CFES GFI 6th Ed - RM Sample Pages 093012 PDF

Sixth Edition
The CFES
Group Fitness
Instructor Course
Resource Manual
Certification Program
Canadian Fitness Education Services
Advancing the Standards in Fitness Leadership Training Since 1980
Sample Pages Only -- The CFES Group Fitness Instructor Course and Certification Program 2012
The CFES Group Fitness Instructor Course Resource Manual

6th Edition, Canadian Fitness Education Services Ltd. (CFES) September 2012
All rights reserved. No portion of this manual or course program may be reproduced or transmitted in any form
or by any means, electronic or mechanical (including photocopying), recording, or by any retrieval system
without written permission from Canadian Fitness Education Services Ltd. (CFES)
The purpose of this manual and program is to educate. The enclosed materials have been well reviewed and
every effort has been made to make this program as accurate as possible. This program is not a substitute
for professional, medical, athletic or recreational counselling. Please consult the appropriate professional for
personal and professional guidance. Thank you.
National Library of Canada ISBN Data: CFES Group Fitness Instructor Course Resource Manual

ISBN 0-9731321-4-0
Program and Manual Development:
Margaret Hewitt-Zaitlin, BA, BPE
Technical Editor 6.01 Edition:

Research + Technical Writers:

Educator

Samantha Reid, BSc. (Kinesiology), CFES Educator
Graphic Design:
Promet Canada
Illustrations:
Teresa Jones, Tina Ranger, Dale West, Lisa Wong
Photography:

Heather Bourchier, B.P.E., Chloe Lanthier, BPE.,

Samantha Reid, BSc. (Kin.), Shenoa Runge, BSc. (Kin.),
Morrie Zaitlin, B.A.
Publisher:
Canadian Fitness Education Services Ltd.
Other programs from CFES:

The CFES Fitness Knowledge Course

The CFES Fitness Knowledge Home Study Program
The CFES Aquafit Instructor Course
The CFES Weight Training Instructor Course
The CFES Personal Trainer Course
The CFES Introduction to Weight Training for Young Adults Course
Heather Bourchier, B.P.E., NSCA, CSCS, CFES Educator

Samantha Reid, BSc. (Kinesiology), CFES Educator
Sandra Seary, CFES Educator
Eva Stewart-Bindernagal, BPE
Lorri Taylor, BHSC., MHSc, F&HP (Dip), CSEP-CPT, CFES
Margaret Hewitt-Zaitlin, BA, BPE
Canadian Fitness Education Services Ltd.
Advancing the Standards in Fitness Leadership Training Since 1980

Box 138, Summerland, B.C., V0H 1Z0
Toll free: 1-877-494-5355 Fax: (250) 494-9355
Email: cfes@telus.net Website: www.canadianfitness.net
CFES GFI RM Cover 093012 6.0

The CFES
Group Fitness Instructor Course
Table of Contents
Chapter 1
An Introduction to Group Fitness
Chapter 2
The Use of Music
Chapter 3

Basic Lower and Upper Body

Movement Library
Chapter 4
Postural Alignment and Biomechanics
Chapter 5
The Core Training Library
Chapter 6

Planning and Preparation for the

Group Fitness Class
Chapter 7
The Fundamentals of Choreography
Chapter 8
The Warm-up
Chapter 9
The Cardiovascular Section
Chapter 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 Certified

Group Fitness Instructor
Index
The CFES
Chapter 1
An Introduction to
Group Fitness
In this chapter you will learn about:
The History of Group Exercise
Group Exercise Today
The Benefits of Group Exercise and
Multi-dimensional Wellness
o Physical Benefits
o Health Benefits
o Emotional and Social Benefits
o Mental Benefits
o Spiritual Benefits
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
The History of Group Exercise
n 1969, a young American woman named Jackie Sorenson was

teaching dance classes at an Air Force Base in Puerto Rico. She
recognized the health benefits of aerobic dance to train the cardiovascular system. What distinguished her classes from existing programs was that she choreographed her movements and exercises to
music. There was flow
and continuity to the
The 5BX Plan1
exercises which made
The Canadian Forces developed a 5BX Plan which is comprised of six charts
them more interestarranged in increasing order of difficulty. Each chart lists five exercises that
ing and more fun than
are performed within 11 minutes. The first four exercises are calisthenics and
the callisthenics based
the last exercise is an aerobic exercise. As an individual progresses within
programs of the day. At
the system, the number of each type of exercise that must be performed
that time, group exercise
increases and the difficulty of each exercise increases. Throughout the charts
consisted of the 5BX and
and levels, the five exercises are the same, but more difficult variations are
XBX programs developed
introduced:
for the Royal Canadian
Forward Bend and Touch the Floor
Air Forces by Dr. Bill
Full Sit up
Orban. In fact, the 5BX
Prone Chest and Leg Extension
and XBX routines of the
Push-up
Canadian Armed Forces
Run on the Spot or Walk/Run over a Distance
were state of the art at
the time.
The XBX Plan1
The Canadian Forces developed a XBX Plan for women. This plan is a
physical fitness program made up of 4 charts of 10 exercises, arranged in
progressive order of difficulty. The ten exercises on each chart are always
performed in the same order for a maximum time limit of 12 minutes. The
charts are divided into levels.
Forward Bend and Touch the Floor
Knee Raising
Lateral Bending
Arm Circles
Partial Sit ups
Prone Chest and Leg Extension
Side Leg Raising
Push-up to Childs Pose
Supine Alternating Leg Lift
50 jog on the Spot and 10 hops
Exercise research and

sports medicine fields
were also evolving in
the 1960s and 1970s,
providing quantitative evidence about the positive
health benefits of regular
exercise. The systems
of the body were better
understood and methods
of measuring these systems, such as VO2 Max
testing, were developed
and used to describe
cardiovascular (aerobic)
fitness.
The term Aerobics was

first coined in the late 1960s by Doctor Kenneth Cooper, an exercise
physiologist with the U.S. Air Force. He developed the 1.5 mile walk/
run testing protocol for assessing aerobic fitness and his research
helped to provide clear evidence of the benefits of aerobic conditioning
programs on cardiovascular health.
These are only sample pages from

each chapter of the manual
The early dance exercise programs of the 70s and 80s, such as Aerobics and Jazzercise, were incredibly popular; however, they werent
without their problems. They tended to be high impact and as a result
people started getting injured. The quality of instruction was also quite
unpredictable and inconsistent.
In fact, it was common for instructors to have little or no formal training.

What the industry needed was better standards, regulations and higher
quality instructor training programs.
Agencies such as the YMCA and YWCA were among the first to develop such programs. In Canada, national instructor training standards
were established in the 1980s by an organization of private and public
fitness agencies called NFLAC, the National Fitness Leadership Advisory Council (now NFLA), and through the 1980s and 90s more instructors became qualified.

Class formats also started to change, shifting from higher to lower

impact, proving to be effective for fitness yet easier on the joints and appropriate for a higher percentage of the adult population.
Group Exercise Today
n a relatively short period of time, the group exercise industry has

evolved 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 benefits of fitness programs and direct the development of new speciality programs and services. As a result, instructor
training courses and workshops are expanding to provide the necessary
training for these new and
more specialized classes and
areas of interest.
Today, fitness classes extend
to include all ages and fitness
levels and the instructor is
better equipped to meet the
needs of the participant.
Cardiovascular programs are
still very popular and there
are many different formats
to choose from. Todays
classes place much more
emphasis on resistance training, functional core training,
and choreography. Core
strengthening and overall
muscle conditioning are being delivered through various
class formats, using both manual resistance (body weight) and equipment (e.g. dumbbells, resistance tubing, and stability balls).
Mind-body programs are available to provide breathing and relaxation
techniques, mental and spiritual attention, and controlled stretching
and strengthening. These classes are based on principles from Yoga,
Pilates, Tai Chi and the Martial Arts and require specialized training for
the instructor.
References
American College of Sports Medicine, ASCMs Guidelines for Exercise
Testing and Prescription, 8th ed., Lippincott Williams and Wilkins, 2009
Baechle, T.R., Earle, R.W., Essentials of Strength Training and
Conditioning, 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 Prescription, 6th Ed., Human Kinetics, 2010
Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise
Instruction, 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 Edition
with 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 Rehabilitation, Second Edition, Human Kinetics, 2007.
McLester, J and St. Pierre, P. Applied Biomechanics: Concepts and
Connections. Thomson and Wadsworth. 2008.
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, Second
Edition, Practical Programming Strategies, Human Kinetics, 2010.
The CFES
Chapter 2
The Use of Music
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
The Impact of Music
reat music is one of the most significant aspects of a successful group exercise class. Music is motivating, as it
has the power to get people moving and keep them moving. It can create a specific mood, from high energy to complete
relaxation adding to a participants experience. By using different
styles of music, there is a creation of variety and interest.

Music is a teaching tool for the participant and instructor, providing a regular counting mechanism for cueing and following movement patterns. In addition, music affects physiology, including
heart rate and blood pressure.
Music has the potential to have a negative or positive impact
on the class. Choosing the right music for your class is never
easy and it can be time consuming, but the right music can really
make
the
difference
between
an average
class
and
an
exceptional
one!
Music
affects
physiology.
According to a new study published in the journal Circulation, loud
music increases heart rate and blood pressure, while soft music
lowers both. The results were independent of subjective musical preferences6. This study adds to the growing body of research
documenting the effects of music on mood and physiology.
Purchasing Music
Music Licensing
In the last few decades, there has been a tremendous change in the
use of music in the fitness industry. Weve gone from vinyl records and
mixed tapes to high quality CD/MP3 sound. In addition, the industry
has progressed from having no guidelines to rather strict copyright and
performance licensing that affects the use of music in classes.
Choosing and Using the Right Music

Is it appropriate?
It is important to choose music that is appropriate for the type of class

and the background, age, and demographics of the participants. Most
importantly, the instructor should enjoy and be motivated by the music.
Enthusiasm is contagious and if the instructor is motivated, then the
participants are more likely to be motivated. In saying this, the instructors 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 the
class. If the instructor listens to their music repetitively, they will start
to feel comfortable with the phrasing and they will be able to work more
effectively with the music.

The music is only as good as the sound system it is played on; therefore 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 the
class and just in case, have back up music.
Music Tempo
When leading a choreographed class, the instructor must use professionally made, 32-count music. The tempo of the music should be
appropriate for the type of class. For example, a song at 140 beats per
minute is too fast for a step class, increasing the risk of injury, whereas
a song at 125 beats per minute is too slow for step, decreasing the motivation 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 too
slow, there may not be enough enthusiasm, encouragement, or motivation
to get a good workout. If the music is too fast, range of motion is compromised and body mechanics suffer, increasing the risk for injury. Music
with a tempo that is inappropriate can leave participants feeling frustrated.
The actual speed of the music depends on the portion of the class and
the type of class.
Type of Class or Activity
Running
Cardio/High Impact
Cardio/Low Impact
High and Low Impact Warm-up
Step
Boxing/Kickboxing
Muscle Conditioning
Cycling
Stretching and Relaxation
Beats per Minute

160 175 bpm
145 160 bpm
135 145 bpm
130 135 bpm
124 128 bpm (Reference: Step
Reebok)
130 140 bpm
100 130 bpm
120 122 bpm
Less than 120 bpm or anything
relaxing
References
Conditioning, National Strength and Conditioning Association, (2008)
Kinetics, 2009.
The CFES
Chapter 3
Basic Lower and Upper Body
Movement Library
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
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
ALTERNATING OR BILATERAL ROTATOR CUFF
Movement Dynamics
Elbows are flexed at 90 degrees and are secured at the sides of the
body. The humerus or upper arm alternates between internal and
external rotation. (Think: opening the front of a jacket)
ALTERNATING OR BILATERAL BICEP CURLS
Movement Dynamics
Elbows are secured at the sides of the body and alternates between
flexion and extension. (Think: bicep curl and tricep pressdown)
Variations
Palms Down or Thumbs up
TARZAN ARMS
Movement Dynamics
Arms are parallel, reaching in front of the body,
shoulder width apart, and
at shoulder height. Push
one or both arms forward.
If alternating, while one arm
pushes forward, the opposite arm pulls back, the
hand or fist travels to the sternum behind the shoulder, and the
elbow points out to the side. (Think: Tarzan beating his chest)

References
Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs Essentials of Personal Training, Human Kinetics, 2008
Berne, R. and Levy, M. Physiology, Mosby, 2008
Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology, Benjamin
Cummings, 2009
Kinetics, 2009.
Tortora, G.J., Derrickson, B.H., Principles of Anatomy and Physiology,
John Wiley & Sons, 2009
The CFES
Chapter 4
Postural Alignment and
Biomechanics
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
Planes of the Body
In order to be able to apply anatomical principles into class design,

we must first review basic anatomy. As review, anatomical position
is when the participant is standing erect with their feet shoulder width
apart, their arms straight down at the sides, and their palms forward.
There are also standard anatomical views of the body and these anatomical planes are very useful for describing human movement. These
include:
Sagittal Plane (B)
The sagittal plane is a view from the side of the body. The basic
movements of the sagittal plane
(B) include flexion, extension,
hyperextension, dorsiflexion
and plantar flexion. When these
movements occur at the spine,
the movements are described as
occurring in the median plane.
Examples of moves in the sagittal plane include: bicep curls,
alternating knee lifts, march on
the spot, lunges
Median Plane (A)
The median plane (A) is also

called the midline of the body.
This plane divides the body into
equal left and right sections. The
basic movements that occur in
this plane are flexion, extension
and hyperextension of the spine.
Examples of moves in the median plane include: abdominal crunch, back extension

Frontal Plane (C)
The frontal plane is a view from the front of the body. The basic movements of the frontal plane (C) include: adduction and abduction of the
hip 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 basic
movements of the transverse plane (D) are transverse adduction,
transverse abduction, medial rotation, lateral rotation, rotation, pronation, and supination.
Examples of moves in the transverse plane include: dumbbell chest
press, oblique twist and push-up
Examples of isometric contractions include:

1. Plank from the elbows requires the isometric contraction of the
core muscles
2. Wall Sit
requires
the
isometric
contraction of
the quadriceps muscles
Isotonic or Dynamic Contraction
In an isotonic or dynamic contraction, the force

generated causes movement at the joint. This
type of contraction occurs during most activities.
There are two phases of an isotonic contraction:
the concentric contraction and the eccentric
contraction.
Concentric Phase
A concentric contraction happens when the

muscle overcomes a force and the muscle
shortens. This is often called the working, action, or up phase of a movement.
These are only sample

pages from each chapter
of the manual
Examples of the concentric phase of an exercise include:

1. Bicep Curl with Dumbbells (flexing or bending the elbow)
2. Rear Fly prone on Stability Ball (squeezing the shoulder blades and
lifting the arms away from the floor)
References
Berne, R. and Levy, M. Physiology, Mosby, 2008
Marieb, E.N. and Hoehn, K., Human Anatomy & Physiology, Benjamin
Cummings, 2009
Kinetics, 2009.
The CFES
Chapter 5
The Core Training Library
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 Spine
o Teach Proprioception and Body Awareness
o During Movement, Teach Participants how to
Brace 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
Core Training
he Core refers, in the most general of terms, to the body minus

the legs and arms. One can find the major muscles of the core
in the trunk or midsection. This includes the abdominal muscles,
the obliques, and the spinal extensor muscles.
A
B
*Transversus Abdominis *Rectus Abdominis
C
*Internal Obliques
Anterior Deep View
Anterior Middle Layer View
Costal
cartilage
of rib
Anterior Superficial View
Sternum
Xiphoid
process
B-I
D-O
C-I
A-O
D
*External Obliques
Iliac crest
Linea alba
Ilium
C-O
B-O
A-I
Inguinal
ligament
Pubic crest
D-I
Pubic
symphysis
Functional core training is a method that incorporates movement patterns that are alike the movements of active daily living. Functional
training is designed to improve core strength and endurance using
multi-joint exercises instead of single joint exercises. For example,
performing core exercises on our back is not considered to be functional. On the other hand, it is considered to be functional when the
core is strengthened while standing, sitting or moving. Incorporating
exercises that participants perform in their daily lives can improve the
quality of life of participants and allow participants to live independently
for longer, improve joint stability and decrease risk of injury 1.

Traditional Methods for Training the Core
There is currently little evidence to support the efficacy and safety of

many of the abdominal training techniques that have been integrated
into fitness classes over the last decade. We will explore some of the
current practises in the fitness industry and the negative impacts, so
that we can focus on integrating safe and effective training techniques
into our classes. Integration of these techniques typically requires a
significant amount of education for participants.
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 floor
Any movement of the arms or legs is ceased when the pelvis shifts,

the spine arches or presses too firmly into the floor, the hips shift, or
the TrA is no longer activated
Isometrically hold for 30 seconds while maintaining a normal breathing pattern
Progressing the Basic Activation of the TrA
Add movement of the arm(s) or leg(s). Discontinue if unable to maintain

the position of the spine or hips.
Single Knee Lift
One foot is lifted off of the floor, the thigh travels toward the chest
and 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
References
Corbin, Lindsey & Welk, Concepts of Fitness and Wellness, McGraw
Hill Publishers, 2008
Everett, T and Kell, C., Human Movement: An Introductory Text, 6th
Edition, Elsevier Health Sciences, 2010
with Connect, McGraw-Hill, 2010
Griffin, J. C. Client-Centered Exercise Prescription, 2nd Edition, Human
Kinetics, 2006
Martini, F.H., Nath, J.L., Fundamentals of Anatomy and Physiology,
Benjamin Cummings Publishers, 2008
Kinetics, 2009.
Morrow James Jr., Jackson, A., Disch, J., Mood. D, Measurement and
Evaluation in Human Performance, 4th Edition. Human Kinetics, 2010
The CFES
Chapter 6
Planning and Preparation for
the Group Fitness Class
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
How to Plan a Successful

Group 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
very class should be planned with a goal in mind. It is the responsibility of the instructor to look at several factors when
planning the class. These might include: the type of class being
offered, the duration of the class, or the typical demographics of people
that attend the class. It is very important that the instructor understand
the needs and interests of the participants. If the participants are more
likely to meet their own personal goals and they enjoy the process, they
are more likely to be motivated to attend and to come back again. The
instructor can use various methods to gather information surrounding:
The interests of the class;
Their fitness 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 verbal
feedback. In addition, constant scanning and monitoring of the participants is essential to ensure that the participants are enjoying the class
and achieving success during the workout.

The style, duration, and time slot for the class is typically predetermined by the Fitness Programmer. In these cases, it is important to
follow what was intended for the class. As there exists the potential for
all levels of abilities to be seen in a single class, the instructor must be
prepared with modifications and a plan B if necessary.
Where Instructors provide a class on their own (in the absence of an

employer), the goal of the participants (e.g. weight loss, muscle conditioning, cardiorespiratory fitness) should direct the overall outcomes of
the program. The overall profile of the participants attending the class
(age, music preference, fitness level, history of exercise, etc.) should
determine the best format for the class in terms of intensity level, duration and level of impact. This information is best gathered through
needs assessments, surveys, and questionnaires.
The Individual Lesson Plan (Micro Plan)
The individual lesson plan, or Micro Plan, outlines the day to day
picture and is the instructors specific fitness class plan. Ideally, the
instructor will create individual lesson plans for each type of class that
they teach. Individual lesson plans help ensure safe, effective workouts that are appropriate for the participants. It is important to write
these plans down so they can be referred to as needed before, during
or after the class. These plans not only reduce the stress of teaching,
they can be compiled to create a data base of classes which can be

used again and again. It is quite common for beginner and seasoned
instructors alike to
use a lesson plan
many times.
Lesson plans
should contain such
information as:
Equipment to be
used;
Music;
Formations;
Specific cues;
Exercise descriptions;
Time management;
Options or
modifications to
alter intensity.
An individual lesson
plan should also
include a backup
plan for when the
original plan does
not work. For
example, four new
participants attend
class or there is extra time to be filled. It should be noted that it is not
important that the instructor follows the lesson plan exactly. What is important is that they put time and effort into properly planning the class,
the flow 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, rehearse, and practice the class. Practice, practice, and practice some more!
Practicing the choreography, the verbal cues, and the visual cues in
front of a mirror will provide valuable feedback. The instructor may
even ask a friend to be a mock participant. These are easy ways to
gather feedback regarding the accuracy of the descriptions and demonstrations. The demonstration of movements will be reflected in how
participants perform them. The fitness instructor is the model; therefore
they must ensure that their demonstrations are executed safely, precisely and enthusiastically. Prior to actually teaching the lesson plan, it
is important to review the plan to ensure that progressions are logical,
choreography flows well, and the exercises are safe. Asking for the
opinion of a supervisor, mentor, or co-worker is ideal if additional ideas
or feedback is desired or required.
Prior to delivering the lesson plan, the instructor must ensure that the
skills are broken into manageable segments and options are given for
References
Kinetics, 2006
Kinetics, 2009.
The CFES
Chapter 7
The Fundamentals
of Choreography
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 Laying
o 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
The Fundamentals of Choreography

I hear and I forget. I see and I remember. I do and I understand.
Confucius
horeography is the flow, sequencing and arrangement of movements and movement patterns in the class. The lesson plans and
style of choreography can range from very unstructured or free-flowing to intricately sequenced routines or from very simple to very complex
choreography. The level of choreography is dependent on the teaching
style, the type of class, the instructors ability, personal preference, the participants abilities, interests and preferences, and the format of the class.
In general the choreography should be varied, incorporating a balance

between:
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 specific joints, over emphasize specific
muscles, reduce the risk of injury, and reduce boredom.
Choreography
In previous chapters, the basic fundamental lower and upper body
movements were learned. Now it is time to put those movements together to create basic, flowing, easy to follow choreography.
There are two types of classes that will be discussed:
1. Less Structured Choreography
a. Freestyle
2. Structured Choreography
Non-Verbal Cueing
Instructors must look for ways to supplement verbal cues to make transitions, instructions, and directions clear and easy to follow. This can be
accomplished with non-verbal communication.
Non-verbal cues are the visual cues and other audible sounds used to
lead and motivate the class. They include hand signals, pointing, counting with fingers, motioning with the head, clapping, or snapping. They
can be very effective on their own or used together with verbal cues.
Hand Signals
When using hand signals its important to teach the class what your
hand cues mean and use them consistently. Hold your hand high above
your head so it can be seen. Try to use the same hand as your lead
foot.
Following are some of the most commonly used hand signals:
Watch the change, Watch me now (index and middle finger point to
eye and elbow flares to the side);
Adding-on (circle a finger in the air);
Adding arms (cross arms and tap fingers 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 fingers;
Show number of reps with fingers.

Count Down
Direction of Movement
Hold the Move
References
Kinetics, 2006
Kinetics, 2009.
The CFES
Chapter 8
The Warm-up

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
High/Low Warm-Up Sample Lesson Plan

Music
Formations
Exercise Description
Song #
Length
BPM
X = Instructor
Describe movements
O = class
Exercise sequences or patterns
U s e a r r o w s t o Include reps and sets
show direction of
travel
#1
5:00min
132 bpm
O O O
O O
O O O
Joint/Muscles
Joint Actions
Target Muscles
Wide Stance
Reach Up and Inhale
Full ROM through
Arms Down and Exhale
arms, shoulders
Flex Forward and round the back and spine.
to upright position (4x)
(March with Right Lead)
March Wide (x4)
March Narrow (x4) (repeat)
Instructional Cues
Technique
Direction
Motivation
Safety
Welcome Everyone!
Set your own pace and have
fun!
Stand Tall
Deep Breaths

Moving Sequence
1, 2, 3 knee fwd/back
Grapevine
Grapevine right with 3 alternating
knees
4 hamstring curls press wide
4 step touch pull together
Add one move at a time
Repeat sequence
#2
5:00min
133 bpm
Get lower to work harder.
Quads,
Hip Flexors, Gluts,
Hamstrings,
Biceps, Triceps
Deltoids,
Lats
Gluts and Quads

Transition to Left Lead
March wide, then squat (48x)
March wide, leading left
Abdominals
March narrow and repeat moving stabilize
sequence.
Once finished, return to marching,
then plant feet wide
Stationary Sequence
Shift weight + side stretch (8x)
Reach across chest (8x)
Turn to the side and into lunge
Reach up and lift back heel, pull
down and heel down (8x)
Hip tucks + elbows bends (8x)
Hip flexor + upper back stretch
Shift back into hamstring + chest
stretch, point/flex ankle
Release and turn to face front.
Shift weight side to side and repeat
sequence, turning to the other side
for the lunge etc.
Finish facing front, slowly roll spine
to standing
1, 2, 3, up
1, 2, 3, back
Elbow to knee.
Squeeze the heel back.
Push the heel out.
Knee wide.
Exhale up.
Keep it smooth.
Thats it, four more!
Nice long spine.
Adductors,
Stretch up.
Hip Flexors,
Mid Trapezius,
Erector Spinae,
Keep elbows soft.
Gastroc and
Soleus, Hamstring,
Pecs
Knees bent, heels down.
Chest up.
Abdominals pulled in.
Breathe in and out.
References
Kinetics, 2006
Kennedy-Armbruster, C. and Yoke, M. Methods of Group Exercise Instruction, 2nd Edition. Human Kinetics. 2009
Kinetics, 2009.
The CFES
Course
Chapter 9
The Cardiovascular Section
The Goal
Designing the Cardiovascular Section of the Class
The Energy Systems
o The Benefits 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 Modifications 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
Intensity
Regardless of the class description, there is likely to be a range of fitness levels in the class; some participants looking for more challenge
and others needing an easier modification. This requires the instructor to
both demonstrate and describe how participants can modify their pace to
suit their own needs. Instructors should note that there is a tendency for
participants (especially newer participants) to keep working at whatever
pace the instructor is working at. It is important, therefore, to not only give
the options but to stay at the lower intensity option quite regularly. This
encourages people to work at this pace without feeling as self-conscious.
The role of the instructor is to encourage the participant to set their own
pace, set their own intensity, and rest when needed. Instructors must
follow the guidelines for decreasing intensity and remind participants
of what they can do to decrease or increase the intensity by changing
variables such as upper body movements, the pace, and the size of the
movement patterns. Instructors should not expect new participants to
know exactly how to monitor and adjust their own level of intensity. We,
as instructors, need to teach them how to do this. Many participants
believe that without discomfort, there is no benefit. Participants will also
want to keep up with the instructor and the class so modelling levels
of intensity is of utmost importance; even more important than verbal
reminders.

Monitoring the Intensity of the Participants

In order for the fitness instructor to monitor the intensity of the participants, 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 Rate
Heart rate measures are widely used in fitness to assess whether the
participant is working at the appropriate target heart rate. Measuring
heart rate should not be considered superior to other methods, as each
method has its own positives and negatives. In fact, researchers suggest that combining a variety of methods to measure intensity is best in
order 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 the
cardio section, once the class has reached steady
state. While the participants are still gently marching,
the instructor should turn the music down and alert the
participants that a heart rate count is about to happen. They are instructed to locate the pulse on the
neck (carotid artery) or wrist (radial artery). With two
fingers on the same side of the neck or the opposite
wrist, have them gently apply pressure until a pulse is felt. Then the
instructor should say to the class, Find your pulse. Keep walking
ready and count.
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 participants 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 five minutes after cardio to bring the heart rate down and to relieve tension in the lower back, shoulders, hips, etc.

References
Baechle, Thomas R. (Editor), Earle, Roger W. (Editor), NSCAs
Essentials of Personal Training, Human Kinetics, 2008
Kinetics, 2006
Heyward, V.H., Advanced Fitness Assessment and Exercise
Prescription, 6th Ed., Human Kinetics, 2010
Kinetics, 2009.
McGill, Low Back Disorders: Evidence-Based Prevention and
Rehabilitation, Second Edition, Human Kinetics, 2007.
Edition, Practical Programming Strategies, Human Kinetics, 2010
The CFES
Chapter 10
The Muscular Conditioning
Section
The Goal
o Muscular Strength, Endurance and Tone
o Specificity
o Progressive Overload
Designing the Muscular Conditioning Portion of the
Class
o 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
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 Specific
Muscle Groups
Lesson Planning for Muscle
Conditioning
Circuit Training
Training Principles
Checklist for Muscle
Conditioning
Demonstrate the Exercise
For sake of time, the instructor will start to demonstrate the exercise while
they are still discussing and describing as outlined above. It is important
that the instructor not only provides excellent verbal cues, but also demonstrates the exercise with excellent form, posture, and movement mechanics. Most participants, especially beginners, are visual learners; therefore
they will do exactly what they see. Therefore, practice, practice, practice!
Have the Participants Do the Exercise
Rule: Proper form and technique is never compromised in order to

complete a set number of repetitions.
Some participants will fatigue earlier than others, while other participants
will require cueing to help them to increase the intensity of the exercise.
The most difficult task for instructors is to have all participants achieve
fatigue and overload in the same amount of time. Give the participants
permission to reduce intensity or change the movement when the original
target muscle becomes fatigued and the body mechanics are compromised.
The instructor might say things like: Once you have fatigued, take a
break, grab a lighter set of weights and continue when you are ready or
Once you feel that you have reached fatigue with the overhead press,
lower your dumbbells and continue with alternating bicep curls.


Ensure that all sides of the joint are worked evenly. An easy way to accomplish this is to choose a multi-joint, upper body exercise that targets
the antagonist muscle group. For example, dumbbell chest press on the
stability 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 upper

body that was not targeted was the middle
deltoids.
References
Kinetics, 2006
McArdle, William D., Katch, Frank I., Katch, Victor L., Exercise
Physiology: Energy, Nutrition, and Human Performance,
Lippincott Williams & Wilkins; 2009
Kinetics, 2009.
Edition, Practical Programming Strategies, Human Kinetics, 2010
The CFES
Chapter 11
The Resistance Training Library
In this chapter you will learn about and review:
Describe, Demonstrate and Do the Exercise
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.
Resistance Training Exercises by Major Muscle of

the 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
Bicep Curls with Tubing

Same as Bicep Curls with Dumbbells
except the participant stands on the
tubing and holds the handles at the
sides of the body (hip level).
Strengthening the Chest, Anterior Deltoids,

and Triceps
For the purpose of the group exercise class, the chest muscle (the
pectoralis major) is typically grouped with the anterior deltoids and the
triceps because they are all PUSH
Anterior Superficial View
muscles.
Dumbbell Chest Press on

Stability Ball
Anterior Deltoid
Pectoralis Major
Prime Movers: Pectoralis Major,

Anterior Deltoid, Triceps
Lying Supine Posture
These are only sample

pages from each
chapter of the manual
Starting Position:
Lie supine on the stability ball
in the 3-point body contact
position (head and shoulders in
contact with the ball)
Feet are shoulder width apart
placed firmly on the floor
Abdominals contracted for support, spine in a neutral position
Move the dumbbells directly
over the nipple line by extending the elbows but not locking
them
Flex the elbows and open
through the chest in order to
slowly lower until they are level
with the chest or just above the shoulders (if a line was drawn between the dumbbells, it would be 3 5 cms above nipple line)

Tricep Kickback
The Triceps
A
*Triceps Brachii
The Muscle Location

Posterior Superficial View
The Sites of Attachments

Action of Contraction
Clavicle
Infraglenoid
tubercle
Humerus
Scapula
ALA-O
ALO-O
ALO
ALO
AM-O
ALA
cut
ALA
cut
AM
AM
Common
tendon
Medial
epicondyle
Olecronon
of ulna
ALO Triceps long head

ALA Triceps lateral head
AM Triceps medial head
Lateral
epicondyle
A-I
Radius
Ulna
All three
tricep groups join
together to form the
tendon
References
Allen, C; Harper, V; Laboratory Manual for Anatomy and Physiology, Wiley
Publishing, (2011)
Testing and Prescription, Lippincott Williams and Wilkins, 2009
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 analysis
of traditional, chain, and elastic band squats. The Journal of Strength
and Conditioning Research 16(4):547-550, 2002
Ganong, W.F.; Review of Medical Physiology, McGraw-Hill Medical; 22
edition 2009
Guyton, A.; Textbook of Medicial Physiology, Saunders College
Publishing, 2010
Kapit, W., Elson, L.; The Anatomy Coloring Book, Addison and Wesley
Inc. New York. Permission Department, 2002. Illustrations adapted,
redrawn with permission
Matheson, J. W., et al. Electromyographic activity and applied load
during seated quadriceps exercises. Medicine & Science in Sports &
Exercise 33(10):1713-1725, 2001
McArdle, W., Katch, F., Katch, V,; Exercise Physiology: Energy, Nutrition
and Human Performance, Lippincott Williams & Wilkins; 6th edition (2009)
Kinetics, 2009.

Norkin, C.C., M.S. R.P.T., Levange, P.K., M.S. R.P.T.; Joint Structure and
Function, a Comprehensive Analysis, F. A. Davis Company; 4th edition
2011
Sudy, M., ACE Personal Training Manual, The Ultimate Resource
for Fitness Professionals, American Council on Exercise, Healthy
Learning Publishing, 2010
Thompson, C. and Floyd, R .T.; Manual of Structural Kinesiology, McGrawHill 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 Function, McGraw-Hill Companies 2010
The CFES
Chapter 12
The Flexibility Section
Factors that affect Flexibility
Benefits 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
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 Specific Muscle Groups
o Atmosphere is Key
Checklist for Flexibility and Relaxation
Flexibility
t the end of the class, it is important to cool the body down from
the preceding work-out; lengthening the muscles, releasing tension from the body, relaxing the mind and connecting with the
spirit. The atmosphere or mood should be peaceful and a variety of
stretching and relaxation techniques should be incorporated to enhance the physical, mental and spiritual experience for participants.
Flexibility is the range of motion in the joint(s). It is specific to each joint
and it differs greatly between individuals. It is a trainable component of
fitness but for
most people
the improvements happen
in very small
increments.
Knowing this,
instructors
should encourage participants
to work at their
own pace, gradually increasing their own range of motion over time.

All the major muscle groups, particularly those used extensively in the
class and those that are typically tight, need to be stretched past their
normal resting length to significantly affect joint range of motion and reduce muscle tension. People who do not stretch regularly can develop
tight 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 body
and the mind. Visualization techniques, stress reduction exercises,
deep breathing and conscious muscle relaxation can be used to bring
the mind, body and spirit into harmony and provide an opportunity for
reflection before leaving to resume daily activities.
There are six basic criteria that should be met in order to maximize the
benefits of flexibility 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 Flexibility
The primary goal of flexibility training is to efficiently lengthen the muscle in order to permanently increase range of motion or at least return
the muscle to pre-exercise status. In order to achieve this permanent
increase, the group fitness 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.
References
Publishing, (2011)
edition 2009
Publishing, 2010
Kinetics, 2009.
2011
Footnotes
1. Kopansky, C., Basic Fitness Theory and Aquafitness Specialty
Training Manual, Third Edition. The Canadian Aquafitness 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 Resource
Manual, 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
The CFES
Chapter 13
The Stretching Library
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 Abdominals
o Stretching the Erector Spinae
o Stretching the Lats
o Stretching the Pecs, Anterior Deltoid, and Biceps
o Stretching the Posterior Deltoid and Upper Back
o 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
Reach the Arm across the Body

Areas Stretched: Posterior Deltoid, Triceps
Starting 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 the
other arm
Pressure is placed onto the forearm of the arm
that is being stretched, gently pushing the arm
toward the body, until a stretch is felt
These are only sample pages

from each chapter of the manual
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 Stretch
Thread the Needle

From a childs pose, reach one hand under the opposite arm and extend the reach
along the floor as far as possible. Lower the
shoulder to the floor and allow the head to
rest on the floor.
Upper Back Stretch
Areas Stretched: Middle trapezius, Rhomboids, Posterior Deltoids

Starting Posture for
Standing Stretch
Stretching Position:
Reach the arms in
front of the body
and interlock the
fingers
Drop the chin to
the Adams apple
and push the back
of the head to the
ceiling to increase
the stretch
Instructor Cues:
Relax the shoulders and drop them away from the ears
Keep the elbows soft
References
Publishing, (2011)
edition 2009
Publishing, 2010
Kinetics, 2009.
2011

The CFES
Chapter 14
A Focus on Safety

How can the Instructor Prepare Themselves for Safety?

The Occurrence of an Acute Injury
Risk Management Accident Flow Chart
CPR and Emergency First Aid Certification
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
A Focus on Safety
ne of the most important responsibilities you have as an instructor is to ensure that participants have a safe workout every time
they come to class. This involves pre-screening participants,
carrying liability insurance and planning classes based on knowledge
of the following: participants health status and fitness level; proper
exercise technique, training intensity and progression; exercise modification and contraindications; prevention and management of injuries,
equipment and facility safety. Participants entrust their bodies to the
instructor and it is incumbent upon the instructor to respect and fulfill
that trust by putting their safety as your foremost concern.
How can the Instructor Prepare Themselves for Safety?

Become a certified instructor with a provincially/nationally recog

nized agency such as CFES;

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

The Occurrence of an Acute Injury
If an acute injury occurs during a fitness class it is crucial that appropriate steps are taken. According to the Red Cross, basic first aid may be
sufficient for injuries such as minor abrasions, blisters, and cuts. For
fractures, dislocations, sprains, and strains, general care includes following R.I.C.E. 1:
Rest: Do not move or straighten the injured area.
Immobilize: Stabilize the injured area in the position found. Splint
the injured part ONLY if the person must be moved.
Cold: Apply ice to the injured area for 20 minutes. Place a thin barrier
between 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 RICE
should be immediate referral to a doctor.
Risk Management Accident Flow Chart

Non-Life Threatening Situations

1. Minor accident occurs (no ambulance
or medical treatment required)
Contact supervisor:
2. Locate the First Aid Equipment

3. Administer appropriate first
aid (e.g. Rest, Immobilize, Cold,
Elevate)
Encourage the client to follow
up with their general practitioner
is symptoms do not cease in 24
hours
Life Threatening Situations

Serious incident occurs (e.g., major fracture, neck or back injury, or
death)
Emergency Phone is located:
Ambulance required - Call EMS
(911) or instruct a bystander to
call EMS
Locate the First Aid Equipment
and AED
Assess casualty responsiveness
Perform Primary Survey (Airway,
Breathing, Circulation)
Give First Aid for life threatening
conditions
Secondary Survey (check vital
signs and do a head-to toe exam)

4. Interview witnesses and record
the events
Interview as many witnesses as

possible and record the events
Interview the casualty (allergies,
meds, med history, last meal,
what happened, pain)
On-going Casualty Care (monitor
casualtys condition vital signs,
LOC)
When EMS arrives provide
them with client data, what has
happened and your actions to
date
5. Accident report prepared by Fit- Report on what happened
ness Leader
Compile full documentation (e.g.
accident report, first aid reports)
Reports submitted to supervisor
6. Submit report to supervisor,
within 24 hours of Incident. Keep
Keep the report in confidential,
secure place, and make a copy of the report in
confidential, secure place
the report for own records
CPR and Emergency First Aid Certification

The CFES fitness instructor must maintain a current CPR and Emergency First Aid certification and ideally should practice CPR regularly. It
is recommended that all fitness leaders have easy access to an emergency medical kit. In addition, it is recommended that all trainers have
Basic Emergency First Aid. It should be noted, that depending on the
registration body, the certification body, or the employer, Emergency
First Aid training and CPR training may be mandatory and renewal of
such may be required every one to two years. It will be the responsibility of the instructor to contact their registration/certification body to clarify
the rules regarding CPR and First Aid requirements.
References
Allen, C; Harper, V; Laboratory Manual for Anatomy and Physiology,
Wiley Publishing, 2011
Anderson, Marcia K., Hall, Susan J., and Martin, Malissa, The
Foundations of Athletic Training: Prevention, Assessment, and
Management (Sports Injury Management), Lippincot Williams &
Wilkins, 2008
Arnheim, D.D., Prentice, W., Arnheims Principles of Athletic Training: A
Competency-Based Approach, McGraw-Hill Higher Education, 2010
Arnheim, D.D., Prentice, W., Essentials of Athletic Injury Management
with eSims, McGraw-Hill Ryerson, 2010
edition 2009
Publishing, 2010
and Human Performance, Lippincott Williams & Wilkins; 6th edition,
2009

Kinetics, 2009.
2011
Thompson, C. and Floyd, R .T.; Manual of Structural Kinesiology, McGrawHill Humanities/Social Sciences/Languages; 2012
The CFES
Course
Chapter 15
Becoming a Certified Group
Fitness Instructor
Becoming a Certified Group Fitness Instructor
The CFES Group Fitness Instructor Scope of Practice
The Group Fitness Instructor Professional Ethics
and Conduct Guidelines
Professional Certification
Insurance
o Who needs liability insurance?
o Procedures to Protect Against a Negligence Suit
Professional Certification
Liability Insurance
Documentation
Potential Negligence
Professional Certification and Continuing Education
Becoming a Certified Group

Fitness Instructor
hank you for enrolling in the Canadian Fitness Education Services

(CFES) Group Fitness Instructor course as your preferred method
for becoming a Group Exercise Leader.
Becoming a Certified Group Fitness Instructor is a challenging and rewarding career path. Once certified, you will be responsible for instructing safe and effective classes to your participants.
You are the key to making a positive difference in peoples lives by giving them the gift of physical activity and personal wellness. Your positive attitude, professionalism and education can make a real difference
in peoples lives. Your journey toward changing lives has begun.
The CFES Group Fitness Instructor

Scope of Practice
The CFES Group Fitness Instructor certification is meant to provide
leaders with the competencies necessary to provide individuals with
safe, effective, and appropriate land based fitness programs. These
fitness classes will be based on the CFES Performance Standards of a
CFES Group Fitness Instructor.

The CFES Group Fitness Instructor will:

Provide appropriate group fitness programs to apparently healthy
adults. Apparently healthy adults are (a) those individuals with a
clear PAR-Q or (b) those individuals who have been cleared by a
qualified health professional (e.g. medical doctor) for unrestricted
physical activity using PAR Med-X, PARmed-X for Pregnancy
screening tools;
Provide group fitness programs for participants who have been appropriately screened using the PAR-Q (apparently healthy adults).
The PAR-Q must be administered each time someone registers for
a new semester or program at the front desk or with the instructor;
Group fitness programs can be provided for participants that answer

Yes on the PAR-Q, as long as they have been medically cleared by a
health care professional to participatein unrestricted physical activity;
Provide on-going screening and monitoring of the participants for
the duration of the program and provide modifications to accommodate all levels of ability.
Design, modify, and lead a safe, effective, and appropriate group
fitness program to include a warm-up, work-out (cardio, strength,
endurance) and cool down (flexibility) components for each class;
Provide appropriate exercises based on the needs and physical
abilities of the participants;
Incorporate use of appropriate portable equipment based on the
participants needs, physical abilities and personal fitness goals;
Answer general healthy eating inquiries based on the Canadas
Food Guide to Healthy Eating and Canadas Physical Activity Guide
to Healthy Active Living. Provide clients with informationand
support regarding credible online support tools (Dieticians of Canada).Client requests for advanced nutritional information are to be
referred to a Registered Dietician;
The Group Fitness Instructor will NOT provide individualized eating
plans or recommendations for supplementation to clients.Clients who
indicate interest in these areas will be referred to a Registered Dietician;
Follow the CFES Professional Ethics and Conduct Guidelines,
Scope of Practice, liability education and protection and signed
Professional Code of Honour at all times;
The Group Fitness Instructor will provide safe group fitness programs (proper balance, flow, progression as outlined by CFES
protocols) usingappropriate exercises and providing modifications
based on the needs and physical abilities of participants;
The Group Fitness Instructor specializes in the delivery of group
programs and willnotprovide individualized, personalized training programs. Participants who request, or graduate to more
advanced individualized training are to be referred to qualified and
certified Personal Trainers.

Liability Insurance and the Fitness Professional

Who needs liability insurance?
As a Group Fitness Instructor, you have a professional responsibility to

teach within your scope of practice and to protect yourself from the possibility of a law suit from a participant who is injured in a program. While a law
suit is only credible if there is intentional misconduct or negligence on the
part of the instructor which results in damage or loss to the participant, it is
prudent for instructors to be covered personally, or through their employer.
Procedures to Protect Against a Negligence Suit
Liability
Refers to the responsibility to provide services in a reasonable, prudent manner in accordance with current professional standards.
Negligence
Refers to the failure to act as a reasonable and prudent person
would under similar circumstances. Negligence is carelessness,
inattention, disregard, inadvertence or oversight that was accidental
but avoidable.

CFES GFI 6th Ed - RM Sample Pages 093012 PDF

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Sixth Edition

The CFES Group Fitness Instructor Course Resource Manual

Margaret Hewitt-Zaitlin, BA, BPE

Technical Editor 6.01 Edition:

Samantha Reid, BSc. (Kinesiology), CFES Educator

Teresa Jones, Tina Ranger, Dale West, Lisa Wong

Heather Bourchier, B.P.E., Chloe Lanthier, BPE.,

Canadian Fitness Education Services Ltd.

Other programs from CFES:

The CFES Fitness Knowledge Course

Heather Bourchier, B.P.E., NSCA, CSCS, CFES Educator

Canadian Fitness Education Services Ltd.

Advancing the Standards in Fitness Leadership Training Since 1980

CFES GFI RM Cover 093012 6.0

An Introduction to Group Fitness

The Use of Music

Basic Lower and Upper Body

Postural Alignment and Biomechanics

The Core Training Library

Planning and Preparation for the

The Fundamentals of Choreography

The Cardiovascular Section

Chapter 10 The Muscular Conditioning Section

The History of Group Exercise

n 1969, a young American woman named Jackie Sorenson was

Exercise research and

The term Aerobics was

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In fact, it was common for instructors to have little or no formal training.

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Class formats also started to change, shifting from higher to lower

Group Exercise Today

n a relatively short period of time, the group exercise industry has

The Impact of Music

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Choosing and Using the Right Music

It is important to choose music that is appropriate for the type of class

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Beats per Minute

Basic Lower Body Movements

Basic Upper Body Movements

ALTERNATING OR BILATERAL ROTATOR CUFF

ALTERNATING OR BILATERAL BICEP CURLS

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Planes of the Body

In order to be able to apply anatomical principles into class design,

Sagittal Plane (B)

Median Plane (A)

The median plane (A) is also

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Transverse Plane (D)

Examples of isometric contractions include:

Isotonic or Dynamic Contraction

In an isotonic or dynamic contraction, the force

A concentric contraction happens when the

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Examples of the concentric phase of an exercise include:

he Core refers, in the most general of terms, to the body minus

Anterior Deep View

Anterior Middle Layer View

Anterior Superficial View

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