Indoor Cycling

Manual

Indoor Cycling Manual

CIMSPA

YMCAfit is a CIMSPA Training Provider Partner and are authorised to have this training module recognised and assigned Continuing Professional Development (CPD) points by CIMSPA

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Introduction

This manual is designed to be used in conjunction with the online learning provided alongside your course. It is aimed at supporting you in your learning both on the day and in the future, when you deliver indoor cycling classes. The manual will cover the elements required to plan and teach a safe and effective indoor cycling session.

Remember that you can see bike set-up, hand grip positions, pedal technique and drills in action by logging onto your account http://www.ic-pro.org/en

Bike set up

Before starting an indoor cycling session you must complete a safety check to ensure your bike is working correctly. You should go through the bike set-up with participants at the start of the session (paying particular attention to new participants), looking for any damage to the bike that may impinge on the session. For example, the handlebars should not be worn out, the saddle should be adjustable and lockable in a fixed position and the foot straps should be adjustable.

Three point check

The three-point check will help participants set their bike up in the correct position using their own body as a guide.

1. Saddle height

Stand next to the saddle and adjust the height so there is a distance the width of around three or four fingers between the upper edge of the saddle and the hip bone.

2. Saddle to handlebar height

The saddle and handlebar must be at the correct height in relation both to the participant and to each other.

After setting the saddle height (as above), adjust the height of the handlebar so it is no lower than the height of the saddle. It can be set slightly higher for comfort.

3. Horizontal adjustment – saddle to handlebar distance

Adjust the position of the saddle (using the adjustment mechanism underneath) so that your elbow can touch the saddle and your middle fingertip is touching the middle of the handlebar.

Hand grips

There are several different hand positions that can be adopted, and these are shown below. Participants can choose whichever grip they find most comfortable, although certain grips may particularly suit specific drills. For example, a standing hill climb drill may suit grips two or three. When changing hand position, one hand should always been in contact with the bike.

Grip 1

Grip 6

Please note, not all bikes will have handlebars that allow for the above pictured hand positions.

Pedal technique

Correct technique during an indoor cycling session will recruit the required muscles at different phases and improve the participant’s cycling efficiency. The legs should work in a coordinated manner with one leg pushing and the other leg simultaneously pulling.

During the pushing phase the quadriceps and gluteals are engaged to create a downward force to move the pedal.

As the leg is reaching an extended position, the quadriceps and gluteals become less involved and the gastrocnemius and hamstrings start to engage in the upward motion, the gastrocnemius engaging at the start of the upward movement.

As the leg straightens the hamstrings begin to become more involved causing the flexing of the knee.

As the knee is in a flexed position, the pushing phase of the movement begins again. This alternating push/pull motion must be conducted in a smooth manner and practised regularly.

Drills

This section covers a selection of drills you can use during a session. For a video demonstration please log into your account on the ICG Pro website www.ic-pro.org/en

Seated road and seated climb

A small degree of resistance should be used to avoid ‘freewheeling’ while in the seated road position.

Position 1

Position 2

The seated climb is the same position as the seated road, but with a gradual increase in resistance to simulate climbing a hill.

Standing climb and standing jog

A standing climb always starts from the seated climb position, with the participant moving up into a standing position. Resistance can be gradually increased to simulate climbing a hill.

Position 1

Position 2

A standing jog is performed in the standing climb position with a faster cadence (pedalling speed).

Jumps

Jumps involve moving between a seated and standing position rhythmically and repeatedly.

Position 1

Position 2

Rocking tread

In a standing climb position with the hips neutral, add a side-to-side movement from the torso, from left to right in time with the music.

Position 1

Position 2

Wave riding and speed bumps

This simulates going up and down a steep hill, transferring the weight from the back to the front of the saddle, beginning in a standing climb position.

Position 1

Position 2

Speed bumps are based on the wave riding technique, with a smaller range of movement and at a quicker pace (an eight count move).

Sessions plans

In order to provide a safe and effective exercise session, a studio cycling workout should consist of the following components:

Warm-up

This will include mobilising, pulse raising, skill rehearsal, and stretching if relevant. Main workout

This will contain a variety of profiles planned in such a way that the overall objectives of the session are met.

Cool-down

This will include pulse-lowering and post-workout stretches.

Class set up

The layout of the class may be dictated by the space in which you are teaching. As the instructor, you should face the participants to check that they are adopting the correct technique and intensity throughout, and to allow them to clearly see your demonstrations and cueing.

Below are some examples of class set-ups and things to think about: Angled towards a mirror

This allows participants to see their body positions while training, also enabling you to maintain eye contact with them to offer teaching points and monitor the group.

Half circle

A half circle set-up can be angled towards a mirror to allow participants to monitor their body positions. Again, you can maintain eye contact with everyone in the group and provide teaching points to all participants

Circle

With this set-up, all of the bikes are set out in a circle – including your bike. This can enhance the dynamic of the group, but it is not recommended for beginner classes as the instructor is not the focal point.

U-shape

This is suitable for longer rooms. As the instructor, you are positioned separate from the ‘U’ to allow full eye contact and monitoring of all participants.

Here, there are two rows of bikes facing each other, at least one metre apart, with the instructor at one end. Again, this set-up enables better group dynamics but is not suitable for beginner classes, because it is more difficult for participants to see you and follow your instruction.

Sample session plans

At the start of each session, you should welcome your participants and introduce yourself to make everyone feel comfortable and so they understand what they will be doing. This can also help you to identify new participants, who may need additional care and attention during the session.

Sample beginner class (45 minutes) Warm up Cool down

Track Duration (mins)

1 5

Instructions

Increase resistance slightly - breathing exercises

Seated road

Increase resistance slightly - breathing exercises 2 3-5

Seated road gradual increase

Seated road personal speed - reduce resistance

Seated road (back to beat)

Seated road decrease resistance – rocking tread

3 4

Seated climb gradual increase

Decrease resistance x2

[Water break]

Seated climb - increase resistance x2 - decrease resistance

Seated climb gradual increase

4 3

Seated road up to 100bpm using personal speed or to the beat

[Water break]

Active recovery - legs slow to personal speed

5 4

Seated to standing climb

Back to seated climb Recovery

Seated climb to standing climb Back to seated climb Recovery Seated climb Standing climb to finish 6 3

Seated road up to 100bpm using personal speed or to the beat [Water break]

Active recovery - legs slow to personal speed

7 4

Seated climb/wave riding

4x4 revolution jumps recovery repeat 8x2 revolution jumps recovery repeat 4x4 revolution jumps recovery repeat 8x2 revolution jumps recovery repeat 8 3

Seated road up to 100bpm using personal speed or to the beat [Water break]

Active recovery - legs slow to personal speed 9 4

Seated climb to standing climb

Back to seated climb and rocking tread Recovery

Longer standing climb and rocking tread Seated climb to standing climb to finish 10 5 Seated road and five rocking tread combinations Seated road 11 5

Recovery period and slowing the leg Upper body stretches

Sample intermediate class (45-60 minutes) Warm up Cool down

Track Duration (mins)

1 5

Instructions

Long seated

Increase resistance slightly - breathing exercises Seated road personal speed Decrease resistance slightly - breathing exercises 2 3-5

Seated road gradual increase personal speed or to the beat

Breathing exercises

Seated road personal speed - reduce resistance Seated road (back to beat) Seated road increase resistance – wave riding 3 4

Seated climb gradual increase

Standing climb Gradual increase of resistance Stand up 4 3

Seated road up to 120bpm and rocking tread [Water break]

Active recovery - legs slow to personal speed 5 6

Seated climb

4x4 revolution jumps 8x4 revolution jumps Seated climb 8x4 revolution jumps 8x2 revolution jumps Seated climb Repeat all x2 6 3

Seated climb Seated climb x4 increases

Standing climb reduce resistance Repeat from seated climb x4 increases 7 3

Seated road up to 120bpm [Water break]

Active recovery - legs slow to personal speed

8 5

Seated climb longer hill

Standing climb with rocking tread Standing climb increase resistance Reduce resistance

Seated climb and rocking tread Standing climb 9 3

Seated road up to 120bpm and wave riding [Water break]

Active recovery - legs slow to personal speed 10 4

Seated climb standing

2x4 revolution jumps 4x2 revolution jumps (down-up) Seated climb 8x4 revolution jumps (up-down) 8x2 revolution jumps Repeat all x2 11 5

Seated road personal speed 12 3-5

Recovery period and slowing the leg

Upper body stretches

Lower body stretches Deep breath and close

Working with music

Music can be used to enhance the session and help give it structure. When planning a session, you should think about the speed/tempo of the music and whether it is suitable for that particular phase of the session. The beat of the music can directly link to the intensity of the session.

Different genres of music have a different number of beats per minute (bpm). The table below shows approximate bpm ranges for different genres:

Genre BPM range

Hip hop/R&B 60-110

House/dance 120-135

Garage 120-135

Drum and bass 160-190

The more bpm, the faster the music is. The beat influences the speed and rhythm of cycling, so you can use music that will encourage the class to keep to a set speed.

For example, if you turn the pedals a full revolution for every beat of a 140bpm track, you will be pedalling at 140 revolutions per minute (rpm). You can use the same music for a slower section of the class, instead pedalling one full revolution for every two beats. Your cycling speed would therefore be 70rpm.

It would be possible to pedal one full revolution for every four beats of the same track, slowing the cycling speed down to 35rpm.

Music that is specially designed for exercise classes will always be labelled with its bpm.

Think about the type of music that would be best suited for different parts of the session. A higher bpm count is advantageous for a sprint, whereas a lower bpm count may suit a long hill climb with high resistance.

For short bursts, it is possible to completely leave the beat behind, for example during sprinting, where a participant’s speed will very much depend on their skill and fitness level, and need not be dictated by bpm.

By using music of varying speeds, a range of possibilities will arise for controlling pedal rhythm and speed and altering the content and structure of the class.

Individual tracks vs continuous music

Individual tracks

The advantage of using a succession of individual tracks is that you can mix and match different musical styles in order to create different moods and workout intensities. This may, however, involve a fair amount of juggling with different music formats and machines, unless you have access to a pre-programmable system.

Companies that produce music specifically for exercise (such as Pure Energy, Solid Sound and Multitrax, for example) offer studio cycling CDs that take this approach. Such CDs include a variety of tracks at different speeds. However, the drawback is that you are often stuck with a particular style of music that reflects the taste of the person who has put together the track listing.

Continuous music

It is possible to use continuous mixed music for long sections of a class, using fast and slow beats in the music, and leaving the beat entirely for short periods, for example in sprint bursts. The advantage of this is that you don’t need to constantly change tracks.

Pure Energy, Solid Sound, Multitrax and others produce continuous music in a wide variety of styles.

Since the late 1980s, commercial record companies have been producing a wide variety of mix CDs/ tapes, mainly using dance music. These can also be useful in an indoor cycling class, but be aware that they will not be consistently mixed and may contain sections where the beat drops out completely. Listen before you use these types of mix CDs/tapes so you’re prepared!

Of course, it is possible to use a combination of the above approaches, using continuous music for some of the class and breaking it up with individual tracks to change the speed or mood.

Legalities of music

If you play recorded music in public, it’s a legal requirement that you are covered by a relevant licence.

In the UK there are two music collecting societies who ensure royalties are paid to their members for their talent and work. Phonographic Performance Limited (PPL) is a not-for-profit membership society that looks after the interests of song writers and composers and the Performing Rights Society (PRS) are a society of songwriters, composers and music publishers.

In the past, businesses had to obtain separate licenses from PPL and PRS in order to legally play music in public. However, both organisations have now joined forces to create PPL PRS Ltd, a joint venture which combines the two organisations music licensing requirements. In February 2018 PPL PRS Ltd launched ‘TheMusicLicense’ which allows businesses such as hairdressers and fitness studios to play recorded music in public spaces.

The fitness centre is responsible for obtaining TheMusicLicense and will need one before they can legally play music in any part of the establishment such as the bar, changing rooms, the gym and exercise to music classes.

Obtaining TheMusicLicense is the sole responsibility of the fitness establishment and is worked out in accordance with the number of classes on the timetable. However, should an exercise to music instructor deliver classes on independent premises (church hall, school hall, offices etc.) then it will be the responsibility of the individual instructor to purchase TheMusicLicense. It’s important to

understand that a valid licence allows you to play any purchased music in its original format only. For example, if you have purchased a CD, then the tracks must be played via a CD player. TheMusicLicense does not permit you to burn CDs or transfer your music purchases into another format. For this, you will need to obtain a Pro-Dub licence.

You can get more information regarding these licences at the following websites. It is essential that instructors stay up to date with the requirements. www.pplprs.co.uk www.prsformusic.com www.ppluk.com

Music subscription services

A group exercise instructor that uses music during classes can subscribe to a company that is legally licensed by PPL to supply specially mixed music of original artists. These companies offer CDs or downloads where the music is arranged to reflect the structure of an exercise class. Subscribing to a company still necessitates that the venue or the individual instructor holds a PPL licence. In some cases, the PPL licence is included within the company’s subscription fee. It should be noted that the music is licensed only to the subscribed member (be that corporate or individual) and cannot be copied or altered.

PPL licence free music

These are compilations that can be played without the user having to procure a specific PPL licence. The music generally contains cover versions of songs rather than tracks by the original artists. It’s still advisable to check with the music supplier as another type of licence may be required.

Client care

Any activity that raises the heart rate above normal resting levels carries risk, and participants’ risk factors should be appraised before they begin a studio cycling class. Risk assessment forms such as the PAR-Q enable identification of issues that may cause problems during the class. If a participant displays one or more risk factors they should seek medical clearance from their GP before taking part.

Even if your participants exhibit no risk factors – and as such appear to be healthy – you should constantly monitor all members of the group throughout the class for signs of discomfort or distress, as this type of class may increase a participant’s heart rate more than other cardiovascular sessions.

Hydration

It is vital to remain hydrated before, during and after a session. You and your class members should regularly sip water throughout the session to help stay hydrated, and you should advise participants to continue to sip water at regular intervals after the session. Many indoor cycle bikes will have space to hold a water bottle, but if not, and if it does not affect the safety and effectiveness of the session, a water bottle can be placed close to the participant’s bike.

Clothing

For comfortable riding, cycle-specific clothing is ideal, such as a close-fitting cycle top or base layers that are specifically designed to wick away sweat. Cotton tops will rapidly become drenched! Shorts with a padded insert (either tight road-style or baggy mountain bike-style) will enhance comfort in the saddle. Again, cotton underwear and shorts will become very sweaty.

Cycle-specific shoes have stiff soles that allow efficient power transfer and prevent excessive strain on the joints in the feet. They can be used on pedals with toe-clips (a pedal with a plastic cage and a strap) that are found on most studio cycles as standard. The shoe should be pushed into the end of the cage and the strap done up securely, but not too tight.

However, a large number of outdoor cycles (and increasingly those in the studio) now have clipless pedals, where the shoe’s cleat attaches directly to the pedal. This allows efficient power transfer all the way around the pedal stroke. There are various systems on the market, including versions from Shimano, Crank Brothers and Campagnolo.

Wearing clothing and footwear specially designed for cycling will make for the most comfortable and efficient session, but it’s important that you don’t exclude prospective participants by insisting on a certain dress code.

Ordinary gym kit and a pair of trainers will suffice, as long as people avoid baggy items that could get caught on the bike. Beginners can choose to upgrade to cycle-specific clothing and equipment if and when they become more enthusiastic.

Safety consideration

Prior to a session

Prevention of injury should be your highest priority. Before the start of a session, ensure the following steps have been taken:



The bikes should be arranged in a way that allows you to easily observe all of the participants. This may be a semi-circle or a straight line, possibly with staggered rows. A lot will depend on the size and shape of the studio. See section three on session plans for more options and ideas.



Check the functioning of air conditioning or other air circulation. By definition, this is stationary cycling, and the lack of movement means that participants will find it harder to dissipate heat.



Encourage all participants to bring fluids and to sip throughout the session to keep hydrated. This could be water or a sport-specific refuelling drink. All cycles should have bottle cages to allow for drinks storage; if they don’t, advise your participants to place their bottles a safe distance from their bike and to dismount when they need to reach their drink during the session.



Encourage participants to bring a towel with them, so they can wipe themselves down during the session and avoid slipping on the bike.

Prior to a session

Glance over the bikes. Is anything obviously wrong (damaged pedal straps, loose bolts etc.)? If it is within your ability to fix it, do so. If not, place the bike out of service and inform the studio coordinator.





Encourage your participants to report any problems to you, so you can take any necessary action.

If there isn’t a documentation system in place for logging faults, encourage the studio coordinator to set one up. Numbering the bikes is useful in this respect. If bikes are regularly going wrong, check that a regular maintenance schedule is being adhered to.



Make sure that a light disinfectant spray and tissue are available so that participants can wipe down their bikes at the end of the session. This is important both in terms of basic hygiene and preventing corrosion and deterioration of the bikes.

During a session

For the novice studio cyclist, the most striking difference between the studio cycle and a road or gym bike is its fixed wheel operation.

For studio cycles with a heavy flywheel, there are serious safety implications involved, as stopping pedalling will not stop the cranks from spinning around with momentum, and injury is a possibility. Also, should the foot become disengaged from the pedal; there is serious risk of injury from the still spinning crank.

It is therefore imperative that you show participants how the braking system of the bike works, and explain that should their feet become disengaged from the pedals they should move their feet away from the cranks as quickly as possible. A common error that beginners make is failing to use enough resistance to allow controlled pedalling. This will be particularly apparent when coming up out of the saddle, when the cycle will tend to run away with the rider. Always encourage participants to engage at least some resistance as uncontrolled spinning places heavy stress on the knees and hips.

Using the rate of perceived exertion (RPE) scale

The RPE was devised as a tool for participants and instructors to gauge the level of intensity at which participants feels they are working. The scale uses numbers to represent how hard people think they are working, where zero represents no exertion and 10 represents maximum exertion. The scale can help you make sure that participants are working at the appropriate level by encouraging an increase/decrease in resistance or effort at certain points.

If participants are not familiar with the scale, take time to explain it in detail. The aim is that participants associate the scale with full body fatigue rather than localised muscular fatigue.

For example, participants should work at a level closer to 10 than one during a highresistance hill climb. If they report low numbers you can encourage them to add more resistance or increase effort to bring the number up.

If participants are not familiar with the scale, take time to explain it in detail. The aim is that they associate the scale with full body fatigue rather than localised muscular fatigue or shortness of breath. The scale may be difficult for new participants to start with but with repeated use, their ratings become more accurate.

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