BODY COMBAT CHOREOGRAPHY NOTES PDF

Digital Booklet - Read A Semantic-based Workf TPOLecture4 Choreog Create a Print Ready B

Author:Tujinn Goltill
Country:Iraq
Language:English (Spanish)
Genre:Automotive
Published (Last):2 June 2007
Pages:125
PDF File Size:10.7 Mb
ePub File Size:18.13 Mb
ISBN:658-7-28061-575-2
Downloads:53307
Price:Free* [*Free Regsitration Required]
Uploader:Jutaur



Nothing close by? Sound familiar? We asked our top Trainers from around the globe to share their learning secrets! First, I listen to the music as much as I can while cleaning, driving, lifting weights , then watch the Masterclass while writing down choreography. The simple act of writing the choreography down cements it in my brain. Since I have usually listened to the music beforehand I know the highs and lows, which brings the whole release together much quicker!

This is where I play the Masterclass footage with Presenter voice off and pretend to teach the track to members. This helps me to determine how well I truly know the track. In a live class situation there are always distractions or moments of impromptu connection that will take your attention from purely teaching the choreography.

This is to add an extra level of realism to practicing at home. While watching the Masterclass, avoid social media: no texting, no constantly checking feeds… this time is precious and your mental efforts will clearly show up in your teaching.

For future reference, add your own personalized title next to the tracks on your choreography notes. These small titles will be a great help when you revisit older releases. The last thing you want to do is that Finale move when the music is still on… yikes! Also — the glossary section is not just for beginners; this section is being updated frequently.

Revisit it every time you get your hands on the release and use it to refresh your coaching cues. Just remember, if you still go off the beat while practicing, or you forget what the next move is, this is likely to happen on the stage, so an error-free practise class is an error-free live class. Then I listen to the music and do the moves, practicing them physically to get them in my body. I read the Track Focus to understand the tracks and I use the choreography notes when I practice.

I try to listen to the release as often as possible: in the shower, in the car, on the train, working out, making dinner, doing laundry. Certain lyrics, rhythms, patterns, instruments and musical landmarks will start to pop out for me. I know that the better I know the music, the more natural and relaxed I will feel when I teach. This makes learning the choreography quicker, easier and helps cement the learning so it becomes second nature when I then begin to teach.

I also scribble lots of hints and tips and notes on the page such as musical landmarks, tricky transitions, coaching points, time codes: anything which helps my learning and gives me the ability to highlight unique points of difference in this release. This practise also gives me a great review document for when I go back to teaching these tracks later down the line. The next step is to learn the whole thing, and practise in front of the mirror. It makes it more fun and can help identify the performance moments of the track.

I always make sure I take breaks where I listen to other music eg relaxing music, sounds of the forest, meditation music etc. This helps me to clear my mind. Then all I have to do is put those smaller sets together. That way, if I'm having trouble in a particular place or transition it's not as overwhelming.

I've got the rest of it so I just need to focus on that second problem area. Following the music with the choreography notes helped a lot to make them stick. Especially tracks 3, 5, and 6. However, tracks 2 and 4 is where things get wild! They both have rapid transitions and lots of Pace, Resistance and Position P. The music will tell you what to do but as Instructors we need to pre-cue the quick PRP shifts so the class can get there on the rhythm.

There are a bunch of changes so cueing will need to be to the point in the fun RPM way. This way, when I'm teaching, I can visually see the colors. I know that in the Back Track there are two green sets before two blue sets. Step three, I watch each track separately with the notes, first with the presenter voices on and then just visually; this helps me to memorize the choreography and listen to the specific coaching etc.

Find a class Nothing close by? No Results We can't see any results for that search. Hint: try using the name of the nearest city. Log in Instructor Portal Sign up Log in. Club Portal Log in. Brand Central Sign up Log in. Licensee Management Log in. Partner With us Get In touch. Want more health and fitness inspiration? All Merchandise Clothing. Training Ongoing development News get in touch Book training. Self-assessment is a very effective tool for growth.

Always keep a piece of paper to quickly write down which part you need to focus on while teaching. Top 3 teaching tips Keep coaching simple in the first week, to ensure your members can follow successfully In week two begin to add more layer two cues to build on the foundation from week one In week three, start to deliver more education. To learn the release: Listen to the music, my best time to listen to the music is in the car Google the lyrics and try to sing the song.

This helps me to match my voice to the feel of the music. Practice in front of the mirror so you can role model the Masterclass presentation. The aim is to create muscle memory of the movements so that demonstrating correct technique in class comes naturally.

Study the choreography and listen to the music to look for patterns and similarities, as well as identifying what is unique for that particular release. What's the future for group workouts? Instructor News View All.

ELTA 2322 PDF

HOW TO SPEED UP THE LEARNING

Learn more about Scribd Membership Home. Much more than documents. Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime. Uploaded by Frederick Harrison.

ANTHONY GIDDENS SOCJOLOGIA PWN 2004 PDF

Les Mills - Body Combat 47 Choreography Notes.pdf

Visit lesmills. Hey instructors! Use common sense and be mindful of not selecting tracks with lots of similar moves. Always teach with the current coaching model in mind. Written by: Ragland, K. Nicholls, S.

DISEO ESTRUCTURAL SISMORRESISTENTE ICG PDF

BODYCOMBAT 70 Choreography Booklet

Nothing close by? Sound familiar? We asked our top Trainers from around the globe to share their learning secrets! First, I listen to the music as much as I can while cleaning, driving, lifting weights , then watch the Masterclass while writing down choreography.

Related Articles