CFES GFI 6th Ed- RM Sample Pages 093012.pdf

8/10/2019 CFES GFI 6th Ed- RM Sample Pages 093012.pdf

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Sample Pages Only -- The CFES Group Fitness Instructor Course and Certifcation Program 2012

The CFES

Group FitnessInstructor CourseResource Manual

Certifcation Program

Canadian Fitness Education Services

Advancing the Standards in Fitness Leadership Training Since 1980

Sixth Edition


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The CFES

Group Fitness Instructor CourseTable of ContentsChapter 1 An Introduction to Group Fitness

Chapter 2 The Use of Music

Chapter 3 Basic Lower and Upper BodyMovement Library

Chapter 4 Postural Alignment and Biomechanics

Chapter 5 The Core Training Library

Chapter 6 Planning and Preparation for theGroup Fitness Class

Chapter 7 The Fundamentals of Choreography

Chapter 8 The Warm-up

Chapter 9 The Cardiovascular SectionChapter 10 The Muscular Conditioning Section

Chapter 11 The Resistance Training Library

Chapter 12 The Flexibility Section

Chapter 13 The Stretching Library

Chapter 14 A Focus on Safety

Chapter 15 Becoming a Certi edGroup Fitness Instructor

Index


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The CFES

Group Fitness Instructor CourseChapter 1

An Introduction toGroup FitnessIn this chapter you will learn about: The History of Group Exercise Group Exercise Today The Bene ts of Group Exercise and

Multi-dimensional Wellnesso Physical Bene ts

o Health Bene ts o Emotional and Social Bene ts

o Mental Bene tso Spiritual Bene ts

The Typical Group Exercise Class The Health Related Fitness Components Class Components Different Types of Group Exercise Classes Being an Effective Group Fitness Instructor Foundation Leadership Skills


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The History of Group Exercise

In 1969, a young American woman named Jackie Sorenson wasteaching dance classes at an Air Force Base in Puerto Rico. Sherecognized the health bene ts of aerobic dance to train the cardio -vascular system. What distinguished her classes from existing pro-grams was that she choreographed her movements and exercises to

music. There was owand continuity to theexercises which madethem more interest-ing and more fun thanthe callisthenics basedprograms of the day. Atthat time, group exerciseconsisted of the 5BX andXBX programs developedfor the Royal Canadian

Air Forces by Dr. BillOrban. In fact, the 5BXand XBX routines of theCanadian Armed Forceswere state of the art atthe time.

Exercise research andsports medicine eldswere also evolving inthe 1960s and 1970s,providing quantitative evi-

dence about the positivehealth bene ts of regularexercise. The systemsof the body were betterunderstood and methodsof measuring these sys-tems, such as VO2 Maxtesting, were developedand used to describecardiovascular (aerobic)

tness.

The term Aerobics wasrst coined in the late 1960s by Doctor Kenneth Cooper, an exercisephysiologist with the U.S. Air Force. He developed the 1.5 mile walk/run testing protocol for assessing aerobic tness and his researchhelped to provide clear evidence of the bene ts of aerobic conditioningprograms on cardiovascular health.

The early dance exercise programs of the 70s and 80s, such as Aero-bics and Jazzercise , were incredibly popular; however, they werentwithout their problems. They tended to be high impact and as a resultpeople started getting injured. The quality of instruction was also quiteunpredictable and inconsistent.

The XBX Plan 1The Canadian Forces developed a XBX Plan for women. This plan is a

physical tness program made up of 4 charts of 10 exercises, arranged in progressive order of dif culty. The ten exercises on each chart are always performed in the same order for a maximum time limit of 12 minutes. Thecharts are divided into levels.

Forward Bend and Touch the Floor Knee Raising Lateral Bending

Arm CirclesPartial Sit upsProne Chest and Leg ExtensionSide Leg RaisingPush-up to Childs PoseSupine Alternating Leg Lift 50 jog on the Spot and 10 hops

The 5BX Plan 1The Canadian Forces developed a 5BX Plan which is comprised of six chartsarranged in increasing order of dif culty. Each chart lists ve exercises thatare performed within 11 minutes. The rst four exercises are calisthenics andthe last exercise is an aerobic exercise. As an individual progresses withinthe system, the number of each type of exercise that must be performedincreases and the dif culty of each exercise increases. Throughout the chartsand levels, the ve exercises are the same, but more dif cult variations areintroduced:Forward Bend and Touch the Floor Full Sit upProne Chest and Leg ExtensionPush-upRun on the Spot or Walk/Run over a Distance

These are only sample pages fromeach chapter of the manual


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In fact, it was common for instructors to have little or no formal training.What the industry needed was better standards, regulations and higherquality instructor training programs.

Agencies such as the YMCA and YWCA were among the rst to de -velop such programs. In Canada, national instructor training standards

were established in the 1980s by an organization of private and publictness agencies called NFLAC, the National Fitness Leadership Adviso-ry Council (now NFLA), and through the 1980s and 90s more instruc-tors became quali ed.

Class formats also started to change, shifting from higher to lowerimpact, proving to be effective for tness yet easier on the joints and ap -propriate for a higher percentage of the adult population.

Group Exercise Today

In a relatively short period of time, the group exercise industry hasevolved to include a wide variety of classes to suit almost anyone.Today Health and Fitness research is more available and is better

able to quantify the bene ts of tness programs and direct the develop -ment of new speciality programs and services. As a result, instructortraining courses and workshops are expanding to provide the necessary

training for these new andmore specialized classes andareas of interest.

Today, tness classes extendto include all ages and tnesslevels and the instructor is

better equipped to meet theneeds of the participant.

Cardiovascular programs arestill very popular and thereare many different formatsto choose from. Todaysclasses place much moreemphasis on resistance train-ing, functional core training,and choreography. Corestrengthening and overall

muscle conditioning are be-ing delivered through variousclass formats, using both manual resistance (body weight) and equip-ment (e.g. dumbbells, resistance tubing, and stability balls).

Mind-body programs are available to provide breathing and relaxationtechniques, mental and spiritual attention, and controlled stretchingand strengthening. These classes are based on principles from Yoga,Pilates, Tai Chi and the Martial Arts and require specialized training forthe instructor.



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References American College of Sports Medicine, ASCMs Guidelines for ExerciseTesting and Prescription , 8th ed., Lippincott Williams and Wilkins, 2009

Baechle, T.R., Earle, R.W., Essentials of Strength Training andConditioning , National Strength and Conditioning Association, 2008

Baer, Stephen. Speak With Purpose: Connecting With Your Audience .Library of Congress Control, 2010.

Chandler, T.J. and Brown, L.E, Conditioning for strength and human performance , Lippincott Williams & Wilkins, 2007

Heyward, V.H., Advanced Fitness Assessment and Exercise Prescrip -tion , 6th Ed., Human Kinetics, 2010

Kennedy-Armbruster, C. and Yoke, M. Methods of Group ExerciseInstruction , 2nd Edition. Human Kinetics. 2009

Knapp, M and Hall, J. Nonverbal Communication in Human Interaction, 7th Edition. Wadsworth, Cengage Learning, 2010.

Fahey T, Insel P, Roth W, Wong I., Fit and Well , 2nd Canadian Editionwith Connect. McGraw-Hill, 2010

McDowell, J. Encyclopedia of Human Body Systems , Volumes 1-2,Library of Congress Cataloging-in-Publication Data. 2010.

McGill, S. Ultimate Back Fitness & Performance , 4th Edition, Human

Kinetics, 2009.

McGill, Low Back Disorders: Evidence-Based Prevention and Rehabili -tation , Second Edition, Human Kinetics, 2007.

McLester, J and St. Pierre, P. Applied Biomechanics: Concepts andConnections . Thomson and Wadsworth. 2008.

Reid, S and Bouchier, H. CFES Personal Trainer Resource Manual ,Canadian Fitness Education Services, 2011.

Van Norman, Kay, A. E xercise and Wellness for Older Adults , Second

Edition, Practical Programming Strategies, Human Kinetics, 2010.


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The CFES


The Use of MusicIn this chapter you will learn about:

Purchasing Music o Music Licensing o Copyright Issues o SOCAN Choosing and Using the Right Music o Is it appropriate? o Music Rules o Music Tempo Responsibilities Regarding Music Volume o Hearing Loss and Safe Volume o Voice Care Understanding Music o The Beat o The Downbeat o The Eight Count o The Phrase o Master Downbeat o Half Time

and Double Time


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The Impact of Music

G reat music is one of the most signi cant aspects of a suc -cessful group exercise class. Music is motivating, as ithas the power to get people moving and keep them mov-ing. It can create a speci c mood, from high energy to completerelaxation adding to a participants experience. By using differentstyles of music, there is a creation of variety and interest.

Music is a teaching tool for the participant and instructor, provid-ing a regular counting mechanism for cueing and following move-ment patterns. In addition, music affects physiology, includingheart rate and blood pressure.

Music has the potential to have a negative or positive impacton the class. Choosing the right music for your class is nevereasy and it can be time consuming, but the right music can really

makethediffer-encebe-tweenan av-erageclassandan

excep-tionalone!

Musicaffectsphysi-ology.

According to a new study published in the journal Circulation , loudmusic increases heart rate and blood pressure, while soft musiclowers both. The results were independent of subjective musi-

cal preferences 6. This study adds to the growing body of researchdocumenting the effects of music on mood and physiology.

Purchasing Music

Music LicensingIn the last few decades, there has been a tremendous change in theuse of music in the tness industry. Weve gone from vinyl records andmixed tapes to high quality CD/MP3 sound. In addition, the industryhas progressed from having no guidelines to rather strict copyright andperformance licensing that affects the use of music in classes.



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Choosing and Using the Right Music

Is it appropriate?It is important to choose music that is appropriate for the type of classand the background, age, and demographics of the participants. Mostimportantly, the instructor should enjoy and be motivated by the music.

Enthusiasm is contagious and if the instructor is motivated, then theparticipants are more likely to be motivated. In saying this, the instruc-tors preference may be very different from the participants. Therefore,ask regularly for feedback!

Music Rules A good rule to follow is to practice to the music that will be used for theclass. If the instructor listens to their music repetitively, they will startto feel comfortable with the phrasing and they will be able to work moreeffectively with the music.

The music is only as good as the sound system it is played on; there-

fore make sure that the music is played on quality sound equipment.Ensure that the music is cued up and ready to go for the start of theclass and just in case, have back up music.

Music TempoWhen leading a choreographed class, the instructor must use profes-sionally made, 32-count music. The tempo of the music should beappropriate for the type of class. For example, a song at 140 beats perminute is too fast for a step class, increasing the risk of injury, whereasa song at 125 beats per minute is too slow for step, decreasing the mo-tivation and taking away from the intensity of the workout.

The speed or tempo of the music needs to be just right. If the music is tooslow, there may not be enough enthusiasm, encouragement, or motivationto get a good workout. If the music is too fast, range of motion is com-promised and body mechanics suffer, increasing the risk for injury. Musicwith a tempo that is inappropriate can leave participants feeling frustrated.

The actual speed of the music depends on the portion of the class andthe type of class.

Type of Class or Activity Beats per MinuteRunning 160 175 bpmCardio/High Impact 145 160 bpm

Cardio/Low Impact 135 145 bpmHigh and Low Impact Warm-up 130 135 bpmStep 124 128 bpm (Reference: Step

Reebok)Boxing/Kickboxing 130 140 bpmMuscle Conditioning 100 130 bpmCycling 120 122 bpmStretching and Relaxation Less than 120 bpm or anything

relaxing

These are only sample pages from

each chapter of the manual


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Baechle, T.R., Earle, R.W., Essentials of Strength Training andConditioning , National Strength and Conditioning Association, (2008)






McGill, S. Ultimate Back Fitness & Performance , 4th Edition, HumanKinetics, 2009.


McLester, J and St. Pierre, P. Applied Biomechanics: Concepts and

Connections . Thomson and Wadsworth. 2008.


Van Norman, Kay, A. Exercise and Wellness for Older Adults , SecondEdition, Practical Programming Strategies, Human Kinetics, 2010.


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The CFES


Basic Lower and Upper BodyMovement LibraryIn this chapter you will learn about: Body Alignment Cues For The Lower Body Body Alignment Cues For The Upper Body General Ways To Change The Intensity NOTE: Regarding Counts

For Each Exercise: Movement Dynamics

Counts Safety Variations Direction of Travel


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Basic Lower Body Movements

March or Jog Grapevine Mambo Squat side to side Step Touch V Step Alternating Knees Alternating Taps Hamstring Curls Rocking Horse Kicks Jacks Pendulum Lunge Back

Basic Upper Body Movements

Shoulder Rolls Push and Pull Reach Across Reach Up Pec Squeeze

Bow and Arrow Front Raise and Lower Overhead Press Pull down from Overhead Side Press Press Down Jumping Jack Arms Rotator Cuff Arms Bicep Curls Tarzan Arms

Hit the Drum Mountain Climber


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ALTERNATING OR BILATERAL ROTATOR CUFFMovement Dynamics Elbows are exed at 90 degrees and are secured at the sides of the

body. The humerus or upper arm alternates between internal andexternal rotation. (Think: opening the front of a jacket)

ALTERNATING OR BILATERAL BICEP CURLSMovement Dynamics Elbows are secured at the sides of the body and alternates between

exion and extension. (Think: bicep curl and tricep pressdown)

VariationsPalms Down or Thumbs up

TARZAN ARMSMovement Dynamics Arms are parallel, reach-

ing in front of the body,shoulder width apart, andat shoulder height. Pushone or both arms forward.If alternating, while one armpushes forward, the op-posite arm pulls back, thehand or st travels to the sternum behind the shoulder, and theelbow points out to the side. (Think: Tarzan beating his chest)These are only sample pages from



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Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs Essen -

tials of Personal Training , Human Kinetics, 2008

Berne, R. and Levy, M. Physiology , Mosby, 2008





Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology , BenjaminCummings, 2009






Tortora, G.J., Derrickson, B.H., Principles of Anatomy and Physiology, John Wiley & Sons, 2009

Van Norman, Kay, A. Exercise and Wellness for Older Adults, SecondEdition, Practical Programming Strategies , Human Kinetics, 2010.


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The CFES


Postural Alignment andBiomechanics

In this chapter you will learn about:

Anatomy Review Maintaining Posture and Core Stability Spinal and Body Alignment Postural Positioning Human Movement Terminology Muscle Balance The Role of Muscle Balance in Class Design

Types of Muscle Contractions Analyzing the Movement as a Whole Basic Laws that Govern Movement o The Law of Gravity o Length-Tension Relationship o Force and Speed of Movement o Resistance or Load o Lever Length o Stability and Base of Support


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Planes of the BodyIn order to be able to apply anatomical principles into class design,we must rst review basic anatomy. As review, anatomical positionis when the participant is standing erect with their feet shoulder widthapart, their arms straight down at the sides, and their palms forward.There are also standard anatomical views of the body and these ana-tomical planes are very useful for describing human movement. Theseinclude:

Sagittal Plane (B)The sagittal plane is a view from the side of the body. The basicmovements of the sagittal plane(B) include exion, extension,hyperextension, dorsi exionand plantar exion. When thesemovements occur at the spine,the movements are described asoccurring in the median plane.

Examples of moves in the sagit-tal plane include: bicep curls,alternating knee lifts, march onthe spot, lunges

Median Plane (A)The median plane (A) is alsocalled the midline of the body.This plane divides the body intoequal left and right sections. Thebasic movements that occur in

this plane are exion, extensionand hyperextension of the spine.

Examples of moves in the me-dian plane include: abdominal crunch, back extension

Frontal Plane (C)The frontal plane is a view from the front of the body. The basic move-ments of the frontal plane (C) include: adduction and abduction of thehip or shoulder.

Examples of moves in the frontal plane include: jumping jacks, side to

side squats, lateral raises

Transverse Plane (D)The transverse plane is a view from the top of the body. The basicmovements of the transverse plane (D) are transverse adduction,transverse abduction, medial rotation, lateral rotation, rotation, prona-tion, and supination.

Examples of moves in the transverse plane include: dumbbell chestpress, oblique twist and push-up

These are only sample pages from



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Examples of isometric contractions include:1. Plank from the elbows requires the isometric contraction of the

core muscles

2. Wall Sitrequires

theisometriccontrac-tion ofthe quad-riceps muscles

Isotonic or Dynamic ContractionIn an isotonic or dynamic contraction, the forcegenerated causes movement at the joint. Thistype of contraction occurs during most activities.There are two phases of an isotonic contraction:

the concentric contraction and the eccentriccontraction.

Concentric Phase A concentric contraction happens when themuscle overcomes a force and the muscleshortens. This is often called the working, ac-tion, or up phase of a movement.

Examples of the concentric phase of an exer-cise include:1. Bicep Curl with Dumbbells ( exing or bend -

ing the elbow)

2. Rear Fly prone on Stability Ball (squeezing the shoulder blades andlifting the arms away from the oor)

These are only sample

pages from each chapterof the manual


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tials of Personal Training , Human Kinetics, 2008Berne, R. and Levy, M. Physiology , Mosby, 2008





Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology , BenjaminCummings, 2009







Van Norman, Kay, A. Exercise and Wellness for Older Adults, SecondEdition, Practical Programming Strategies , Human Kinetics, 2010.


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The CFES


The Core Training LibraryIn this chapter you will learn about: Traditional Methods for Training the Core Myths associated with Training the Core Isometric Core Training o Progressing the Isometric Exercises Isotonic Core Training Application of Core Training

o Teach Neutral Spineo Teach Proprioception and Body Awareness

o During Movement, Teach Participants how toBrace the Core

Core Training Exercises o Transverse Abdominal Exercises o Single Knee Lift o Single Knee Lift with an Overhead Reach o Back Bridge o Back Extension Exercises o Prone Table Top o Plank o Traditional Crunch o Oblique Crunch

o Side Bend Crunch on Stability Ball o Reverse Curls


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Core Training

T he Core refers, in the most general of terms, to the body minusthe legs and arms. One can nd the major muscles of the corein the trunk or midsection. This includes the abdominal muscles,the obliques, and the spinal extensor muscles.

Functional core training is a method that incorporates movement pat-terns that are alike the movements of active daily living. Functionaltraining is designed to improve core strength and endurance usingmulti-joint exercises instead of single joint exercises. For example,performing core exercises on our back is not considered to be func-tional. On the other hand, it is considered to be functional when thecore is strengthened while standing, sitting or moving. Incorporatingexercises that participants perform in their daily lives can improve thequality of life of participants and allow participants to live independentlyfor longer, improve joint stability and decrease risk of injury 1.

Traditional Methods for Training the CoreThere is currently little evidence to support the ef cacy and safety ofmany of the abdominal training techniques that have been integratedinto tness classes over the last decade. We will explore some of thecurrent practises in the tness industry and the negative impacts, sothat we can focus on integrating safe and effective training techniquesinto our classes. Integration of these techniques typically requires asigni cant amount of education for participants.

C*Internal Obliques

D*External Obliques

A*Transversus Abdominis

B*Rectus Abdominis

Anterior Deep View

Linea alba

Inguinalligament

Iliac crest

Ilium

PubicsymphysisPubic crest

C-I

B-O

B-I

C -O

D

CB A

A-O

A-I

D-O

Costalcartilage

of ribSternumXiphoidprocess

Anterior Middle Layer View Anterior Super cial View

D-I



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Core Training Exercises

Activation of the Transverse Abdominal (TrA) Exercise Gently pull the belly button to the spine while keeping the natural

curves of the spine

Breath normally Activate the pelvic oor Any movement of the arms or legs is ceased when the pelvis shifts,

the spine arches or presses too rmly into the oor, the hips shift, orthe TrA is no longer activated

Isometrically hold for 30 seconds while maintaining a normal breath-ing pattern

Progressing the Basic Activation of the TrA Add movement of the arm(s) or leg(s). Discontinue if unable to maintainthe position of the spine or hips.

Single Knee Lift One foot is lifted off of the oor, the thigh travels toward the chestand the angle of the knee does not change

Single Knee Lift and Opposite Arm Overhead Reach Progress the single knee lift by reaching the opposite arm over the

head



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tials of Personal Trainin g, Human Kinetics, 2008


Corbin, Lindsey & Welk, Concepts of Fitness and Wellness , McGrawHill Publishers, 2008

Everett, T and Kell, C., Human Movement: An Introductory Text , 6 th Edition, Elsevier Health Sciences, 2010

Fahey T, Insel P, Roth W, Wong I., Fit and Wel l, 2 nd Canadian Editionwith Connect, McGraw-Hill, 2010

Grif n, J. C. Client-Centered Exercise Prescription , 2nd Edition, HumanKinetics, 2006



Martini, F.H., Nath, J.L., Fundamentals of Anatomy and Physiology, Benjamin Cummings Publishers, 2008

McDowell, J. Encyclopedia of Human Body Systems, Volumes 1-2,Library of Congress Cataloging-in-Publication Data. 2010.




Morrow James Jr., Jackson, A., Disch, J., Mood. D, Measurement andEvaluation in Human Performance , 4 th Edition. Human Kinetics, 2010

Reid, S and Bouchier, H. CFES Personal Trainer Resource Manual, Canadian Fitness Education Services, 2011.


Van Norman, Kay, A. Exercise and Wellness for Older Adults, SecondEdition, Practical Programming Strategies, Human Kinetics, 2010.


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The CFES


Planning and Preparation forthe Group Fitness ClassIn this chapter you will learn about: How to plan a successful Group Fitness Class o Goal Setting for the Class o The Individual Lesson Plan o Teaching the Class o Evaluate the Effectiveness of the Plan Used o Redesign the Individual Lesson Plan as Needed Preparation for an Effective Group Fitness Class Health Screening o The PAR-Q o Informed Consent and Waiver Creating a Positive Atmosphere


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How to Plan a SuccessfulGroup Fitness Class Set the goals of the class

Develop an individual lesson plan Teach the class Evaluate the effectiveness of the plan used Redesign the individual lesson plan as needed

Goal Setting for the Class

E very class should be planned with a goal in mind. It is the re-sponsibility of the instructor to look at several factors whenplanning the class. These might include: the type of class beingoffered, the duration of the class, or the typical demographics of peoplethat attend the class. It is very important that the instructor understandthe needs and interests of the participants. If the participants are more

likely to meet their own personal goals and they enjoy the process, theyare more likely to be motivated to attend and to come back again. Theinstructor can use various methods to gather information surrounding: The interests of the class; Their tness goals; Their expectations of the instructor and the class; Their preferences regarding teaching style, music, etc.

This information can be gathered through on-going written and verbalfeedback. In addition, constant scanning and monitoring of the partici-pants is essential to ensure that the participants are enjoying the classand achieving success during the workout.

The style, duration, and time slot for the class is typically predeter-mined by the Fitness Programmer. In these cases, it is important tofollow what was intended for the class. As there exists the potential forall levels of abilities to be seen in a single class, the instructor must beprepared with modi cations and a plan B if necessary.

Where Instructors provide a class on their own (in the absence of anemployer), the goal of the participants (e.g. weight loss, muscle condi-tioning, cardiorespiratory tness) should direct the overall outcomes ofthe program. The overall pro le of the participants attending the class(age, music preference, tness level, history of exercise, etc.) shoulddetermine the best format for the class in terms of intensity level, dura-tion and level of impact. This information is best gathered throughneeds assessments, surveys, and questionnaires.

The Individual Lesson Plan (Micro Plan)The individual lesson plan, or Micro Plan, outlines the day to daypicture and is the instructors speci c tness class plan. Ideally, theinstructor will create individual lesson plans for each type of class thatthey teach. Individual lesson plans help ensure safe, effective work-outs that are appropriate for the participants. It is important to writethese plans down so they can be referred to as needed before, duringor after the class. These plans not only reduce the stress of teaching,



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they can be compiled to create a data base of classes which can beused again and again. It is quite common for beginner and seasonedinstructors alike touse a lesson planmany times.

Lesson plansshould contain suchinformation as: Equipment to be

used; Music; Formations; Speci c cues; Exercise de-

scriptions; Time manage-

ment;

Options ormodi cations toalter intensity.

An individual lessonplan should alsoinclude a backupplan for when theoriginal plan doesnot work. Forexample, four newparticipants attendclass or there is extra time to be lled. It should be noted that it is notimportant that the instructor follows the lesson plan exactly. What is im-portant is that they put time and effort into properly planning the class,the ow of the movements, the length of each component of the class,and the overall movements or movement patterns to be used.

Prior to teaching the lesson plan, the instructor must be sure to review, re-hearse, and practice the class. Practice, practice, and practice some more!

Practicing the choreography, the verbal cues, and the visual cues infront of a mirror will provide valuable feedback. The instructor mayeven ask a friend to be a mock participant. These are easy ways togather feedback regarding the accuracy of the descriptions and dem-onstrations. The demonstration of movements will be re ected in howparticipants perform them. The tness instructor is the model; thereforethey must ensure that their demonstrations are executed safely, pre-cisely and enthusiastically. Prior to actually teaching the lesson plan, itis important to review the plan to ensure that progressions are logical,choreography ows well, and the exercises are safe. Asking for theopinion of a supervisor, mentor, or co-worker is ideal if additional ideasor feedback is desired or required.

Prior to delivering the lesson plan, the instructor must ensure that theskills are broken into manageable segments and options are given for



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The CFES


The Fundamentalsof Choreography

In this chapter you will learn about: Less Structured Choreography o Freestyle Structured Choreography o Each Movement has a Certain Number of Counts o Transitions Building Basic Combinations

o Breaking Down and Teaching Choreography o Adding On

o Layingo Ways to Layer the Movement

Cueing o How to Change Movements Effectively o Cueing to Provide Information Regarding

Exercise Technique

o Cueing to Provide Motivation Counting Non-Verbal Cueing


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The Fundamentals of ChoreographyI hear and I forget. I see and I remember. I do and I understand.

Confucius

Choreography is the ow, sequencing and arrangement of move -ments and movement patterns in the class. The lesson plans andstyle of choreography can range from very unstructured or free- ow -

ing to intricately sequenced routines or from very simple to very complexchoreography. The level of choreography is dependent on the teachingstyle, the type of class, the instructors ability, personal preference, the par-ticipants abilities, interests and preferences, and the format of the class.

In general the choreography should be varied, incorporating a balancebetween: moving on the spot and moving through space (travelling); movements leading from right leg and movements leading from

the left leg; higher intensity and lower intensity moves; movements front to back and movements left to right

By planning these elements of the class, the instructor can make sure

to minimize repetitive stress on speci c joints, over emphasize speci cmuscles, reduce the risk of injury, and reduce boredom. Choreography

In previous chapters, the basic fundamental lower and upper bodymovements were learned. Now it is time to put those movements to-gether to create basic, owing, easy to follow choreography.There are two types of classes that will be discussed:1. Less Structured Choreography a. Freestyle2. Structured Choreography



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Non-Verbal Cueing

Instructors must look for ways to supplement verbal cues to make tran-sitions, instructions, and directions clear and easy to follow. This can beaccomplished with non-verbal communication.

Non-verbal cues are the visual cues and other audible sounds used tolead and motivate the class. They include hand signals, pointing, count-ing with ngers, motioning with the head, clapping, or snapping. Theycan be very effective on their own or used together with verbal cues.

Hand SignalsWhen using hand signals its important to teach the class what yourhand cues mean and use them consistently. Hold your hand high aboveyour head so it can be seen. Try to use the same hand as your leadfoot.

Following are some of the most commonly used hand signals:

Watch the change, Watch me now (index and middle nger point toeye and elbow ares to the side); Adding-on (circle a nger in the air); Adding arms (cross arms and tap ngers on opposite arms); Hold the move (open palm in air like a stop sign); From the top (place hand on head); Point in Direction of Movement; Count Down with ngers; Show number of reps with ngers.

Count Down Hold the MoveDirection of Movement



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tials of Personal Trainin g, Human Kinetics, 2008


















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The CFES


The Warm-up

In this chapter you will learn about:

The Warm-up o The Goal

o The Duration o The 3 Components

o Dynamic Stretching

Scanning and Monitoring

Giving Feedback

Checklist for the Warm-up


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Music

Song #LengthBPM

#15:00min132 bpm

#25:00min133 bpm

Formations

X = Instructor O = classUse arrows toshow direction oftravel

X

O O O O OO O O

Joint/Muscles

Joint ActionsTarget Muscles

Full ROM througharms, shouldersand spine.

Quads,Hip Flexors, Gluts,Hamstrings,Biceps, TricepsDeltoids,Lats

Gluts and Quads

Abdominalsstabilize

Adductors,Hip Flexors,Mid Trapezius,Erector Spinae,Gastroc andSoleus, Hamstring,Pecs

Instructional Cues

TechniqueDirectionMotivationSafety

Welcome Everyone!Set your own pace and havefun!Stand TallDeep Breaths

Get lower to work harder.

1, 2, 3, up1, 2, 3, backElbow to knee.Squeeze the heel back.Push the heel out.Knee wide.

Exhale up.Keep it smooth.Thats it, four more!

Nice long spine.

Stretch up.

Keep elbows soft.

Knees bent, heels down.

Chest up.

Abdominals pulled in.

Breathe in and out.

High/Low Warm-Up Sample Lesson Plan

Exercise Description

Describe movementsExercise sequences or patternsInclude reps and sets

Wide StanceReach Up and Inhale

Arms Down and ExhaleFlex Forward and round the backto upright position (4x)

(March with Right Lead)March Wide (x4)

March Narrow (x4) (repeat)

Moving Sequence1, 2, 3 knee fwd/backGrapevineGrapevine right with 3 alternatingknees4 hamstring curls press wide4 step touch pull together

Add one move at a timeRepeat sequence

Transition to Left LeadMarch wide, then squat (48x)March wide, leading leftMarch narrow and repeat movingsequence.Once nished, return to marching,then plant feet wide

Stationary SequenceShift weight + side stretch (8x)Reach across chest (8x)Turn to the side and into lungeReach up and lift back heel, pulldown and heel down (8x)Hip tucks + elbows bends (8x)Hip exor + upper back stretchShift back into hamstring + cheststretch, point/ ex ankleRelease and turn to face front.

Shift weight side to side and repeatsequence, turning to the other sidefor the lunge etc.Finish facing front, slowly roll spineto standing



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tials of Personal Trainin g, Human Kinetics, 2008Chandler, T.J. and Brown, L.E, Conditioning for strength and human

performance , Lippincott Williams & Wilkins, 2007




Grif n, J. C. Client-Centered Exercise Prescription , 2nd Edition, Human

Kinetics, 2006Heyward, V.H., Advanced Fitness Assessment and Exercise Prescrip -tion , 6th Ed., Human Kinetics, 2010

Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise In -struction , 2nd Edition. Human Kinetics. 2009











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The CFES

Group Fitness InstructorCourse

Chapter 9

The Cardiovascular Section

In this chapter you will learn about: The Goal Designing the Cardiovascular Section of the Class The Energy Systems o The Bene ts of Interval Training o Interval Training The Duration Intensity

o Understanding Intensity

o Monitoring the Intensity of the Participants Heart Rate Rate of Perceived Exertion Talk Test Monitoring for Signs and Symptoms of Over-Exertion Additional Factors to Consider o Safety o Create a Full Body Workout o Cue Visually and Verbally o Provide Modi cations for all Levels of Fitness Skill o Exercise Suggestions to Increase the Intensity The Post-Cardiovascular Cool-down High/Low Sample Lesson Plan Checklist for Cardio


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IntensityRegardless of the class description, there is likely to be a range of t -ness levels in the class; some participants looking for more challengeand others needing an easier modi cation. This requires the instructor toboth demonstrate and describe how participants can modify their pace tosuit their own needs. Instructors should note that there is a tendency forparticipants (especially newer participants) to keep working at whateverpace the instructor is working at. It is important, therefore, to not only givethe options but to stay at the lower intensity option quite regularly. Thisencourages people to work at this pace without feeling as self-conscious.

The role of the instructor is to encourage the participant to set their ownpace, set their own intensity, and rest when needed. Instructors mustfollow the guidelines for decreasing intensity and remind participantsof what they can do to decrease or increase the intensity by changingvariables such as upper body movements, the pace, and the size of themovement patterns. Instructors should not expect new participants toknow exactly how to monitor and adjust their own level of intensity. We,

as instructors, need to teach them how to do this. Many participantsbelieve that without discomfort, there is no bene t. Participants will alsowant to keep up with the instructor and the class so modelling levelsof intensity is of utmost importance; even more important than verbalreminders.

Monitoring the Intensity of the ParticipantsIn order for the tness instructor to monitor the intensity of the partici -pants, they are encouraged to use a variety of methods. These include: Heart rate Rate of perceived exertion Talk test

Monitoring for signs and symptoms of over-exertion

Heart RateHeart rate measures are widely used in tness to assess whether theparticipant is working at the appropriate target heart rate. Measuringheart rate should not be considered superior to other methods, as eachmethod has its own positives and negatives. In fact, researchers sug-gest that combining a variety of methods to measure intensity is best inorder to maximize effectiveness in a group exercise setting 4.

Finding the Pulse during Class As a general rule of thumb, heart rate should be

checked midway to two-thirds of the way through thecardio section, once the class has reached steadystate. While the participants are still gently marching,the instructor should turn the music down and alert theparticipants that a heart rate count is about to hap-pen. They are instructed to locate the pulse on theneck (carotid artery) or wrist (radial artery). With two

ngers on the same side of the neck or the oppositewrist, have them gently apply pressure until a pulse is felt. Then theinstructor should say to the class, Find your pulse. Keep walkingready and count .



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Checklist for Cardio I utilized my scanning techniques continuously making eye contact with each participant. I was personable with my class, giving them the impression I am not perfect. I am clear my role is to be a wonderful hostess/host and I am constantly aware of the needs of my par -

ticipants adjusting my teaching style to meet their needs. I have an effective target heart rate chart up in the room during the class showing different beats/10 second

count for ages and intensities. I have prepared a micro plan for this section. I always provide an alternative for people to do low or high impact. I am always moving people through space (even when I am working in a small studio space), to provide

a balance for all connective tissue. I avoid high impact movements on the spot, for any extended length of time. I ensure a balance of joint movements in the choreography. I am sensitive not to use choreography that is too complex as this can be confusing and frustrating for

some participants I enjoy putting patterns of moves together to form a combination and give my class a variety of these moves.

I break down these combinations so that my participants learn them and have fun with them. I am very clear with my cues using my voice, my facial expressions, and my body language (e.g. pointing)

to indicate direction. I give people enough warning when we are about to change a move. I am effective in my counting techniques and have a standard style my participants are used to. I change routines only when I know the class is ready. I am constantly giving safety cues about breathing, level of intensity, encouraging people to slow down

when they are feeling uncomfortable. My music is appropriate for the type and format of the cardio component. My music is motivating, has a strong beat, is tasteful, and the volume is kept at a level where people can

hear me give verbal cues. I educate my participants on the talk test, manual heart rate check, and perceived exertion monitoring

techniques. I am constantly scanning the class on the look out for any safety concerns and to check the atmosphere

of the class. I make certain people can always see and hear me without straining. When using the mirror I keep making eye contact with everyone in the class, maintaining the personal

connection. I keep my alignment in each move demonstrating effectively and giving safety cues for this. I always use short levers of my arms when a move is to be done quickly. I encourage people to be constantly drinking water during the class and after the cardio section. I do a cool down lasting three to ve minutes after cardio to bring the heart rate down and to relieve ten -

sion in the lower back, shoulders, hips, etc.



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Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs

Essentials of Personal Training , Human Kinetics, 2008






Heyward, V.H., Advanced Fitness Assessment and ExercisePrescription , 6th Ed., Human Kinetics, 2010





McGill, Low Back Disorders: Evidence-Based Prevention andRehabilitation , Second Edition, Human Kinetics, 2007.





Van Norman, Kay, A. Exercise and Wellness for Older Adults , SecondEdition, Practical Programming Strategies, Human Kinetics, 2010


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The CFES


The Muscular ConditioningSectionIn this chapter you will learn about: The Goal o Muscular Strength, Endurance and Tone o Speci city o Progressive Overload Designing the Muscular Conditioning Portion of the

Classo Considerations in Planning

The F.I.T.T. Principle The Duration Understanding Intensity Monitoring for Signs and Symptoms of Fatigue or Overload Rest and Recovery Additional Factors to Consider o Describe the Exercise Postural Cueing Cue the Starting Position Discuss Movement Mechanics

o Demonstrate the Exercise o Have the Participants Do the Exercise Create a Balanced Muscular Conditioning Section

Create a Full Body Workout Concentrate on Speci cMuscle Groups

Lesson Planning for MuscleConditioning

Circuit Training Training Principles Checklist for Muscle

Conditioning


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Demonstrate the ExerciseFor sake of time, the instructor will start to demonstrate the exercise whilethey are still discussing and describing as outlined above. It is importantthat the instructor not only provides excellent verbal cues, but also demon -strates the exercise with excellent form, posture, and movement mechan-ics. Most participants, especially beginners, are visual learners; thereforethey will do exactly what they see. Therefore, practice, practice, practice!

Have the Participants Do the ExerciseRule: Proper form and technique is never compromised in order tocomplete a set number of repetitions.

Some participants will fatigue earlier than others, while other participantswill require cueing to help them to increase the intensity of the exercise.The most dif cult task for instructors is to have all participants achievefatigue and overload in the same amount of time. Give the participantspermission to reduce intensity or change the movement when the originaltarget muscle becomes fatigued and the body mechanics are compromised.

The instructor might say things like: Once you have fatigued, take abreak, grab a lighter set of weights and continue when you are ready orOnce you feel that you have reached fatigue with the overhead press,lower your dumbbells and continue with alternating bicep curls .

Create a Balanced Muscular Conditioning SectionEnsure that all sides of the joint are worked evenly. An easy way to ac-complish this is to choose a multi-joint, upper body exercise that targetsthe antagonist muscle group. For example, dumbbell chest press on thestability ball and seated row with tubing.

Dumbbell Chest Press on the Stability Ball: Pectoralis Major, Anterior Deltoid, Tricep

Seated Row with Tubing (wide grip, elbows at shoulder height): Latissimus Dorsi, Posterior Deltoid, Middle Trapezius, Rhomboids,

Biceps

The only major muscle group of the upperbody that was not targeted was the middledeltoids.



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Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs Essen -tials of Personal Training , Human Kinetics, 2008









McArdle, William D., Katch, Frank I., Katch, Victor L., Exercise

Physiology: Energy, Nutrition, and Human Performance ,Lippincott Williams & Wilkins; 2009








Van Norman, Kay, A. Exercise and Wellness for Older Adults , SecondEdition, Practical Programming Strategies, Human Kinetics, 2010


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The CFES


The Resistance Training LibraryIn this chapter you will learn about and review:

Describe, Demonstrate and Do the Exercise

Create a Balanced Muscular Conditioning Section Create a Full Body Workout Muscle Pairs Starting Postures o Starting Posture for Standing Exercises o Starting Posture for Sitting Exercises o Starting Posture for Prone Exercises o Starting Posture for All 4s Exercises o Starting Posture for Supine Exercises Tools of the Trade

o No Equipment Manual Resistance o Dumbbells or Hand Weights o Resistance Tubing o Stability Balls o The Step Resistance Training Exercises by Major Muscle of the

Upper Body o Strengthening the Back, Posterior Deltoids, and Biceps o Strengthening the Chest, Anterior Deltoids, and Triceps o Strengthening the Middle Deltoids

Continued next page.


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Resistance Training Exercises by Major Muscle ofthe Lower Body

o Strengthening the Glutes and Quadriceps o Strengthening the Hip Flexors o Strengthening the Hamstrings o Strengthening the Outer Thigh o Strengthening the Inner Thigh o Strengthening the Gastrocnmius and Soleus Sample Lesson Plans o Resistance Tubing o Stability Ball o Dumbbells


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Bicep Curls with Tubing

Same as Bicep Curls with Dumbbellsexcept the participant stands on thetubing and holds the handles at thesides of the body (hip level).

Strengthening the Chest, Anterior Deltoids,and TricepsFor the purpose of the group exercise class, the chest muscle (thepectoralis major) is typically grouped with the anterior deltoids and thetriceps because they are all PUSHmuscles.

Dumbbell Chest Press onStability Ball

Prime Movers: Pectoralis Major, Anterior Deltoid, TricepsLying Supine Posture

Starting Position: Lie supine on the stability ball

in the 3-point body contactposition (head and shoulders incontact with the ball)

Feet are shoulder width apartplaced rmly on the oor

Abdominals contracted for sup-port, spine in a neutral position

Move the dumbbells directlyover the nipple line by extend-ing the elbows but not lockingthem

Flex the elbows and openthrough the chest in order toslowly lower until they are levelwith the chest or just above the shoulders (if a line was drawn be-tween the dumbbells, it would be 3 5 cms above nipple line)

Anterior Super cial View

Anterior DeltoidPectoralis Major

These are only samplepages from each

chapter of the manual


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ALO Triceps long head ALA Triceps lateral head AM Triceps medial head

A *Triceps BrachiiThe Sites of Attachments

Action of ContractionThe Muscle Location

Posterior Super cial View

AM

ALO-O ALA-O

A-I All three

tricep groups join

together to form thetendon

Infraglenoidtubercle

Lateralepicondyle

ALO

cut

cut

ALA

Humerus

Olecrononof ulna

Ulna

Radius

Medialepicondyle

AM-O

ALA

AM

Scapula

Commontendon

Clavicle

ALO

The TricepsTricep Kickback



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References Allen, C; Harper, V; Laboratory Manual for Anatomy and Physiolog y, WileyPublishing, (2011)

American College of Sports Medicine, ASCMs Guidelines for Exercise

Testing and Prescription , Lippincott Williams and Wilkins, 2009


Chandler, T.J. and Brown, L.E, Conditioning for strength and humanperformance, Lippincott Williams & Wilkins, 2007

Corbin, C., Lindsey, R., Concepts of Physical Fitness with Laboratories Dubuque McGraw Hill Publishers, 2010

Ebben, W. P. and Jensen, R.L. Electromyographic and kinetic analysisof traditional, chain, and elastic band squats. The Journal of Strength

and Conditioning Research 16(4):547-550, 2002

Fahey T, Insel P, Roth W, Wong I., Fit and Well , 2 nd Canadian Editionwith Connect. McGraw-Hill, 2010

Ganong, W.F.; Review of Medical Physiology , McGraw-Hill Medical; 22edition 2009

Guyton, A.; Textbook of Medicial Physiology , Saunders CollegePublishing, 2010


Kapit, W., Elson, L.; The Anatomy Coloring Book, Addison and WesleyInc. New York. Permission Department, 2002. Illustrations adapted,redrawn with permission

Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise In-struction, 2nd Edition. Human Kinetics. 2009

Matheson, J. W., et al. Electromyographic activity and applied loadduring seated quadriceps exercises. Medicine & Science in Sports &Exercise 33(10):1713-1725, 2001

McArdle, W., Katch, F., Katch, V ,; Exercise Physiology: Energy, Nutritionand Human Performance, Lippincott Williams & Wilkins; 6th edition (2009)





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McLester, J and St. Pierre, P. A pplied Biomechanics: Concepts andConnections . Thomson and Wadsworth. 2008.

Norkin, C.C., M.S. R.P.T., Levange, P.K., M.S. R.P.T.; Joint Structure andFunction, a Comprehensive Analysis , F. A. Davis Company; 4th edition2011


Sudy, M., ACE Personal Training Manual, The Ultimate Resource for Fitness Professionals , American Council on Exercise, HealthyLearning Publishing, 2010

Thompson, C. and Floyd, R .T.; Manual of Structural Kinesiology , McGraw-Hill Humanities/Social Sciences/Languages; (2012)

Tortora, G.J.; Derrickson, B.H.; Principles of Anatomy and Physiology ,John Wiley & Sons, 2011.

Vander, S., Vander, L.; Human Physiology. The Mechanism of Body Func- tion , McGraw-Hill Companies 2010



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The CFES


The Flexibility SectionIn this chapter you will learn about:

Factors that affect Flexibility Bene ts of Stretching Physiology of Stretching The Goal Types of Stretching o Active and Passive Stretching o Dynamic and Static Stretching Designing the Stretching and Flexibility Section

of the Class F.I.T.T. Principles Applied

Additional Factors to Consider o Safety o Describe the Exercise Postural Cueing Cue the Starting Position Discuss Movement Mechanics

o Demonstrate the Stretch o Have the Participants Do the Stretch o Stretch all Muscles that were used

during the Class

o Concentrate on Speci c Muscle Groups o Atmosphere is Key Checklist for Flexibility and Relaxation


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Flexibility

A t the end of the class, it is important to cool the body down fromthe preceding work-out; lengthening the muscles, releasing ten-sion from the body, relaxing the mind and connecting with thespirit. The atmosphere or mood should be peaceful and a variety of

stretching and relaxation techniques should be incorporated to en-hance the physical, mental and spiritual experience for participants.

Flexibility is the range of motion in the joint(s). It is speci c to each jointand it differs greatly between individuals. It is a trainable component of

tness but formost peoplethe improve-ments happenin very smallincrements.Knowing this,

instructorsshould encour -age participantsto work at theirown pace, gradually increasing their own range of motion over time.

All the major muscle groups, particularly those used extensively in theclass and those that are typically tight, need to be stretched past theirnormal resting length to signi cantly affect joint range of motion and re -duce muscle tension. People who do not stretch regularly can developtight muscles, meaning the muscles stay in a semi-contracted state,even at rest. This can cause muscle imbalance and lead to injury.

This section of the class is also a time to completely relax the bodyand the mind. Visualization techniques, stress reduction exercises,deep breathing and conscious muscle relaxation can be used to bringthe mind, body and spirit into harmony and provide an opportunity forre ection before leaving to resume daily activities.

There are six basic criteria that should be met in order to maximize thebene ts of exibility training: Adequate frequency Increase in muscle temperature prior to stretching Appropriate type of stretching Adequate duration of stretching

Appropriate intensity (force or tension)

Proper technique

Factors that affect FlexibilityThe primary goal of exibility training is to ef ciently lengthen the mus -cle in order to permanently increase range of motion or at least returnthe muscle to pre-exercise status. In order to achieve this permanentincrease, the group tness leader must emphasize: stretching to the point of mild discomfort; holding the stretch for at least 30 seconds; stretching only when the core temperature has been elevated and

the muscles are warm.



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American College of Sports Medicine, ASCMs Guidelines for ExerciseTesting and Prescription , Lippincott Williams and Wilkins, 2009




Fahey T, Insel P, Roth W, Wong I., Fit and Well , 2 nd Canadian Editionwith Connect. McGraw-Hill, 2010 Ganong, W.F.; Review of Medical Physiology , McGraw-Hill Medical; 22edition 2009



Kapit, W., Elson, L.; The Anatomy Coloring Book, Addison and Wesley

Inc. New York. Permission Department, 2002. Illustrations adapted,redrawn with permission








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Sudy, M., ACE Personal Training Manual, The Ultimate Resourcefor Fitness Professionals , American Council on Exercise, HealthyLearning Publishing, 2010



Vander, S., Vander, L.; Human Physiology. The Mechanism of Body Func-

tion , McGraw-Hill Companies 2010Van Norman, Kay, A. Exercise and Wellness for Older Adults , SecondEdition, Practical Programming Strategies, Human Kinetics, 2010.

Footnotes1. Kopansky, C., Basic Fitness Theory and Aqua tness Specialty

Training Manual, Third Edition. The Canadian Aqua tness Leaders Alliance Inc., 2010.

2. Leyland, T. Exercise, Health and Performance . Department of

Biomedical Physiology and Kinesiology, Faculty of Science, SFU,2010.

3. Reid, S and Bouchier, H., CFES Personal Trainer ResourceManual , Canadian Fitness Education Services, 2011.

4. Earle, R.W., Baechle, T.R., NSCAs Essentials of Personal Training,National Strength and Conditioning Association, Human Kinetics,2008


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The CFES


The Stretching LibraryIn this chapter you will learn about: Basic Guidelines regarding the Stretch at

the End of Class Starting Postures for Stretches Stretching the Upper Body o Stretching the Neck

o Stretching the Abdominalso Stretching the Erector Spinae

o Stretching the Latso Stretching the Pecs, Anterior Deltoid, and Biceps

o Stretching the Posterior Deltoid and Upper Backo Stretching the Triceps

Stretching the Lower Body o Stretching the Glutes o Stretching the Outer Thigh o Stretching the Inner Thigh o Stretching the Hip Flexors o Stretching the Quadriceps o Stretching the Hamstrings Flexors o Stretching the Lower Leg Sample Lesson Plans for Stretching and Relaxation


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Reach the Arm across the Body Areas Stretched: Posterior Deltoid, TricepsStarting Posture for Standing Stretch

Stretching Position: Extend the arm but do not lock the elbow and

reach the arm across the body Drop the shoulder away from the ear The arm should cross at an angle so that the

forearm crosses just above the elbow of theother arm

Pressure is placed onto the forearm of the armthat is being stretched, gently pushing the armtoward the body, until a stretch is felt

Instructor Cues: Maintain a neutral spine Relax the shoulders and drop them away from the ears

Keep the elbow soft Avoid twisting or rotating through the hips or knees

Change the StretchThread the Needle

From a childs pose, reach one hand un-der the opposite arm and extend the reachalong the oor as far as possible. Lower theshoulder to the oor and allow the head torest on the oor.

Upper Back Stretch Areas Stretched: Middle trapezius, Rhomboids, Posterior Deltoids

Starting Posture forStanding Stretch

Stretching Position: Reach the arms in

front of the bodyand interlock the

ngers Drop the chin to

the Adams appleand push the backof the head to theceiling to increasethe stretch

Instructor Cues: Relax the shoulders and drop them away from the ears Keep the elbows soft

These are only sample pagesfrom each chapter of the manual


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American College of Sports Medicine, ASCMs Guidelines for ExerciseTesting and Prescription , Lippincott Williams and Wilkins, 2009




Fahey T, Insel P, Roth W, Wong I., Fit and Well , 2 nd Canadian Editionwith Connect. McGraw-Hill, 2010 Ganong, W.F.; Review of Medical Physiology , McGraw-Hill Medical; 22edition 2009



Kapit, W., Elson, L.; The Anatomy Coloring Book, Addison and Wesley

Inc. New York. Permission Department, 2002. Illustrations adapted,redrawn with permission









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Sudy, M., ACE Personal Training Manual, The Ultimate Resourcefor Fitness Professionals , American Council on Exercise, HealthyLearning Publishing, 2010



Vander, S., Vander, L.; Human Physiology. The Mechanism of Body Func- tion , McGraw-Hill Companies 2010



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The CFES


A Focus on SafetyIn this chapter you will learn about:

How can the Instructor Prepare Themselves for Safety? The Occurrence of an Acute Injury Risk Management Accident Flow Chart CPR and Emergency First Aid Certi cation Causes and Mechanisms of Injury in Fitness Classes Causes and Mechanism of Injury related to the

Environment Causes and Mechanism of Injury

Joint Safety Safety Supervision o Positioning and Class Formations o Scanning The Implementation of Prevention Strategies


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A Focus on Safety

O ne of the most important responsibilities you have as an instruc-tor is to ensure that participants have a safe workout every timethey come to class. This involves pre-screening participants,carrying liability insurance and planning classes based on knowledgeof the following: participants health status and tness level; properexercise technique, training intensity and progression; exercise modi-

cation and contraindications; prevention and management of injuries,equipment and facility safety. Participants entrust their bodies to theinstructor and it is incumbent upon the instructor to respect and ful llthat trust by putting their safety as your foremost concern.

How can the Instructor Prepare Themselves for Safety? Become a certi ed instructor with a provincially/nationally recog-

nized agency such as CFES; Maintain a current rst aid and CPR; Carry adequate liability insurance; Attend professional development courses and workshops; Stay up to date with literature on exercise, tness and health; Pre-screen participants for readiness to exercise; Ensure a safe class environment; Teach proper exercise technique and modi cations; Avoid high risk, contraindicated exercises; Design classes which are safe and effective for the participants.

The Occurrence of an Acute InjuryIf an acute injury occurs during a tness class it is crucial that appropri -ate steps are taken. According to the Red Cross, basic rst aid may besuf cient for injuries such as minor abrasions, blisters, and cuts. Forfractures, dislocations, sprains, and strains, general care includes fol-lowing R.I.C.E. 1:

Rest: Do not move or straighten the injured area.Immobilize: Stabilize the injured area in the position found. Splintthe injured part ONLY if the person must be moved.Cold: Apply ice to the injured area for 20 minutes. Place a thin barrierbetween the ice and bare skin.Elevate: Do not elevate the injured part if it causes more pain.

Diagnosis and treatment beyond basic First Aid Training and RICEshould be immediate referral to a doctor.



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Sample Pages Only -- The CFES Group

CFES GFI 6th Ed- RM Sample Pages 093012.pdf

Documents

Transcript of CFES GFI 6th Ed- RM Sample Pages 093012.pdf