 2 Student Manual

Section 03

Using Music for Exercise

Section 03

Using Music for Exercise Disadvantages of Exercising to Music

One of the most fundamental skills every exercise to music instructor must possess is the ability

• May create the wrong atmosphere when the wrong style of music is selected

to coordinate both leg and arm movements to the beat and phase of the music. In order to do

• Can de-motivate exercisers when repetitive and poor quality

this effectively the instructor must first of all understand how the music is structured. This

• Can over-motivate exercisers, especially when fast music is used with beginners

section therefore seeks to explain the structure of various styles of music, and to address the

• Can dictate an inappropriate pace

legal responsibilities instructors have when using

• Can make the session too rigid

commercial music in group exercise classes.

• May distract exercisers from technique-related issues

Benefits of Exercising to Music

• Cost associated with purchase, and licensing and playing of music

Exercise to music is very different from exercise with music because the exercise moves/choreography are matched to the specific beat and phrase of the music. For those new to performing exercise to music, let alone teaching it, this can be quite challenging. The relative advantages and disadvantages of performing and teaching exercise to music are summarised below.

Selecting Music There is no hard and fast rule for selecting music for exercise classes but some music definitely works better than others. One of the most effective techniques that you can use to select music for an exercise to music class is to perform the planned choreography to it and ask yourself the following questions?

Advantages of Exercising to Music • Creates a fun and lively atmosphere • Helps to dictate the pace of the session

1. Does it create a fun and lively atmosphere that makes people want to move?

• Can help to promote relaxation at the end of the session

2. I s the speed of the music appropriate to the fitness and skill level of the class?

• Assists with planning of the session

3. Is there a clear and continuous beat throughout?

• Can increase motivation and effort

If the answer is yes to above three questions, then the likelihood is that the music will generally be suitable to use. For reasons discussed later in this section, it is better to use commercial music specifically created for exercise environments rather than purchasing music intended

• Can help to create positive associations with exercise

B LO C K (32 B ea t s )

PH RASE

BEAT

PH R ASE ( 8 Beats) BEAT

BEAT

PH R ASE ( 8 Bea ts ) BEAT

BEAT

P HR A S E ( 8 Bea ts ) BEAT

BEAT

PHR AS E (8 B e a ts)

Exercise to Music Instructor Certificate Level 2 Student Manual

Using Music for Exercise

class and would increase the likelihood that participants will find themselves disorientated and off beat.

Fast and Slow Beats

Professionally Mixed Music

Popular/Chart Music

Intro

8888

Verse

8888

8888 or 88

Chorus

8888

8888 or 88

Instrumental

8888

No clear beat

Outro/fade

8888

None - continuous to next track

Significant reduction in volume and pause between tracks

Music Speed As described earlier in this section, the speed or tempo of the music is measured in BPM. When selecting an appropriate BPM for an exercise to music class, there are no definitive rules, only considerations. The appropriateness of any music will largely depend on the type of session being taught, the level of skill and fitness of participants and the energy and theme the instructor is trying to create. The following table however provides BPM summary guidelines for each component of an exercise to music class.

Music Speed

Mobility / pulse raiser

120-135 BPM

Prep-stretches

120-135 BPM

Aerobic build-up

125-140 BPM

Target zone

135-150 BPM

Aerobic cool-down

125-140 BPM

MSE

110-130 BPM

Post workout stretches

N/A - background

Revitaliser

Section 03

Within many musical tracks there are 2 different types of beat - there is the fast beat and the slow beat. The fast beat is usually the more prominent of the 2 and is that which is listed on the sleeve or download page of most professionally mixed exercise music. The fast beat is essentially the true beats per minute of the track. The slow beat however normally comprises of two fast beats and is therefore half the tempo of the fast beat. During an exercise to music class, instructors can coordinate choreography to either the fast or the slow beat depending on the needs of the participants. For example, more able participants could be instructed to perform a jack in real time to the fast beat (out for 1 count and in for 1 count) whereas less able participant should be advised to work to the slow beat (out for two counts and in for 2 counts). Clearly those working to the slow beat will perform half as many repetitions as those working to the fast beat. The fast and slow beats can also be used to add variety to a session. With the above jack example, participants may perform 8 real time jacks to the fast beat (16 beats) and 4 jacks to the slow beat (16 beats). Those new to exercise to music will find it difficult switching between the fast and slow beat and so instructors should exercise caution before using both beats in the same class. It is a method best reserved for more experienced and competent groups.

Music Skills eLearning Activity The following interactive learning activity shows you visually how music is arranged into beats, phrases and blocks. Please use this tool to get a feel for the music and how it is structured. N.B. This activity is only available in the HFE app so please download the app and login using the credentials you received when you enrolled.

Click to Launch

Section 04

Choreographing Exercise to Music Classes

Low Impact Move

Exercise to Music Instructor Certificate Level 2 Student Manual

not ready to move on to the next element/base move, instructors should continue teaching that element until they are. Progress must match the ability of the class.

High Impact Variation

Marching

Jogging

Step touch

Pony/wide leap

Double step touch

Side jog/gallop

Heel dig

Heel skip/boxer skip/flick kick

Tap back

Hop lunge

Side tap/half jack

If you are finding it difficult to piece choreography together, try keeping the routine as simple as possible by working with base moves that equate to 8 beats of music (a single phrase) e.g. 4 kicks, 2 grapevines, 8 marches, 4 step-touches, single, or single double leg curl. Only perform these moves in multiples of 4 (e.g. 4,

Hop tap/jump jack

Box step/V step

Box double spring back

Grapevine curl

Jack cross jack curl

Step knee

Jack knee/running man/ knee ups

Step curl

Jack curl/flick jog

Feature Introduction of all base moves for combination A

Developing Choreography The development of any choreographed routine needs to be gradual, logical, and sufficiently repetitive to allow participants the opportunity to rehearse and master key elements. A typical piece of choreography would be progressed in a similar format to the table opposite - the graphic below also shows how multiple combinations of choreography can be combined to create a full routine. As the complexity of the routine develops, instructors must continually offer variations to participants that either progress or regress the choreography so that the intensity and complexity of the session matches the skill, ability and fitness level of individual class members. There is no rule on how many times each element should be performed so instructors should teach this as many times as necessary to help participants master the routine. If the majority of participants within a group are

Example Marching on the spot Box step Grapevine Leg curls

Addition of arm movements

Marching with bicep curl Box step with front raise Grapevine and pulling Leg curl and pushing

Inclusion of locomotion/ travelling/ directional change

Marching forwards and backwards Turn on the box step Perform two grapevines in the same direction Single, single, double leg curl

Add variation/ Kicking forwards and impact backwards with overhead arms (advanced option)

Combine with N/A one or more additional patterns to create a full routine

N/A

8 moves +

4 moves A4 B4

Intensity

4 moves

B2 B1 A4 A3 A2 A1 Time

Element

Section 04

Choreographing Exercise to Music Classes

Exercise to Music Instructor Certificate Level 2 Student Manual

Aerobic Choreography Summary Choreography Marching

Coaching Points

Variations

• Stand tall with the chest lifted and the spine neutral

Increase the range of the arm and leg movements for intensity

• Step through the whole of the foot (heel-toe) and maintain an ankle, knee and hip alignment

Step Touch

• Keep the hips over the feet and the shoulders over the hips

Perform on the spot, forwards, backwards, diagonal, circle, or left or right

• Keep the hips and shoulders square

Step wider for increased intensity.

• Toes facing forwards and ensure the heels are placed down fully

Change direction by adding a turn

• Stand up tall with a neutral spine

Add a knee raise or leg curl on the end

• Keep the hips over the feet and the shoulders over the hips

Double Step Touch

• Keep the hips and shoulders square • Toes facing forwards and ensure the heels are placed down fully • Stand up tall with a neutral spine • Keep the hips over the feet and the shoulders over the hips • Perform two steps in the same direction (L/R) and return back to start

Grapevine

Add leg curl or knee raise on the end Integrate with step touch for double and two singles

• Toes facing forwards and ensure the heels are placed down fully

Change direction after each repetition

• Step slightly in front with the first step and behind with the second (step behind then step together)

Perform more than one grapevine at the same time

• Stand up tall with a neutral spine

Perform forwards and back, diagonal, or left or right

• Keep the hips and shoulders square

• Keep the hips over the feet and the shoulders over the hips

Step Tap/Side Taps

Change direction between or after each step

• Keeping the toes facing forwards and the knees soft, tap one leg out to the side and return it back - repeat this for the opposite leg • Keep the supporting foot flat on the ground

Perform with impact or perform with both legs at the same time to create a jack

• Ensure the chest remains lifted and the spine neutral • Avoid leaning forwards • Keep the hips over the feet and the shoulders over the hips

Knee Raise

• Keep the supporting knee bent • Raise the knee towards the chest (90°), not the chest towards the knee • Avoid twisting or leaning to the side • Integrate into a step touch, double step touch or add on the end of a march / grapevine

Leg Curl

Perform single, single followed by a double

• Whilst performing a step touch, bend the knee so the heel moves towards the buttocks

Perform single, single followed by a double

• Keep the knee directly under the hip

Perform alternates and change direction whilst changing legs

• Avoid leaning forwards; keep the chest lifted and the spine neutral • Keep the supporting leg slightly bent and the supporting foot flat

Add impact by hopping at the top of each knee raise

Section 06

Muscular Strength and Endurance (MSE) Exercises

exercisers because they help to provide an anatomical foundation and allow participants to learn new exercise techniques. It is worth pointing out at this stage that there is no distinct switch from a power, strength or endurance exercise. Exercises that develop power will also develop strength, those which promote strength will also improve endurance. As an instructor you should try to think of these attributes on a continuum like that on the previous page, rather than distinctly different entities.

Breathing Breathing is an important consideration for any exercise technique, especially when using higher levels of load or resistance. With all resistance exercises, whether they use bodyweight or another form of resistance, the best general guideline for breathing is to exhale through the effort or the sticking point; this simply refers to the most difficult part of the exercise. Inhalation should be deep and through the nose on the return phase of the movement, whereas exhalation should be forceful and through pursed lips - this helps to regulate the ‘out breath’ and activates many of the accessory respiratory muscles that provide stability to the thorax. In some circumstances, especially where over-emphasis on breathing technique disturbs the participant’s exercise technique, it may be advisable to encourage the class member(s) to ‘ just breathe freely’ throughout the exercise. Whilst this may not be the best solution for performance, it will ensure a steady supply of oxygen continues to flow into the body.

Music Speed & Tempo The speed of the music used in an MSE component will vary considerably depending on a number of factors, including: •

The specific exercises being taught

•

The fitness level of the group

•

The skill level of the group

•

The aim of the session and style/type of session

Typically however, the MSE component will use music that ranges between 110-130 BPM. Like with other components, the speed of the music is highly important because it determines the speed at which the MSE and body conditioning exercises will be performed - this is referred to as the ‘tempo’ of the exercise.

Exercise to Music Instructor Certificate Level 2 Student Manual

To further adapt the speed of the exercise/movement to the needs of participants, and to provide variety within the exercise and component, instructors can vary the tempo of the exercise ensuring that it stays to the beat and phrase of the music. Essentially, any tempo variation will work providing that it fits a complete 8 beat phrase. Outlined in the table below however are some of the more common MSE tempos used: Tempo

Explanation

1:1

1 beat up, 1 beat down

3:1

3 beats up, 1 beat down

2:2

2 beats up, 2 beats down

4:4

4 beats up, 4 beats down

8:8

8 beats up, 8 beats down

Unlike other components however, slower music speeds will prolong the time the active muscles are under strain and tension and will therefore make the exercises harder. Instructors must therefore consider this in the planning process and ensure that the speed of the music matches the aim of the component and the abilities of participants. As always, music that has a heavy and distinctive beat often makes it easier to perform MSE and body conditioning exercises to, especially for beginners who will find it more difficult to stick to the beat and pace of the music.

Transition Between Exercises It is important to ensure that transitions between exercises allows participants sufficient time to get into the correct position before starting the next exercise. As an instructor you will need to consider this in both the planning and delivery stage, being patient with those slower participants. Effectively sequencing exercises to minimise time lost to changing position will certainly help.

Exercise to Music Instructor Certificate Level 2 Student Manual

Muscular Strength and Endurance (MSE) Exercises

Section 06

Prime Movers: Rectus Abdominis • Lie on the back with the knees bent at approximately 90°. • Ensure that the feet, hips, shoulders and head are in contact with the mat and a natural curve in the lower spine is present. • Placing the hands across the shoulders or on the temples, flex the spine to approximately 30°. • Breathe out through the lips whilst lifting, and in through the nose whilst lowering. • Maintain at least a fist’s distance between the chin and the chest; keep the eyes fixed on the ceiling. • Lower under control so the shoulders make contact with the mat; refrain from lowering the head fully between reps.

Abdominal Crunch

Progression Perform with the hands behind the head.

Adaptation Perform with the hands on the thigh.

Prime Movers: Rectus Abdominis (lower portion) • Lie on the back with the knees bent at approximately 90°; raise the feet off the ground and place the knees directly above the hips. • Place the arms by the side, breathe in deeply through the nose and exhale slowly and forcefully through the lips during the following action. • Rotate the pelvis backwards, pushing the knees towards the chest and ceiling so that the hips lift off the ground. • Ensure that the legs and hips are not thrown upwards and that the movement occurs under control. • Lower the hips slowly so that the knees are placed once again above the hips.

Progression

Reverse Crunch

Extend the legs further and/or add resistance to the ankles.

Adaptation Perform with only 1 leg off the ground.

Prime Movers: Rectus Abdominis and Obliques • Lie on the back with the knees bent at approximately 90°. • Ensure that the feet, hips, shoulders and head are in contact with the mat and a natural curve in the lower spine is present. • Placing the hands across the shoulder or on the temples, flex the spine to approximately 30° whilst rotating and twisting the shoulder towards the opposite knee. • Breathe out through the lips whilst lifting, in through the nose whilst lowering. • Maintain at least a fist’s distance between the chin and the chest; keep the eyes fixed on the ceiling.

Oblique Crunch

• Lower under control, so the shoulders make contact with the mat; refrain from lowering the head fully between reps.

Progression Perform with the hands behind the head.

Adaptation Perform with the hands on the thigh.

Section 06

Muscular Strength and Endurance (MSE) Exercises

Exercise to Music Instructor Certificate Level 2 Student Manual

Prime Movers: Triceps and Pectorals • Sit on the mat with the legs semi-extended and the toes pointing forwards. • Position the hands to the side, behind the body and with the fingers facing forwards. • Raise the bodyweight over the hands by lifting the hips from the ground and leaning back slightly. • Breathe in deeply through the nose whilst bending the elbows and lowering the hips towards the ground. • Breathe out through the lips whilst extending the arms fully and lifting the hips from the ground. • Ensure that this movement occurs wholly from the elbow and shoulder, not the hip.

Tricep Dip

• Keep the shoulders directly above the elbow and the elbows facing backwards at all times.

Progression Perform on a step and / or position the hips further away from the hands.

Adaptation Keep the hips on the ground and closer to the shoulders to reduce the leverage.

Prime Movers: Pectorals, Anterior Deltoid and Triceps • Adopt a prone-lying position with the hands 1.5 times shoulder width apart and the knees and feet in contact with the mat. The fingers should face forwards, the elbows back and soft (not locked). • Inhale deep through the nose while lowering the chest towards ground - keep the head facing down and the chin in to maintain the alignment of the neck. • When the chest is approximately 1 fist distance from the ground, exhale through pursed lips and extend the arms again, returning to an upright position. • Brace the abdominals and gluteals throughout, ensuring that the spine remains neutrally aligned. • Avoid locking the elbows out at the top of the movement/full extension.

Press-Up

Progression Perform from the feet rather than the knees, keeping the legs straight. Adaptation Move the knees closer to the hips creating a box-like shape.

Prime Movers: Obliques and Abductors • Lie on the side, ensuring that the body is kept in a complete straight line from the knee to the shoulder. • Position the lower elbow directly under the shoulder and breathe in deeply through the nose. • Exhale forcefully and slowly through the lips whilst lifting the hips from the ground. • Maintain a regular breathing pattern; in through the nose, out through the mouth. • Ensure the spine does not curve sideways; maintain straight alignment of the shoulder, hip, and knee. • Ensure that the spine doesn’t rotate forwards or backwards.

Lateral Plank

Progression Perform from the ankles by straightening the legs, or from 1 leg by lifting the upper leg from the ground. This will also dramatically increase the emphasis on the abductors. Adaptation Bend the knees further to increase stability and/or move the elbow closer to the body.

Section 06

Muscular Strength and Endurance (MSE) Exercises

Exercise to Music Instructor Certificate Level 2 Student Manual

Sample Beginner MSE Routine Exercise

Sets

Reps

Rest

Tempo

Variations

Abdominal crunch

N/A

4:4

Prog: Place hands on temples rather than accross shoulders

Back extension

N/A

4:4

Alt: Alternate superman

Side-lying leg raise - abductor

N/A

4:4

Adapt: Bend the knee to 90

Side-lying leg raise - adductor

N/A

4:4

Prog: Use ankle weights

Box press-up

N/A

4:4

Prog: Perform with knees at 45°

Sample Intermediate MSE Routine Exercise

Sets

Reps

Rest

Tempo

Variations

Press-up - knees at 45°

90 secs

4:4 2:2

Prog:Perform a full press-up from the feet

Oblique crunch

90 secs

4:4 2:2

Alt: Lateral plank

Plank

90 secs

4:4 2:2

Adapt: Move knees closer to the hips

Hip extension

90 secs

4:4 2:2

Prog: Single leg bridge

Back extensions - arms overhead

90 secs

4:4 2:2

Prog: Perform with knees at 45°

Sample Advanced MSE Routine Exercise

Sets

Reps

Rest

Tempo

Variations

Press-up to plank

60 secs

2:2 4:4 3:1

Prog: Place hands on temples rather than accross shoulders.

Single leg bridge

60 secs

2:2 4:4 3:1

Alt: Alternate superman

Lateral plank

60 secs

2:2 4:4 3:1

Adapt: Bend the knee to 90°

Alternate superman

60 secs

2:2 4:4 3:1

Prog: Perform from a kneeling/quadruped position

Oblique crunch

60 secs

2:2 4:4 3:1

Adapt: Place the hands accross the shoulders and not on temples

Side-lying leg extension - adductor (with anke weights)

60 secs

2:2 4:4 3:1

Alt: Use resistance bands

Side-lying leg extension - abductor (with anke weights)

60 secs

2:2 4:4 3:1

Adapt: Remove weights/bend the knee

Reverse crunch

60 secs

2:2 4:4 3:1

Adapt: Heel slide

Section 07

Body Conditioning Concepts and Exercises

conditioning exercises were introduced. Depending on the number of participants in the class and the type of exercises being performed, it may also be possible for participants to perform their exercises to the beat and phrase of the music, and using the same tempo. In such an arrangement, participants would effectively vary the tempo throughout the allotted time (as indicated by the instructor) and perform their respective exercise to the beat and phrase of the music. This arrangement is less than ideal however because in addition to controlling the tempo at which exercises are performed, instructors would also need to coach a widerrange of exercises. The likelihood that participants were performing their exercises with the wrong technique would be greatly increased. N.B. It should be noted that circuit training and exercise to music classes are on the whole completely different modes of exercise which can be mixed, but perhaps are best kept apart.

Types of Body Conditioning Classes Body conditioning simply refers to the use of resistance training in a group exercise setting to develop muscular fitness (combined strength and endurance). Qualified group exercise professionals may decide to design their own style of body conditioning class as many do with the popular ‘legs, bums and tums’ classes. Alternatively, there are now also a wide array of popular prechoreographed programmes available. The list opposite provides a small sample of some of the more common types of body conditioning classes in the UK health and fitness sector.

Bodypump™ - a pre-choreographed barbell dominant class that is designed to improve muscular strength and endurance of all the major muscle groups. Operated by Les Mills, Instructors teaching this class attend seminars every three months for new choreography and music which can make such programmes quite expensive to run. Additionally, fitness centres delivering these programmes also have to purchase the Les Mills equipment and pay a monthly license to deliver the programme in their club.

Bodybalance™ - again this programme is prechoreographed and licensed by Les Mills. Bodybalance uses yoga, pilates and tai-chi style exercises to develop functional flexibility and strength. Classes are structured

Exercise to Music Instructor Certificate Level 2 Student Manual

and presented as a holistic workout which focuses on controlled breathing techniques and concentration to help perform the planned exercises.

Legs, Bums and Tums - a more traditional style of class which focuses on conditioning what is perceived by many participants as the problematic areas of the body. Instructors normally commence such classes with an aerobic style warm up, before spending the remainder of the class on the ground performing muscular strength and endurance (MSE) style exercises.

Abs Blast - these classes often go by different names depending on the health club or venue in which they are delivered. Usually these programmes are the shortest class on the studio timetable and involve around 15-20 minutes of abdominal and lower back conditioning and occasionally include a twist of core stability training.

Boxercise - these classes incorporate many of the skills and techniques employed by boxers in their training and choreograph them to music. Several variations of this approach are available from boxing-style circuit sessions to choreographed boxing techniques to music. Irrespective of the specific style adopted, these classes have proven to stand the test of time and are incredibly effective at developing both muscular and cardiovascular fitness in conjunction with each other.

Section 07

Body Conditioning Concepts and Exercises

Prime Movers: Trapezius, Deltoid, Biceps and Brachialis Adopt the ‘get set’ position and deadlift the bar to the thigh. Shuffle the hands in together so they are approximately two-thumbs distance apart, tucking the thumbs away to secure the grip. For additional stability, slightly widen the feet to shoulder distance apart and keep the knees soft. • Breathe in deeply, brace the abdominals then slowly and forcefully exhale throughout the movement.

Upright Row

• Raise the bar to the mid-chest area, so that

Prime Movers: Biceps and Brachialis Adopt the ‘get set’ position with an undergrasp grip and the hands directly beneath the shoulders. Deadlift the bar to the thighs and stand up straight with a neutral spine. For additional and optional stability, take the feet a little wider and soften the knees. • Breathe in deeply, brace the abdominals and exhale slowly and forcefully throughout the movement.

Barbell Curl

• Bend the arms fully so the palms of the

the elbows lift just above shoulder height. • Lead with the elbows high and the knuckles facing down. • Keep the bar close to the chest and the elbows above the wrists. • Extend the arms fully when lowering the bar (not locking out). • Keep the thumbs under the bar with a good firm grip. • Following the desired number of reps, shuffle the hands back out to shoulder width apart and deadlift the bar to the ground.

hands almost meet with the shoulders. • Keep the wrists fixed neutrally and not flexed (cocked). • Maintain the elbow position directly beneath the shoulders. • Ensure the spine is neutral throughout, the chest lifted and the abdominals braced. • Avoid swinging at the hips and knees to raise the bar. • Breathe in whilst lowering and out whilst raising the bar.

Prime Movers: Deltoids, Trapezius and Triceps

• Avoid leaning backwards as this will place additional strain on the lumbar vertebrae.

Clean the bar to the shoulders, position the feet into a split stance (one foot in front of the other) but still hip distance. This stance will reduce the temptation for the exerciser to lean back and hyper-extend the spine. Ensure that the knees are soft, the chest is lifted and that the shoulders are positioned directly above the hips.

• Lower the bar to the shoulders whilst breathing in through the nose.

• Breathe in deeply, brace the abdominals and exhale slowly and forcefully throughout the movement.

Barbell Shoulder Press

Exercise to Music Instructor Certificate Level 2 Student Manual

• Extend the arms fully above the head (not locking out) so that the bar is positioned directly above the shoulders.

• Keep the wrists fixed in neutral (not cocked) and the knuckles facing towards the ceiling throughout. • Following the desired number of repetitions, rotate the shoulders, keeping the elbows high and lowering the bar to the thigh. From this position, lower the bar to the ground using the deadlift technique.

N.B. This exercise will require a spotter positioned behind to assist in cases of difficulty.

Section 08

Aerobic Training Concepts

Using heart rate monitoring and training zones can also help to monitor exercise progress, particularly in the recovery phase post-exercise. Measuring the heart rate 15-60 minutes post exercise and comparing it to previous data can really help to demonstrate how the cardiovascular system has become more efficient.

Exercise to Music Instructor Certificate Level 2 Student Manual

the moment to gauge the exercise intensity and adapt the session accordingly. When using RPE it is good practice to provide participants with examples that they can relate to. For example, “on a scale of 0-10, 0 being sat at home relaxing and 10 being the maximum amount of effort you could exert in this exercise, what level do you feel you are working now?”. Clearly the use of RPE will be limited in a group exercise to music class because each class member will likely experience an individual perceived exertion. Furthermore, questioning a large group as to where they feel they are exerting themselves on this scale within a loud and fast paced class would also prove difficult. Thus RPE information should be given to group exercise participants as a guide so they know how hard they should be exercising, but not used as a means of gathering feedback from participants within a session.

Ratings of Perceived Exertion (RPE)

N.B. 9-10 on the RPE scale for most people will

Ratings of perceived exertion (RPE) can be used in the absence of, or in conjunction with the heart rate monitoring by gauging the participant’s perceived exercise intensity/exertion level. This is a highly subjective monitoring method from the participant’s perspective and should be based on a feeling of general and overall exertion, rather than local muscular fatigue that may be experienced. The scale ranges from 0 (no exertion) to 10 (maximum exertion), and the exerciser should be asked to rate how hard they feel they are working in relation to the scale and the symptoms they are experiencing at that time. RPE should not be used retrospectively - it should be used in

represent anaerobic exercise intensities and should be avoided. Furthermore, anyone with any primary CHD risk factors should avoid working at 9-10 RPE.

RPE

Description

% MHR

There is a direct relationship between the age predicted maximum heart rate (220-age= MHR) and the RPE scale. 10% of the MHR is approximately equal to 1 point on the RPE scale. Thus a training intensity of 70% of the MHR would be comparable to an RPE of 7.

Fat Burning Myth As alluded to earlier when discussing heart rate training zones, a common myth does seem to exist in the exercise and fitness industry that lower intensity exercise is better for burning body fat than higher intensity training intensities. This isn’t helped by the fact that lower intensity training zones on heart rate monitoring charts are commonly referred to as the ‘fat burning zone’.

No exertion

N/A

Very very light

10 %

Very light

20 %

Light

30 %

Moderate

40 %

Somewhat hard

50 %

Somewhat hard

60 %

Hard (heavy)

70 %

It is factually correct that lower intensity exercise/activity burns a greater percentage of the total energy (calories) used from fat - this is where the misconception derives. However, due to the low intensity nature of these activities, fewer total calories are actually burned, which ultimately results in fewer ‘fat calories’ being burned. To better illustrate this point, the following two examples can be compared:

Very hard

80 %

•

Extremely hard

90 %

30 mins of brisk walking (235 total kcal - 55% fat contribution - 129 fat kcal)

Maximum exertion

100 %

•

30 mins of interval training walk/jog (467 total - 30% fat contribution - 140 fat kcal)

Section 08

Aerobic Training Concepts

Exercise to Music Instructor Certificate Level 2 Student Manual

Choreography

Low-impact

High-impact

Direction/Travel

Power Option/Arm Patterns/Timing

March

Basic march

Basic jog or skip

FWD/BWD R&L Diagonal

Run 1,2,3 with power knee hold Repeater hops on each foot Sprints

Step touch

Basic step touch

Add jump

FWD/BWD, Doubles & singles Diagonal Side-to- side L-shape, Step behind/front

Lateral raise Shoulder circles Upright row

V-step, box step, easy walk

Basic step

Double jump back

90/180° turn R&L leg lead

Pec Dec arms Punches Pec dec & shoulder press

Squat

Basic squat

Add jack/jump Full jack

FWD/BWD R&L

Power squat Frontal raise Half/double time

Half jack

Basic half jack

Add jump

90/180° turn FWD/BWD

Half time Cross legs

Hamstring curl

Basic curl

Add jump

FWD/BWD (hopscotch) 90/180° turn

Add squat Lateral pull-down Repeater curls Single, single, double

Knee lift

Basic knee

Add jump

FWD/BWD

Add leg cross over Repeater knees Shoulder press

Grapevine

Basic grapevine

Add jump

90/180° turn L-shape Doubles Box-shape

Add-ons to end of grapevine Front raise Arm circles

Heel tap

Basic tap

Add jump

FWD/BWD

Repeater heels Bicep curl Doubles

Leg kick

Basic kick

Add jump

FWD/BWD 90° degree turn

Add narrow leg squat Repeater kicks Arm reaches

Mambo

Basic mambo

Add cha, cha, cha (jog)

R&L Diagonal

Add pivot turn Lateral raise arms

Kick box

Basic kick

Add jog in between

FWD/BWD

Power arms

Scoop

Basic scoop

Add skip

WD/BWD Diagonal

Scoop arms Doubles & singles

Back/side Lunge

Basic lunge

Add hop in between

90/180° turn

Front raise Repeater lunges Doubles & singles

Spotty dogs

FWD/BWD alternate lunge

Basic spotty dogs

FWD/BWD

Half/double time

Rocking horse

Knee lift to hamstring curl alternating legs

Add jumps

FWD/BWD

Repeater knees & curls

Section 09

Flexibility Concepts and Stretch Techniques

Anatomy and Physiology Level 2 Student Manual

Floor-Based Stretch Techniques

Lying Hamstrings Lie on the back with the shoulders hips and head in contact with the ground. Straighten both legs, gently pull one leg towards the chest and ensure it remains completely straight.

Seated Hamstring Adopt a seated position on the sit bones with one leg outstretched to the front and the other bent and slightly out to the side.

Hold above and below the knee.

Bend forward from the hip, keeping the chest high and pushing the hips backwards.

Relax the ankle to prevent tightening of the calves.

Avoid overly bending the spine and be sure to breathe throughout.

Erector Spinae Adopt the quadruped position with the hands and knees positioned directly beneath the shoulders and hips respectively. Inhale deeply, drawing the stomach whilst lifting the mid back as high as possible.

Prone Quadriceps Lie on the front, resting the forehead on the forearm or back of the hand. Pull the knees together and flex the knee, take hold over the shoelaces and not the toes. Gently push the hips forward whilst pulling the foot towards the buttocks.

Aim to get as much spinal flexion as possible whilst continuing to breathe.

Hamstrings/Adductor Sit on the tailbone with the spine in neutral and the legs separated as wide as possible. Gently place the hands on the inside of the legs and lean forwards from the hips. Relax the ankles and keep the head and chest lifted.

Lying Gluteals Lie on the back and place the lower leg above the knee of the opposing leg, externally rotating the hip. Gently pull on the furthest leg, bringing it towards the body. Hold on the back of the thigh and not the knee.

Exercise to Music Instructor Certificate Level 2 Student Manual

Appendix 1- Lesson Plan Template

Section 11

Level 2 ETM Instructor Lesson Plan Learner Name:

Date:

Assessor Name:

Date:

IQA Name:

Date:

Planning Checklist Session plan overview, PAR-Q, informed consent and session plan card The learner:

Outcome

P1. identified objectives that were appropriate to:

a. the needs and potential of the participants

b. accepted good practice

c. own level of comptenece

P2. selected exercises that helped participants develop:

a. cardiovascular fitness

b. muscular fitness

c. flexibility

d. motor skills

P3. planned safe and effective group exercise to music to achieve planned objectives for the session P4. selected a range of exercises that were safe and appropriate for participants and included alternatives, progression and regression P5. planned realistic timings and original choreography for the session P6. recorded programme plans in appropriate format P7. planned a session covering: warm up, aerobic curve, MSE and cool down/flexibility P8. planned a session covering at least 1 of the following methods of chorecography: add on, 32 count phrase, verse-chorus, layering

Key:

ď ?

Pass

Refer

Final Result

Q *

Pass:

Question Pass with comment

Section 11

Appendix 1- Lesson Plan Template

Exercise to Music Instructor Certificate Level 2 Student Manual

Session and Venue Details Session Overview Venue: Health and Fitness Club

Date: 1/1/2014

Location of the first aid kit: Located to the left of the studio door hanging on the wall Name of qualified first aider A.Instructor Location of telephone: Located behind reception on entry to the building Duration of session: Approximately 60 minutes Client Information Session objectives:

To improve muscular endurance and aerobic capacity. To increase the flexibility of the hamstrings, adductors muscles

Special condiserations for Clients should wear comfortable clothing with suitable exercise footwear, any client (e.g. injury, preferences, injuries should be made aware to the instructor at the start of the class clothing): Environment Checks- list the heath and safety checks made to the following: Studio:

Fire exits:

Ensured the floor was clean Air conditioning, set to 18 Temperature/Ventilation: and no cables or trip hazards degrees Celsius

Ensured they are clear and visible to client

All exercise equipment Obstacles: stored in the studio store room

Organisation of Equipment and Resources Equipment requirements:

List of health and safety checks made to equipment

Barbell

Ensure that collars are available and secure, check for any damage

Dumbbells

Check for external damage and that the handles are secure

Mats

Check for any tears, ensure that the mats are cleaned after each session use

Stereo

Ensure no loose wires or cables, all buttons and panels are fully functional

Section 11

Appendix 1- Lesson Plan Template

Exercise to Music Instructor Certificate Level 2 Student Manual

Warm-Up: Mobility and Pulse-Raiser Aim:

Increased synovial fluid production, elevate heart rate, blood pressure and body temperature.

Music Breakdown 8888 8888

8888 8888

Choreography • •

•

• 8888 8888

8888 8888

• •

8888 8888

• •

8888 8888

•

• 8888 8888

• •

8888 8888

•

8888 8888

• •

Reps

RPE

Side twist left and right opposite arm reach and raise Spine twist left and right

March with low arms Step touch with shoulder rolls

Step knee - low reach and pull arms Hamstring curl

Side reach left and right Spine twist left and right

3-6 minutes

Music Speed:

120 - 135 bpm --

Teaching Points

Alt, Adapt, Prog

• •

Knees soft, chest lifted, toes forwards Shoulders relaxed, hips stay forwards

•

Shoulders relaxed, hips stay forwards Right elbow reaches to the ceiling, left hand reaches down

Adapt: no arm movement

• •

Hips stay forward Whole foot down, abdominals engaged

Alt: step tap

•

Knee raises to hip height or below, supporting knee soft Spine in neutral, heel moves towards buttocks

March forward and back with a clap (4 fwd, 4 bck) Double step touch with fly arms

• •

Tap on 4th beat toe pointing down Hips and shoulders stay square, abdominals engaged

Step knee with stronger arms (reach and pull with small spinal rotation) Hamstring curl

•

Hips stay forward arms reach opposite direction, shoulders relaxed Supporting knee slightly bent

March forward and back with a clap (4 fwd, 4 bck) Double step touch with fly arms

Step knee with stronger arms (reach and pull with small spinal rotation) Hamstring curl with bicep curl

March forward and back with a clap (4 fwd, 4 bck) Grapevine

Key: Alt: Alternative/Alternate Fwd: Forward Rep: Repeater 88

Duration:

•

• • •

• •

Adapt: Adaptation Bck: Back Dbl: Double

Prog: grapevine

Heel toe action on march, keep the chest lifted Lift arms to shoulder height, keep shoulders down Knee raise 90 degrees supporting knee sort Abdominals engaged, shoulders relaxed Supporting knee slightly bent

Adapt: step touch

Keep ankles, knee and hips aligned and abdominals engaged Step behind, step together fly arms up to shoulder height

Prog: Progression Diag: Diagonal EL: Each leg

OTS: On the spot SSD: Single, single, double

Exercise to Music Instructor Certificate Level 2 Student Manual

Appendix 2 - Choreography Inspiration

Section 12

Choreography Inspiration The following choreography routines, presented by the international fitness presenter Kardy Laguda, are provided as a supplement to your training programme and to show you how simple base aerobic moves can be modified to create engaging and effective exercise routines. These routines are not intended to serve as a blueprint for your practical assessment. N.B. These videos are only available in the digital version of this manual. Please download the HFE app and login to access these.

Step Kick

Step Combat

Scissors

Robocop

Latino (ish)

Hop Turn

Section 12

Appendix 2 - Choreography Inspiration

Figure 8

Exercise to Music Instructor Certificate Level 2 Student Manual

Clap Clap

Exercise to Music Level 2 Student Manual