Plan and deliver group exercise to music: Freestyle

Plan and Deliver Group Exercise to Music: Freestyle

Plan and Deliver Group Exercise to

Copyright © YMCA Awards 2021

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Plan and Deliver Group Exercise to Music: Freestyle (Y/618/6383)

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Plan and Deliver Group Exercise to Music: Freestyle | Manual | Version 1

© YMCA Awards 2021

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Plan and Deliver Group Exercise to Music:

Freestyle

In this manual you will learn…

• how to plan a group exercise to music: freestyle session

• how to develop choreography for a group exercise to music session

• how to provide group exercise to music, including using techniques used to develop choreography

• how to develop participant skill and coordination through logical movements.

Section 1: Introduction to planning group exercise to music: freestyle sessions

The focus in this manual will be on the specifics of planning and delivering a safe and effective group Exercise to Music (ETM) sessions based on the freestyle method, where you have control over preparing the class and its choreography.

The components/sections of a freestyle group exercise to music session and their approximate timings for a (roughly) 45-minute session would be:

• Warm-up: approx. 5-15 minutes.

- Pulse raiser/Mobility.

• Preparatory stretches – dynamic/short static.

• Main cardiovascular (CV) workout (aerobic curve) approx. 20 minutes.

• Muscular strength and endurance exercises (approx. 15 minutes).

• Cool-down and flexibility (approx. 10 minutes) including developmental/static maintenance stretching.

Note that depending on the objectives of the class as a whole or the specific class genre, there may be more emphasis on one or two of these components however for the purpose of assessment you will be expected to deliver each of these components.

For each of the components you should also include a varied range of exercises/adaptations to meet the needs of the mixed ability participant group.

As this is ETM, you should include an appropriate music selection for both the participant group and each component. For example, in a cool-down section, the music should be at a slower pace than say the main CV section. There should be an appropriate speed (tempo) per component. More on music later.

You should also have thoroughly prepared your environment. This includes making sure there is enough space for participants and that you have considered equipment needs pre-class. There is a little more on this later.

The difference with ETM group sessions compared to generic group sessions (where music may simply be used as background or not at all) is that you will also need to devise your choreography. This should be well planned and rehearsed thoroughly for each component. You should apply relevant adaptations and appropriate movements for the participant group. See section 2 on music and choreography.

Section 2: Providing group exercise to music –

Music and choreography design

Working with music is simply the art of structuring movement patterns to the beat and phrase of the music. This section will help you to understand the structure of music so that you can interpret the beat and phrase. This will enable you to plan and arrange exercise routines to music. A successful ETM teacher not only has to cater for different fitness and skill levels within a group, but also take account of various tastes in the style of class.

Classes range from simple choreography with basic routines where the same movements are repeated several times to highly complex combinations that twist and turn with directional changes. Some classes are based on dance themes, for example, salsa, hip-hop or combat Whilst others are based on traditional aerobic moves. The important thing to remember is that the session needs to be safe and effective.

In this section we are going to concentrate on how to design choreography and how to deliver it.

The use of music within a session

As mentioned previously, the correct choice of music has the power to positively influence the class atmosphere and motivate participants to adhere to exercise and work harder.

Selecting music

The most effective way of determining the appropriate type of music for a class component is simple; exercise to it. Ensure the mood and pace of the music match the moves you want to teach. Certain musical styles such as jazz, classical and ethnic beat music have irregularities or unusual tempos which can make it difficult to put movements to when first starting to teach.

In general pop, rock, soul, funk, house, techno and dance music are the easiest to select exercises to move to. This is because most of these have a regular rhythmical grouping of beats per musical phrase

Music speed

The speed of music affects how participants move to the music. For example, if the music is too fast then participants can lose control and risk over extending a limb or using momentum to complete a movement rather than controlling the activity. Conversely, if the music is too slow, the movements can become tedious to perform and may not allow participants to achieve the desired intensity level.

The fast and slow beat

Contained within most musical tracks are two beats A fast beat and a slow beat. The different beats allow exercises to be performed at various speeds providing a greater variety of exercise options. For instance, a jumping jack can be performed to the fast beat ie, out for one count and in for one count Or to the slow beat ie, out for two counts and in for two counts.

Music speed is measured in beats per minute (BPM); the faster the music the greater the number of BPM. The simplest method of finding out how many beats per minute there are to a track is to listen to the music whilst tapping out the fast beat. Using a watch with a second hand, count the number of fast beats in a 15 second period. Then, multiply the number of beats recorded by four to discover the number of beats per minute

For example:

Number of beats in 15 seconds = 32

Multiply number of beats by x4

Therefore, the number of bpm = 128

It should be noted that BPM operates only as a guide. A more reliable measurement of the appropriateness of the music is to observe the participants’ techniques whilst they exercise. If the beat is too fast movements tend to become jerky and longer limbed participants cannot perform the full range of movement of the exercise. If the music is too slow movements become laboured.

Speed of music for class components

The appropriate speed of music for each class component depends upon a number of factors. Such as, the participants’ fitness and skill level, the lever (limb) length of the individuals performing the exercises and the aim of the exercise. No universally accepted guidelines for speed of music in an ETM class currently exist.

However, the following suggestions would seem reasonable:

Finding the right music

The warm-up; mobility/pulse raiser component

As this is the opener for the session, it’s a good idea to choose a lively and atmospheric track that will help set the scene. The speed of music will depend upon the fitness level of the group being taught. For example, a person who is new to exercise or out of condition will need longer to mobilise the joints through the full range of movement than a conditioned person

The speed of music needs to be slow enough to allow the joints to be mobilised with controlled movements. High speed music will encourage poor technique with the exercises being performed through a smaller range of movement. Pulse raising activities such as grapevines and half-jacks need a speed where movements can flow.

Music for the preparatory stretch component

Music for a static preparatory stretch component should be lively but not too beat driven. A strong beat may encourage participants to bounce, dance or fidget whilst holding the stretches. This may diminish the effectiveness of the static stretches. The music is best used as a background feature and it’s prudent for the teacher to lower the volume slightly at this time so that effective instruction can take place.

If a dynamic stretch is planned the music used can be of a similar speed to the mobility/pulse raiser. Stretches need to be performed at a slower speed to allow full range of movement to take place with control.

Choosing music for the aerobic workout

Music during this component should be upbeat and stimulating to motivate participants for the work to come. Some research indicates that hard rock music can help individuals to perform more work.

Researchers have suggested that this might be due to a process of disassociation. In other words, the music functions as a distraction from the physical sensations to more pleasant auditory ones (that is of course if you like hard rock music).

A speed range of around 130-150bpm should be sufficient to cater for most fitness and skill levels. When selecting music for an aerobic curve a slightly slower beat can be used in the build-down section This will allow for a gradual tapering off of the exercise intensity.

Music for body conditioning (muscular strength and endurance)

The speed of music will depend on the fitness level of the group however, a range of 110-130bpm is generally appropriate. Music that has a heavy distinctive beat tends to be most effective in this component as it acts as a pace keeper.

Studio resistance (free weight training to music) is a popular way to train. The music is a strong motivator and can be used effectively to encourage the participants to work a little harder. Music can also assist in structuring reps and sets.

The cool-down component (post-workout stretch)

This is a time to relax and stretch. The music needs to be calm and easy to listen to. Lyrics need to be limited and not too emotional; instrumentals work well in this section of the class. The volume should also be a little lower here so as not to distract from stretching and relaxing.

The structure of music

As previously stated, music is made up of a collection of beats. The beats are arranged in a regular order or pattern which is known as a phrase. This phrasing creates a natural flow and determines when movements should start and stop. In popular music, the start of a new phrase is usually marked by a strong definite beat Rather like a new sentence that begins with a capital letter.

Music breakdown

To work to the music effectively a teacher must spend time listening to a chosen track to identify how the music is arranged. Choreography needs to be designed to fit the natural flow. Not working to the phrase can become very annoying to participants because it can throw their movements out of sync.

There is a natural tendency to work to the music’s structure. New step patterns should always start at the beginning of a phrase to coincide with the music’s natural punctuation.

To identify the number of beats within the phrase you may have to listen to the music several times. The first beat of the phrase is always the strongest and most noticeable. By counting the number of beats between each of these ‘strong’ sounding beats you can identify the structure of the music.

Thus, if the dominant beat is heard every eight beats then the music is said to be phrased in 8s (eight beats within every phrase). Popular music tends to be in phrases of 16s. Professionally mixed music specifically designed for workouts is often phrased in 32-count blocks as it helps to structure a routine into regular patterns. In the early stages of learning to teach ETM, it is generally better to stick to music that has regular phrases. Be aware of tracks that throw in the odd two or four-beat phrase because these will throw you off the phrasing.

32-count phrasing

Professionally mixed ETM tracks are counted on the fast beat. To make the music more motivating they incorporate sections where the music will come to a climax. There is a gradual build up to a very strong beat. The music will pump for a short time and then the build-up will start again for the next wave. The cycle described is in blocks of 32 beats.

This is known as a 32 count phrase. Some are more prominent than others. Choreography that is built around a 32 count phrase complements the natural highs of the music. Teachers tend to use a track that has a strong 32 count phrase for their final routine.

Non-specific phrasing

Some music may not have strong phrases. Such as classical music and music from world cultures. This type of music can be fun to use and will add variety. The important thing is that the teacher works to the structure of the music. Working with the beats, various sounds and the highs and lows in tempo can

result in interesting and effective choreography. Using this type of music requires the teacher to know it extremely well.

The importance of cueing

Your ability to get participants to follow your routines will be dependent on your ability to give instructions at the right time. For example, if you said, “Grapevine right, two side steps and a jack now!” it would be fortunate if all of the class did it at the same time and did it in time with the music.

What participants need to know is when to start the new movement. Taking the example above, you might say: “Coming up next, a grapevine right, two side steps and jack – with me after 4, 3, 2, and...” In this way, the participants have all the information they need and they are now verbally cued to start on time.

Cueing can also be significantly enhanced by adding hand signals to indicate directional travel, the leading leg or a new exercise. For example, waving the arm to indicate forward travel, circling the finger above the head to indicate a turn, using the fingers to indicate the number of repetitions, or raising and lowering the arm to indicate the speed of a movement will all assist verbal cueing.

Gestures such as ‘thumbs up’, facial expressions and exaggerated body language can all be used to enhance the effectiveness of visual cues as well as provide motivation for participants.

In recent years, teaching studio-based classes has become a profession for many exercise teachers. In the 1980s the majority of teachers used classes to boost their income or simply to teach for fun. Nowadays most teachers rely on regular teaching as their sole source of income, and the competition is high for freelance teachers. Sessions need to be well planned and organised.

Choreography design

When designing choreography, the teacher needs to ensure the desired exercises and transitions are safe and effective for the participant group.

The joints are designed to move in different planes with various amounts of load. For example, the knee is a hinge joint and is not designed to twist; the knee can bend and straighten (flex and extend). As long as the feet do not land heavily on a hard floor marching and jogging are appropriate exercises.

Repeatedly doing the same or similar exercises puts stress on the joints (overuse). To ensure the stress on the joints is varied the teacher needs to ensure there is a variety of travelling in different directions as well as on the spot, forwards, backwards, side to side and diagonals. There needs to be a mixture of high and low impact movements.

Too much high impact can cause stress on the shins, knees, hips and lower back, especially when the exercises are performed on the spot. When jogging and travelling forward the foot rolls from the heel to the ball of the foot. Going backwards it’s in reverse. This allows for the stress to be absorbed by a variety of muscles. Jogging on the spot results in either landing flat footed or on the ball of the foot. This sends shock waves up through the shin which travels into the knee and eventually the lumbar spine.

Too much low impact can be stressful on the hip and knee joints. In order to make low impact exercises effective there needs to be depth within the movement. Constantly bending and straightening the knees for long periods of time can result in overuse.

To reduce stress on the joints the teacher needs to design choreography that incorporates a variety of exercises that will not cause damage. Safety and efficacy must be considered in preference to creativity.

Transitional moves

Certain exercises feel awkward when you try linking them with others (transitions). For example, going from a wide squat into a half-jack feels uncomfortable. Ideally, a teacher will design choreography which allows movements to flow from one to another. For example, step touch into side steps, into grapevines.

The following are examples of aerobic base moves, with the relevant teaching points.

Aerobic base moves

The majority of choreography is built up from the following base moves. Complexity is determined by incorporating travel, turns, rhythm changes etc.

1. Marching

The prime movers are:

• quadriceps

• hip flexors

• gastrocnemius

• soleus

Teaching points

Start with the feet hip width apart and keep the posture upright with the shoulders and arms relaxed by the sides.

Gently march on the spot and sway the arms in an alternate manner forwards and back.

Keep one foot in contact with the floor and land through the ball of the foot to the heel. Do not stamp the feet.

Swing the arms with a bit more vigour and lift the knees higher to make the exercise a little harder. For variety, you can travel this move forwards and backwards.

2. Grapevine

The prime movers are:

• quadriceps

• abductors

• adductors.

Teaching points

Start with the feet hip width apart and the posture upright with the shoulders and arms relaxed by the sides.

Plan and Deliver Group Exercise to Music: Freestyle | Manual | Version 1

© YMCA Awards 2021

With the right foot, step to the side and bring the left foot behind the right leg. With the right foot step to the side again and with the left foot; step so that the feet are now together.

Repeat the above pattern stepping to the side with the left leg.

Take care when drawing the leg behind the leading foot not to hyperextend the knee. Ensure that the knee of the leading leg is slightly bent.

For variety, you can travel this move diagonally forwards and backwards.

3. Knee lifts

The prime movers here are:

• hip flexors

• quadriceps.

Teaching points

Start with the feet hip width apart, the knees slightly bent and the arms at the sides.

Lift alternate knees to hip height keeping the back straight. Keep the supporting leg straight. Reach forwards and back with both arms at shoulder height.

For variety, you can travel this move forwards and backwards.

4. Jumping jacks

The prime movers are:

• quadriceps

• abductors

• adductors

• gastrocnemius

• soleus.

Teaching points

Start with the feet hip width apart, the knees slightly bent and the arms at the sides. Keep the back straight throughout the exercise.

Jump up to land with the feet astride and the arms raised to the sides at shoulder height.

On landing, bend the knees and bring the heels to the floor. Also ensure that the knees follow the line of the feet when landing. Take care not to allow the knees to roll inwards as this can aggravate some knee conditions.

Jump to return to the starting position.

This exercise can be made easier by alternately stepping out to the side.

Precautions

Clients with ankle, knee or hip problems might be best advised to take out the impact jumps within this exercise and try a modified version (such as lower impact squats within range). This is because the jumps can create high vertical forces which might aggravate these joints.

Women who suffer from stress incontinence or who are pregnant would also be advised to try the modified version (alternate side steps). This is because the abdominal forces produced during jumping jacks can place the bladder under high pressure, and this might lead to urine leakage.

5. Lunges

The prime movers are:

• quadriceps

• hip flexors

• hamstrings

• gluteus maximus

• gastrocnemius

• soleus.

Teaching points

Start with the feet hip width apart. The posture should be upright and the shoulders and arms relaxed by the sides.

Step directly forwards with the right leg a sufficient distance to enable both knees to bend into a right angle as the body is lowered. Take care to ensure that the body remains upright as it’s lowered.

Concentrate on keeping the feet hip width apart whilst alternating the stepping action. This helps to maintain a good stable base and prevents balance problems.

Look forwards and slightly down whilst performing the exercise. Ensure that the trailing knee does not contact the floor as the body is lowered. Drive back with the right leg to the starting position.

Precautions

This is a very dynamic exercise and some individuals with knee problems may find it quite stressful on the knees. If this is the case, get the client to take smaller steps and reduce the range of movement at the hips and knees.

To prevent possible balance problems, a useful strategy is to get the client to imagine two straight lines that are hip width apart and step to these lines. This often prevents the leading leg from crossing over and can avoid instability.

6. Step touch and side steps

The prime movers are:

• abductors

• adductors

• quadriceps.

Teaching points

Stand tall with good posture and your feet hip width apart. With the right foot, step to the side and bring the left foot next to the instep of the right foot and tap it to the floor. Repeat the pattern to the left side.

Side steps are simply more repetitions prior to changing from right to left leg lead. Keep the knees slightly bent throughout the move.

For variety, you can travel this move forwards and backwards.

7. Hamstring curls

The prime movers here are the hamstrings.

Teaching points

Stand tall with good posture and the feet hip width apart.

Bend the knees alternately and keep the back straight. Concentrate on bending the knees through the middle of the movement as you transfer the weight.

Keep the supporting leg straight as the knee is bent.

The exercise can be made harder by taking larger steps and bending more in the middle.

For variety, you can travel this move forwards and backwards.

8. Back taps, half stars and forward taps

The prime movers are:

• quadriceps

• hip flexors

• hamstrings

• gluteus maximus.

Teaching points

Stand tall with good posture and the feet hip width apart.

Push the right foot backwards and tap the toe on the floor. As you extend the leg behind; raise the arms to shoulder height. Bring both the leg and arms back to the starting position and repeat on the opposite leg.

Keep the supporting leg slightly bent throughout the movement.

Avoid over extending the leg. This can lead to hyperextension of the spine. Only tap the toe and avoid pushing the heel down with speed.

The exercise can be made harder by alternately jumping forwards and backwards.

Forward and half stars have the same teaching points.

9. Squats

The prime movers are:

• quadriceps

• hamstrings

• gluteus maximus

Teaching points

Place the feet about hip width apart or just slightly wider. The feet should be pointing directly forwards or just slightly turned outwards.

Squat down by bending at the knees and hips and ensuring that the back remains in natural alignment. Lower to a position where the thighs are roughly parallel to the ground. Do not go beyond this level as it dramatically increases the compressive forces in the knee and reduces its ligamentous support.

Ensure that the knees travel in line with the feet.

Extend at the knees and hips to regain the upright position, ensuring that no hyperextension occurs at the knee.

Repeat for the desired number of repetitions and make the action smooth and continuous.

The exercise can be made easier by simply reducing the range of movement and performing partial squats.

Precautions

Do not round the spine when squatting. This leads to increased forces in the spine and could lead to potential back problems.

Verse chorus choreography

In the 1980s when exercise to music first became popular, verse chorus was a very common way of choreographing routines. In the 1990s it became less popular, but with the introduction of prechoreographed classes e.g. Les Mills and Zumba, it has enjoyed a revival.

Using the verse and chorus to dictate the exercise pattern makes it easy for the teacher to remember what comes next. It also allows the participants to follow easily because they can sense a change in activity. The movements are repeated throughout which allows for skill levels to improve.

Plan and Deliver Group Exercise to Music: Freestyle | Manual | Version 1

© YMCA Awards 2021

Breaking down music

Previously we discussed music phrases (which are usually in blocks of 16 or 32 counts). Popular music often follows a format of verse chorus. An example of this would be as follows (fast count):

2 phrases of 16 beats.

4 phrases of 16 beats.

4 phrases of 16 beats.

4 phrases of 16 beats.

4 phrases of 16 beats.

4 phrases of 16 beats.

2 phrases of 16 beats.

4 phrases of 16 beats.

Breaking down the music in this way can be a very useful choreographic tool as it provides a simple framework around which to construct exercise routines.

For example, if using the breakdown above the following choreography could be used:

Verse chorus choreography helps to remember the exercise routine because the music acts as a prompt that can help prevent that dreadful thought when first learning to teach exercise to music, “What comes next?”

However, the teacher will need to know the music very well in order for this choreography method to work seamlessly.

Continuous play

With the introduction of professionally mixed aerobics music there was a significant change to the way teachers choreographed their routines. Previously there was a gap between each track of music and for this reason teachers tended to design a routine specifically for each track. Professionally mixed music allows for each song to seamlessly run into the next without affecting the beats per minute or phrasing. In the fitness industry, this type of mixing is known as continuous play.

Continuous play CDs or music recorded in MP3 format allow the teacher to choreograph routines that flow to the beat and phrase but are not governed by which track is being used. This means that a teacher can spend more time planning an appropriate routine; rather than having to worry about making it fit a specific track.

Add-on choreography

Add-on choreography is an alternative way of putting moves to music. It involves selecting a number of moves and teaching them in a logical sequence. This method of choreography allows the teacher to build a routine up to a fairly complicated level of choreography. It’s also a flexible method of teaching which can be useful if teaching a group of mixed ability.

See the example below of an add-on routine. Each movement is introduced in turn and practised. The first move is taught until participants are able to do it successfully. A second move is then added. The routine then returns to the first move. Once this sequence is learnt a third move is added and so on.

Another example might be using combinations rather than individual exercises.

Planned routines

A planned routine may not follow a specific structure. The teacher will simply decide on a sequence of exercises that flow well together. The changes of exercise or combinations will always be on the start of a phrase. The structure will not follow the verse chorus or add-on principles. Please note the teacher must still plan and practise the routine. There is not a specific pattern but the teacher must still know what they have planned to do next.

There are numerous group exercise class types/genres available to the public today to suit their interests and goals. Some of these types are in the below section.

Choreography and teaching styles

Learning curves

For the group to follow the choreography the teacher needs to plan how they will deliver the routine. This can be time consuming as the learning needs to be logical. A successful teacher will spend time working out how to demonstrate an exercise or combination. They will allow for observation and practice and eventually an increase in skills. If the routine is complex the teacher will introduce the choreography in small manageable chunks.

When choreographing a routine a teacher should spend a considerable amount of time on working out the learning curves and practising how to teach the routine.

Pure repetition

Pure repetition is a simple and straightforward method of delivery when the group have attended classes before and know the exercises by name. Exercises are linked together and repeated to form a routine. This method can be used for the full class or easier sections. There is no breakdown or build up of the routine, what is taught is the final product. This method of delivery requires excellent cueing skills.

Beware not to fall into the trap of assuming participants can perform complex choreography without incorporating learning curves.

The following is an example of pure repetition choreography.

Repeat left lead leg

Combinations

Combinations are a collection of exercises that link together. When planning the routine teachers might plan the final product and then spend time planning how they will break it down to deliver it in a safe, effective and logical manner.

The alternative is to start with a simple block of movements and gradually introduce elements of variation e.g. travel, impact, rhythm change or range of movement.

The following is an example of a 32-count combination.

Repeat with other lead leg.

Linear progression

Linear progression is where a single movement changes at a time. For example, the exercise may start as a march on the spot without the use of the arms. The teacher may then introduce an arm line, followed by adding impact (a jog) and finally incorporate travel. This is very simple to follow and allows the participant to process new information slowly.

Layering

This is a perfect method of building complexity. A base combination is introduced. Once the participants are happy with the sequence the teacher will tell the group to continue with the base pattern whilst they show a slightly more complex version. For example, this may incorporate a turn or rhythm change.

After a few repetitions, the group are invited to join in with the new version. If the group are of mixed ability some of them may decide not to change and stick with the simpler version. The teacher must be in total control of the group and be very clear with their visual and verbal instructions for this method to work effectively.

Pyramiding

Repetitions start with a low number and gradually increase to a high number. This is an effective way of building intensity within the workout. For example, single knee lifts can progress to a three knee repeater and then onto four knee repeaters Possibly even seven. The important thing to remember is the number of repetitions and transition must fit in with the structure of the music.

Reverse pyramiding

Reverse pyramiding is the reverse of pyramiding. The sequence will start with a high number of repetitions and gradually reduce to a low number of repetitions. This can be a useful tool for building complexity. For example, four grapevines followed by four box steps, with eight jack jumps and four lunges is easy to follow. This can gradually reduce down to one grapevine, one box step, two jack jumps and a single lunge for the final combination. This is difficult to cue without the build-up.

Holding patterns and visual preview

Holding patterns are used to give the group a rest from learning the choreography Especially if it’s complex and requires concentration. Alternatively, a holding pattern will be used to keep the group moving whilst the teacher previews the next move.

A combination holding pattern can be used to link blocks of choreography together. It’s usually a simple exercise such as walking backwards and forwards or walking to the corners of the room. A holding pattern can be used simply to build the routine or can be left in as part of the final combination

Teaching to the slow beat

A useful way to assist with learning complex choreography is to teach each step to a slow count. Once the group have grasped the choreography the regular faster beat can be used.

Progression and adaptation

To progress and adapt routines the following elements of variation can be introduced (some examples are listed):

• Impact varied by layering in jumps.

• Length of levers varied by changing from a knee lift to a kick

• Range of movement varied by shallow and deeper squats, further travel

• Repetitions varied by single knee lift to repeaters

• Speed of music varied by faster and slower speeds or rhythm changes.

• Rest varied by moving between high, moderate and low intensity exercise (active rest).

• Complexity varied by harder and easier combinations of steps.

• Changes in direction varied by forwards, backwards and diagonal changes.

The above list can be used to promote inclusion by providing a range of alternatives and progressions and catering for greater and lesser skill levels and fitness.

Freestyle choreography

All of the examples above are methods of choreographing and delivering freestyle choreography. The teacher designs and teaches their routines in a style that suits their personality, class type and experience of delivery.

Developing these skills takes time and patience. However, freestyle teachers are able to change their choreography regularly which helps with teacher and participant motivation. Freestyle classes can be adapted to meet the needs of the participant group as there are no restrictions on what the teacher is allowed to do.

Pre-choreographed classes

Designing routines and developing learning curves can be very rewarding but it is time consuming. More and more teachers work full time and find it difficult to make up routines. The introduction of products such as Les Mills and Studio FX means that it’s now possible to learn and teach classes that have been pre-choreographed to a specific piece of music.

There is usually some kind of licence agreement for the teaching of the product and accessing the music. A lot of centres and clubs have incorporated this type of class into their studio timetable as it gives them continuity with the products they offer.

Teachers are trained to teach the classes in a specific way and once the choreography is set it cannot be changed. Pre choreographed classes are extremely popular with participants who like to learn choreography quickly and know the class format will not change too frequently.

Planning an Exercise to Music session checklist:

You will find an exemplar session planning sheet in the appendix of this manual to assist you. When planning you must consider and provide written documentation for the following:

• What are the session objectives?

• How can you ensure the session is safe and effective for a range of participants?

• Ensure correct timings are given for each component of the exercise to music session

• What is the appropriate music tempo for each component?

• How can you ensure safe and effective choreography for an exercise to music session?

• What are the suitable adaptations including progressions and regressions you may be able to provide?

• What are the environment and equipment checks that need to be made prior to the session?

Preparing to instruct

Attending a class can be a significant step for some attendees, with apprehension and fear of the unknown or a false perception of the class being major barriers to participation. The instructor should look to welcome all attendees and quickly establish their wants, needs, expectations and general motivation levels. Remembering first names and referring to attendees by their names is a simple but useful tool in making people feel welcome and accepted.

It is also vital prior to the start of the class to prepare the environment and equipment that may be used during the session. This includes:

• Making sure the environment is clean and clear from obstructions/trip hazards

• Checking the environment has adequate ventilation and heating

• Using appropriate cleaning products to clean any apparatus/equipment e.g mats, bands,

• Checking apparatus/equipment is safe and in working order as per your full risk assessment

• Ensuring sufficient products/materials are available for the participants to use e.g. antibacterial gel/spray.

When addressing participants, you should:

• State the purpose, aims and the physical and technical demands of the session

• Give thorough health and safety advice including safe set up of equipment/area and the importance of regular hydration and listening to their body and adapting exercises as required

• Perform a verbal health check on your participants

• Revise any plans as needed

Communication skills – the use of effective teaching methods

Exercise to music sessions can provide an additional communicative challenge when compared to oneto-one sessions. The primary aim is to communicate with the whole class so that participants are fully aware of:

• What movements they should be performing

• When they should be performing the movements

• Wow they should perform the movements

• How they can adapt or progress the movements if required.

Verbal and visual instruction

The two ways of communicating this information are visually and verbally. Different participants will have different styles of learning, therefore using a combination of the two will be advantageous for any instructor.

Verbal instruction should be primarily used as the participants’ may not be able to see you at all times. This needs to be audible, clear and appropriately paced. A voice that is too quiet will not be heard particularly in large sports halls. Quiet voices in instruction settings also suggest a lack of confidence which may affect discipline within a group. Below are some key tips for verbal communication:

• Be loud enough to be heard but don’t resort to shouting.

• Mix up your intonation. Monotone delivery is uninteresting whilst voice intonations can be used powerfully to emphasise key points.

• Speak at a speed everyone can understand.

• Use vocabulary that everyone knows.

As also mentioned, visual cues can be used to enhance communication and group understanding. Gestures, facial expressions and general body language can inform the participants of your feelings and spur people on with your motivation. Smiling or reflective facial expressions (serious expression or slightly pained expression if a participant is really struggling) will make the group feel like you are a part of the session too. Closed body language or hands in the pockets imply that you don’t want to be delivering the class, and a lethargic or ill-disciplined class may result.

You should adapt teaching to suit the individuals. Think about the group dynamic and all the personalities and learning styles in a mixed ability group. Also, adapt instruction for the various components. Note that the main session may require more visual teaching together with verbal as the exercises may be more technical.

Overall, use effective observation and be clear and precise whatever method you use.

It is imperative to remember that your exercise to music session will need to reflect the organisation you work for, and/or your own business. Being appropriately dressed, punctual, using appropriate language, being energetic etc. are all expectations that you should place on yourself.

Teaching position

It is important to maintain observation of the whole group so that participants can be monitored errors in exercise technique can be identified and corrected. From the middle of a group, it is impossible to see everyone in an exercise to music session. Consequently, the instructor's ability to identify and improve performance is limited. The instructor should concentrate on constantly moving from the front or side of the group. From this peripheral position, it is easy to view the whole group and concentrate on correcting technique, motivating and interacting with the participants. Attempt to make yourself as visible as possible to the whole group.

Exercise/movement correction

The key task for the instructor is to make sure that individuals are exercising safely and effectively. This often requires suggesting minor adjustments to an individual's technique to maximise the safety and value of the movement. For instance, an individual may be performing a lunge exercise with small strides. Simply by prompting them to work through the full range of motion, taking larger strides and bringing the rear knee closer to the floor, the effectiveness of the exercise will have been significantly improved.

When correcting an individual's exercise technique, instructors should consider the following:

Verbal correction and demonstration

Rather than focus on one particular individual, use teaching points or show the whole group how you would like them to perform the movements again where possible if they’re not quite understanding the choreography or exercises. Alternatively, show them what they are doing wrong and how you would like the movements to be performed. If any particular individual is still struggling to perform the movements safely after this, offer the whole group an alternative exercise or movements that are related to the choreography being performed.

Closeness of correction

Try not to be too intrusive and respect the personal space of the participants Try not to single any individual out or spend too much time focussing on one person (as mentioned above). Remember, in a group setting, whilst correcting an individual the group still needs to be controlled which can be a real challenge with an exercise to music session. Consider how to correct an individual from a distance through reinforcing key teaching points whilst addressing and maintaining contact with the whole group.

Hands-on correction

The idea is to avoid this if possible. As you are teaching an exercise to music session it’s quite a challenge in any case as you will be expected to lead the movement.

After session counselling

It is not always possible to correct the performance of everyone in large group situations. Consequently, it can be very useful to talk to individuals who were struggling after the session has finished. This also provides an opportunity to discuss an individual’s fitness goals.

Motivating the group

Varying the exercises and approaches are key motivational factors in terms of exercise adherence. In the short term, as an instructor, you should create an energetic, motivational and enjoyable atmosphere.

Your behaviour and personality will have a strong impact on whether the participants have fun during the session. Being outwardly enthusiastic, positive, approachable and friendly can go a long way in helping to make a session enjoyable. Keeping participants satisfied is essential for exercise adherence. Ask the participants, “What would make this session more enjoyable and fun for you?” And use their feedback to enhance the quality and enjoyment of future sessions. Avoid teaching the entire session in a monotone, flat voice. Adopting an over-authoritarian ‘sergeant major’ approach, leaving long gaps of silence whilst participants are exercising, not reinforcing teaching points, or failing to praise and encourage performance can also be demotivating.

Time keeping

When delivering the session, ensure the class components correspond with the overall time of the session – be careful not to go too far under or over time.

Group behaviour management

There are a number of considerations to how you need to manage individuals within a group exercise to music session. You should consider:

• Effective cueing to avoid collisions.

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• Giving appropriate alternatives that contain a similar movement pattern to assist participants at all levels.

• Changing teaching position to improve observation (group and instructor).

• Changing the orientation of the group.

• Effective communication (visual and verbal).

Ending the session

Ensure you leave plenty of time to end the session in order to provide a summary of the session to participants, give them an opportunity to provide feedback and identify any further needs and leave the environment in an acceptable condition for future use.

Delivering an Exercise to Music session checklist:

As discussed throughout this section, when delivering the session to participants you must be able to:

• Deliver a safe and effective group exercise to music session

• Demonstrate safe and effective exercise techniques for different abilities

• Establish and maintain appropriate exercise intensity for each component

• Develop participant co-ordination by building exercise to music patterns logically

• Demonstrate effective methods of combining movement patterns

• Monitor and improve the performance of participants

• Use appropriate methods to correct and reinforce technique for safety and effectiveness

• Demonstrate effective cueing

• Use volume, pitch and voice projection relative to the music with or without a microphone

• Manage time effectively within the session

• Check participants’ understanding at regular intervals

• Communicate as appropriate to participants’ need

• Use motivational styles appropriate to the participants and the exercise format

• Vary the pace and speed of exercises to ensure safety and effectiveness appropriate to the phase of the component/session

• Keep in time with the beat of the music

• Use effective choreography appropriate to each component of the exercise to music session and the group.

Practice makes perfect

Rehearsal and preparation are key to delivering effective group exercise to music sessions and your participants will be very grateful for the effort you have put in.

Reflective practice

Whilst the session plan or programme may appear realistic and effective on paper, when it comes to teaching the session the reality can often be very different. Instructors must consistently monitor and evaluate each session with a desire to improve the quality of the session to ensure that it meets the session aims and objectives. Identifying specific areas for improvement will help bring your teaching to a higher level.

Try the following suggestions for incorporating evaluation into your practice:

Self-evaluation

Set aside 10 minutes immediately after the session whilst events are still fresh in your mind and reflect back on the session and ask questions such as:

• How was the session received by the participants?

• How effective was the session content and structure?

• What areas of session planning or teaching could be improved and how?

• How motivational was my performance?

• Which participants, if any, had difficulty and why?

• What kind of feedback did I provide and was it effective?

When evaluating your own performance, don't be too hard on yourself. Be realistic and try not to change your whole practice at once. Identify key areas and work on improving one or two of them over the following weeks.

Participant evaluation

Was the session enjoyable from the participants’ perspective? Try to gather feedback from the participants, either written or verbal, about the session. Ask them questions at the end of a session such as:

• What did you enjoy about the session?

• How could the session have been made more enjoyable?

• In what ways did you benefit from the session?

• How could the session be improved for you?

• Is there anything in the session you would like to change?

The participant’s feedback should be recorded and, as the instructor, you should add your own reflections and use this information to improve future sessions and make them more enjoyable.

Peer evaluation

Another excellent tool for improvement is to enlist the help of other instructors. Ask them to come along to your session and ask them to provide honest, open feedback as to how they found the session and any areas of improvement. Identify specific aspects of your session for which you would like specific feedback and ask them to offer suggestions about these or other observations they might have. Instructors understand all of the anomalies of a session and will know the more intricate details of what went well and what didn’t go as well. Friends are likely to give feedback such as “it was fun” or “it was good” – and as much as it is enjoyable to receive praise, this type of feedback doesn’t facilitate improvement.

Summary

In this manual, we learnt how to plan and deliver group exercise using effective Exercise to Music (ETM) techniques and choreography. We have discussed the role that music can play in an exercise to music class and how music can be broken down and arranged to structure exercise routines to music.

We have investigated the use of music and how it’s an integral component for class structure The choreography design should complement the music in both speed and style. The exercise to music teacher needs to spend time planning the use of music and class content. They also need to concentrate on practising how to teach the choreography by incorporating logical learning curves

We have also discussed teaching methods specific to exercise to music sessions.

Knowledge Check

1. How long should a main cardiovascular component be in an exercise to music session (approximately)?

2. What types of music are best for a group exercise to music session and why?

3. Calculate the number of beats per minute (bpm) if the number of beats in 15 seconds is 28.

4. What would be an appropriate bpm for a muscular strength and endurance component of a class?

5. How are professionally mixed ETM tracks counted?

6. Why is it important to give accurate cues when instructing?

7. What does an instructor need to consider when designing choreography?

8. What are ‘transitional moves’?

9. List and give some verbal teaching points for 2 types of aerobic base moves.

10. How many counts are music phrases usually in blocks of?

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11. Describe the following types of choreography:

- Add-on

- Combinations

- Layering

- Pyramiding

12. TASK: Attend an exercise to music class in your local health and fitness facility or in the community. Take note of the following:

- Types of music used for each component

- Types of choreography used

- Teaching points used

- How the instructor managed the group

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Appendix – example session plans for components of a freestyle group exercise to music session

Mobility and pulse raiser

When planning a mobility pulse raiser component, some key factors to consider are:

• Music for the mobility and pulse raiser component needs to be lively and motivating as it sets the scene for the workout ahead.

• The mobility pulse raiser must include exercises that will encourage full range of movement. Mobility and pulse raising activities should be low impact and gradually increase in intensity.

• The warm-up is an appropriate time to practise choreography combinations that feature in the main workout but at a lower intensity. It’s easier to learn choreography at a slower pace and when the mind and body are less fatigued.

• As fitness and skill levels increase it may be appropriate to decrease the duration of the warmup component. However, a gradual increase in intensity should still take place as it’s important that joints are fully mobilised and the muscles are warm.

Session plan example

Name: Alison Berry

Level: Mixed Ability

Music title/BPM: Body Blitz 1/various

Music breakdown or reps/sets

Component: Mobility pulse raiser

Duration: 4 minutes

Exercises(namethe muscles, draw diagrams for MSE, stretch)

Continuous play. 4 scoops forward Smallsquats R/L.

Evenphrasesof 16fast beats.

Repeat backwards. Step touch and arm reach (shoulder mobility).

Step touch x2. Double side step R/L Repeat.

Teaching points

Progressions, regressionsand alternatives (P/R/A)

Upright posture Knees in line with hips andankles.

Controlled full range of movement.

Controlled side lateral arms. Tilt torso slightly forward to avoid arch. Keep knees in line.

A =Step touch forward.

P =Deeper range of movement.

P =Deeper range of movement.

Hamstring curls on the spot (knee mobility).

Slight lean forward. Supporting knee bent. Controlled movements.

P/R =Low or high armslines.

Spine twists x4 Step touch and reach x4 (repeatx4).

Keep hips facing forward. R =8 reps of each. Add travel to curls x4 fwd, x4 bwd.

Keep abs pulled in tight. Keep shoulders slightly in advance of the torso.

A =Travel step touch.

x4 side bends x4squats (spine, hips and knee mobility).

Repeat double side steps with knee lift on the end (hip and knee mobility).

Avoid leaning forwards or backwards. Kneesoverankles. Heels down.

Controlled movements. Only jump on the leaps and on the step touch (mixedimpacts).

Travelling hamstring curls. As above.

CV/Aerobic second pulse raiser

R=8 reps of each.

P =Deeper movement.

Having just finished the preparatory stretch component, the heart rate and body temperature will have dropped slightly. The purpose of the second pulse raiser aerobic component is to gradually prepare the body’s systems for the main workout. This is achieved by progressively increasing the exercise intensity so that by the end of 3 to 5 minutes, the participants’ heart rates will be at the desired target heart rate level.

When planning a second pulse raiser aerobic component it’s important to consider the following when increasing the intensity:

• Keep the exercise moves simple and easy to follow. Allow participants the time to get into the groove (desired pace) of the movements.

• Be aware of which combinations, rhythms and specific moves are more difficult to master than others.

• Start with low impact moves and add more travelling moves e.g. a march to a shuffle step or a step touch to a grapevine.

• Gradually increase the exercise impact e.g. a grapevine to a grapevine with a hop at the end or a knee lift to a knee lift with a jump.

Notice from the following example “second pulse raiser aerobic plan” how the exercise intensity, impact and direction of the movements have been increased.

Session plan example

Name: Alison Berry

Component: Second pulse raiseraerobics

Level: Mixedability Time: 4 minutes

Approach: Verse chorus Music: One night in heaven/138bpm

Music breakdown or reps/sets

Exercises(namethe muscles,draw diagrams for MSE, stretch)

Intro 4 scoops forward, small squats R/L,

Verse Repeat backwards. Step touch x2 Double side step R/L Repeat.

Chorus Hamstring curls on the spot.

Instrumental Repeat Intro. Increase the intensity with deeper scoops.

Verse Squat and reach. Repeat verse. Add jump to side steps.

Chorus Deeper ROM. Repeat chorus. Add travel to curls.

Verse x4 fwd x4 bwd. Repeat intro. Change squats for full. jacks x4

Instrumental Repeat verse. Replace side step with leaps.

Teaching points

Progressions/regressions/ alternatives (P/R/A)

Upright posture. Knees in line with hips and ankles.

Controlled side lateral arms. Tilt torso slightly forward to avoid arch. Keep knees in line

Slight lean forward. Supporting knee bent. Controlled movements.

Avoid arching the back. Keep knees above ankles.

A=Side steps.

P=Deeper range of movement.

A=Step touch.

R=Lower arm lines.

Add jump to side steps. Deeper ROM. R=No jump.

Keep abs pulled in tight. Keep shoulders slightly in advance of the torso

Land with bent knees. Knees over ankles. Heels down.

P=Add hop.

P=Large stars.

Controlled movements. Only jump on the leaps and on the step touch. (mixed impacts)

Chorus Repeat chorus. Travel further. As above.

A=Deeper movement instead of jumps.

The example above uses the verse-chorus approach. If using add-on (see music and choreography design) the same effect can be achieved You must ensure that the intensity has increased each time the routine returns to the first combination.

Main workout CV/Aerobic

The purpose of this component is to keep the participants within the desired target heart rate range for the required period of time necessary to achieve the aerobic fitness or health goal. For example, an

exercise to music weight management class for beginners might have a 30 minute main workout aerobic component with participants aiming to work at 65- 70% of their maximum heart rate.

When planning a main workout aerobics component; instructors should consider the following:

• Keep the exercise intensity constant by using large travelling movements and avoid performing too many repetitions on the spot.

• Vary the direction of the movement combinations. Use a wide variety of directions such as diagonals, zig zags, squares, cross overs and circles.

• Select movements which allow a large range of movement to be performed by the legs and arms e.g. lunges and side steps or travelling leg curls with arm pull downs.

• Vary the impact of exercises. Try to provide a mixture of high and low impact moves to reduce the stress on the joints.

• Allow sufficient time to develop aerobic fitness. For example, novice exercisers will need less time in this section than well-trained individuals.

• Avoid becoming too focused on choreography rather than intensity. Especially when teaching a beginners’ class.

Notice from the example ‘Main workout plan’ how the exercise intensity of the movements remains constant. Though it’s likely that as the choreography is being taught there will be variations in the intensity levels. The group exercise teacher should consider this when planning their class so that the participants are working out at the desired intensity in this section. Notice also that the impact and direction of the movements have been varied.

Session plan example

Name: Katie Cord

Component: Main workout aerobics

Level: Mixed ability Time: 30 minutes

Approach: Add on/continuous play Music: Cardio Combo 1/138-140bpm

Music breakdown or reps/sets

Professionallymixed CD Evenphrasesof8 counts

Exercises(namethe muscles,draw diagrams for MSE, stretch)

Combo 1. GrapevineR/L S/S/double hamstring.

Combo 2. Walk fwd x4/bwd x4 x4 alt deep squat.

Repeat Combo 1 and 2x8.

Combo 3 x2 alt step touch shuffle side step R x4.

Teaching points

Progressions/regressions/ alternatives(P/R/A)

Upright posture. Knees in line with hips andankles.

A=Side steps with or without impact.

Controlled arms. Heel toe action on walks fwd, toe heel on bwd. Keep knees in line.

As above

Strong controlled arm lines. Keepkneesaboveankles.

P=Jog. P=Deeper range of movement.

R=Lowerarmslines. R or A=Side step instead of shuffle.

RepeatL. Repeat Combos 1, 2 and 3 x8.

Combo 4 Grapevine.R x1 Pivot turn x1 Alt knee lifts x4.

Repeat combos 1, 2, 3 & 4 for 5 minutes approx.

Build down CV/Aerobics

As above. R=March instead of pivot.

Lead GV with the heel. Turn on the ball of the foot. Keep an upright posture.

As above. Using the add-on method of delivery, each combo will take approximately 4 minutes to build The intensity must stay high when incorporating learning curves Reverse pyramiding and layering techniques will be used.

The purpose of this component is to lower the exercising heart rate gradually, prevent blood pooling and facilitate the removal of metabolic waste products from the exercising muscles so that muscular conditioning or stretching exercises can be performed safely.

The reduction in heart rate is most effectively achieved by progressively decreasing the exercise intensity over time so that by the end of this component, the participants’ heart rates are less than 110 to 100bpm (at this heart rate level there is little risk of blood pooling). The duration for this component is obviously dependent upon the fitness level of the participants.

When planning a build down aerobic component, it is important to consider the following when decreasing the intensity:

• Progressively taper the exercise intensity of the moves e.g. from a jog to gallops to shuffles to marching.

• Decrease the exercise impact to a low level.

• Gradually reduce the range of motion of the exercises.

• Keep the exercise moves simple and easy to follow.

• Allow sufficient time for the heart rate to decrease especially when teaching beginners.

Plan and Deliver Group Exercise to Music: Freestyle (Y/618/6383)

Notice from the example plan how the exercise intensity has been progressively lowered.

Session plan example

Name: Alison Berry

Level: Mixed ability

Approach: Planned routine

Music breakdown or reps/sets

Exercises (name the muscles, draw diagrams for MSE, stretch)

Component: Cool-down aerobics

Time: 4 minutes

Music: Aerobics 5/138bpm

Teaching points

Progressions/regre ssions/ alternatives (P/R/A)

Professionally mixed CD

Even phrases of 8 counts

x4 large scoops forward. x4 jack jump.

Repeat backwards.

Step touch x2. Double side step with jump R/L. Repeat.

Upright posture Knees in line with hips and ankles.

A=Stars.

x4 hamstring curls fwd and bwd.

Controlled side lateral arms. Tilt torso slightly forwards to avoid arch. Keep knees in line

Slight lean forwards. Supporting knee bent. Controlled movements.

x4 scoops fwd x4 alt squat and reach. Avoid arching the back. Keep knees above ankles.

Step touch x2. Double side step/no jump.

x8 hamstring curls On The Spot (OTS).

Walk fwd/bwd x4 ½ Jacks x4.

Land through the whole foot when jumping.

Keep abs pulled in tight. Keep shoulders slightly in advance of the torso.

Heel-toe action. Controlled arms Knees in line with toes.

A=Deeper range of movement instead of jump.

A=Step touch.

R=Lower arm lines.

R=Reduce Range of Movement (ROM)

R=March on the spot.

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Points to discuss

Check your learning by completing the table below. If you identify any areas that you don’t have a good understanding of you can revisit the relevant section or speak to your tutor for support.

You understand…

how to plan a group exercise to music: freestyle session

how to develop choreography for a group exercise to music session

how to provide group exercise to music, including using techniques used to develop choreography

how to develop participant skill and coordination through logical movements

Write notes about the section here:

Create your own glossary

Throughout this manual, you will come across words and terms that you may have never heard before. As you read the manual, pick the key terms that you want to remember and record them here with their definition.

ACSM (2018) ACSM’s guidelines for exercise testing and prescription. 10th edition. American College of Sports Medicine. USA: Wolters Kluwer

Benson, H MD (1975) The relaxation response. New York: Avon books

Bentall, R. (2010) Doctoring the mind. Why psychiatric treatments fail. UK: Penguin Books

Biddle, S, Fox, K & Boutcher, S. (2000) (Eds). Physical activity and psychological well-being. London and New York: Routledge

Bird, W (2007) Natural health Accessed on: 10-12-2020. Available from: www.rspb.org.uk/globalassets/downloads/documents/positions/health/natural-health.pdf.

Bird, W (2004) Natural fit Accessed on: 10-12-2020. Available from: www.rspb.org.uk/globalassets/downloads/documents/positions/health/natural-fit full-report.pdf

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