I S E T O M U S I C

V E L 2 E X E R C
LE
W O R K B O O K
COURSE
2
CONTENTS

4 Welcome

6 Qualification Overview

7 Assessment Overview

7 Quality Assurance

8 Health & Safety

9 Course Resources

10 Qualification Units

11 Contact Us

Programme Stages & Online Learning

12 Getting Ready

18 Planning

34 Evaluation & Feedback

36 Developing Your Employment Skills

49 Teacher & Instructor Membership

3
 WELCOME
We would like to welcome you to the Level 2 Exercise
to Music Qualification. In doing so we would like to
congratulate you on taking the steps required to
enhance your skills and knowledge as a professional
instructor in the fitness industry.
We at Exercise Move Dance UK (EMD UK) hope that you enjoy your course
experience and assure you that many years of history and passion have
gone into creating an informative, dynamic and inspirational programme.
This workbook has been prepared to support you through the course
and contains documents and information that will support your learning
experience. You will find within this introductory section, guidance on what
to expect from the different elements of your course and some valuable
information to help you prepare for your assessments.
NB: The following information is correct at the time of going to print. However the programme is subject to regular review
and amendments made from time to time.

4
5
 QUALIFICATION
OVERVIEW
This course has been specifically designed to provide comprehensive
training for those who want to achieve a nationally recognised,
accredited Level 2 qualification; the Certificate in Fitness Instructing
- Exercise to Music.
Enhancing your status as a fully qualified instructor, this certification allows you to teach dance
fitness and group exercise in a range of professional settings, including gyms, public venues,
community halls, dance studios, school halls... the list goes on! As a fitness professional, you
can offer classes throughout the fitness sector, offering an alternative to gym based exercise.
Once qualified, a holder of the Level 2 Certificate in Fitness Instructing - Exercise to Music will
be equipped with the knowledge, skills and understanding to plan and deliver safe and effective
fitness classes to participants of a range of ability and fitness levels.

6
ASSESSMENT
OVERVIEW
Assessment will take place throughout the course and will cover
theoretical knowledge and practical teaching. Assessment will
largely take the form of worksheets, teaching observation and written
examinations. Please note you will be required to bring at least one
person with you to your practical assessment who can partake as an
additional body.
In the unlikely event that you wish to appeal against the decision of your assessment result please
refer to the appeals procedure in your online resource area on the EMD UK website. Further details
on assessment retake procedures can also be found within this area on the Academy website.

QUALITY
ASSURANCE
Each course will be subject to a process of internal and external
quality assurance. This will include both written and practical
aspects of the course.

7
 HEALTH
& SAFETY
Exercise Move Dance (EMD) UK has a Health and Safety Policy
Statement a copy of which can be downloaded from the trainee
teacher online resource area of the EMD UK website. The EMD
UK Code of Ethics also contains a safety section which contains
guidelines that teachers should understand and comply with.
If you have any questions in relation to your own or another students Health and Safety during
your training please bring this to the attention of your relevant course trainer or if necessary
the EMD UK.

8
COURSE
RESOURCES
Course Workbook
This workbook contains support, guidance and resources for your training course and
references your Leaner Evidence Portfolio along with the Active IQ Learner Manual.

Learner Evidence Portfolio

Contains copies of your assessment evidence that form part of your on-going and final
assessment on the course. You will be required to complete the relevant worksheets in your
own time and submit them to your trainer assessor for marking before the end of your course.

Resource Area
The course workbook and learner evidence portfolio are available online. You can download
these via your online resource area on the EMD UK website, using the link below:

emduk.org/resource-area

Your trainer assessor will mark worksheets and respond with written feedback as relevant.

Active IQ Learner Manual

Contains further information to support you through your course, completion of worksheets and
theory and practical assessments. This should be used alongside the online learning portal to support
with your assessments.

9
 QUALIFICATION UNITS
This qualification consists of the units listed below, each unit will
be covered via the online learning and practical on course days.
During your online learning (which you will complete prior to your on
course days) you will obtain the underpinning knowledge, relevant
to teaching group exercise through the Active IQ e-learning portal.

Approx. Learning Study

Module Assessment Method
Hours* Resource

Level 2 Anatomy and Online & Active IQ Learner

41 Multiple choice theory exam
physiology for exercise Manual

Level 2 Principles of exercise, Online & Active IQ

28 Multiple choice theory exam
fitness and health Learner Manual

Level 2 Know how to support

clients who take part in Online & Active IQ Learner
13 Worksheet
exercise and Manual
physical activity
Level 2 Health, safety
Online & Active IQ Learner
and welfare in a fitness 16 Worksheet
Manual
environment
Worksheet
Participant Consultation Online / Active IQ Learner
Level 2 Planning group
24 Manual / Course Workbook
exercise to music sessions Session plans & on course days
Formative observation

Summative observation Online / Active IQ Learner

Level 2 Instructing group
37 Manual / Course Workbook
exercise to music Self-evaluation & on course days
Level 2 Developing
Course Workbook & on
employability skills as a 16 Portfolio of evidence
course dates
self-employed processional

*Please note, the learning hours are provided as an approximate guide and will consist of home study in your own time,
as well as attendance time spent on course.

During the on course days you will have the opportunity to speak with your trainer assessor in
a face-to-face environment and review your online learning. This will also identify to your trainer
assessor any key focus areas you require assistance with before completing your assessed
worksheets and sitting your theory exams.

10
TIME REQUIREMENTS
Whilst the time spent on course is fixed, the time required to complete
work away from the course will vary from candidate to candidate
based upon factors such as previous knowledge and experience,
time since last involved in learning etc.

CONTACT US
EMD UK Contact Details
Tel: 01403 266000 ext. 205
Email: training@emduk.org
Website: www.emduk.org

Active IQ Contact Details

Active IQ
Westminster House
The Anderson Centre
Ermine Business Park
Cambridgeshire, PE29 6XY
Tel: 0845 688 1278
Website: www.activeiq.co.uk

11
 PART ONE: PREPARING
TO TEACH YOUR CLASS

What makes a studio class?

Key Features Notes
• Structure
• Progressive approach to routines
• Safe practice & effective exercise
• Exercises for cardiovascular fitness, muscular
fitness, flexibility & motor skills development
• Movements, exercises & routines (Please
Note: we will not be covering the full range of
resistance equipment or weighted workout
options practically on course; please see
p206+ in the Active IQ Learner Manual)

What makes a good instructor?

Key Considerations Notes
• Professionalism
• Preparation
• Commitment
• Knowledge and experience
• Creating a positive impression and developing
rapport
• Reaching inactive participants
• Professional responsibilities and boundaries

12
Supporting participants
Pre-class preparation
• Plan appropriate content for the skill and fitness level of the participants (including alternatives and
modifications) – always consider a mixed ability group!
• Convey a professional approach to the class
• Establish effective working relationships with participants
• Participant consultation
• Regular visual and verbal screening
• Confirm or revise plans as appropriate following screening and meeting participants

Image Credit: Exercise Move Dance

13
 PREPARING FOR YOUR
PARTICIPANT CONSULTATION
Now turn to page 19 in the Learner Evidence Portfolio.

Professionalism discussion
This session will provide an opportunity to discuss the role of the instructor within the sector.
We will cover:
• The importance of being able to plan, organise and manage your time effectively.

Instructors need to understand the requirements of participants in order to offer the most
suitable class and activities to help participants achieve their goals.
During one-to-one conversation participants can share information with instructors to ensure
the group exercise activity is suitable for them.
This process will:
• Support participants and encourage them to feel valued
• Increase participant engagement and enhance commitment to group exercise
• Encourage discussion of potential barriers to participation and how to overcome such issues
• Enable participants to consider the risks that can be associated with initiating an exercise routine
and facilitate informed consent procedures
• Assist instructors to collect relevant personal and individual health information from participants
• Help instructors to cater for all participants in each class

Key point - It is important to ensure participants are aware of the associated

benefits and risks of exercise in order to help them make an informed
decision to participate.

14
It is important to demonstrate a high level of professionalism and consider a
range of communication methods to support this consultation process. You need
to consider:
• Communication skills to greet the participant
• The importance of building rapport
• Questioning techniques and methods of information gathering
• Suitability of advice and guidance for a participant
• Open questions and active listening techniques to gather relevant information from the participant
• Ways to determine readiness to exercise
• How to identify individual goals and barriers to exercise
• How to use SMART goals to express safe and realistic planning for individual achievement of
physical goals
• Process for planning a review to check participant’s adherence and progress towards goals
• Professional boundaries and processes for recording participant’s information appropriately and
with regard to confidentiality
It is important that instructors are prepared to manage the action required as a
result of data collection or screening too, which can include:
• Temporary deferral of exercise
• Referral pathways for medical or specialist support
• Provision of alternative exercises
Instructors must consider their legal and professional responsibilities together with the limitations
of their own qualifications when advising participants following individual consultation.
Other information collection methods include questionnaire (PAR-Q), Health Commitment
Statements and observation activities or fitness testing.

15
 Welcome to my class!
Now turn to page 7 in the Learner Evidence Portfolio.
• It is very important to build a strong rapport with your participants. This can be started through a
suitable introduction to your class. Remember to include your name; any Health & Safety notices
and discuss any verbal screening issues as appropriate.
• It is advisable to consider different forms of communication, non-verbal and verbal methods for all
classes.
Remember the importance of the following:
Eye contact - an important channel of Proximity - ensure interaction with class
interpersonal communication which helps members can take place throughout the class
regulate the flow of communication. Using by moving your teaching spot, and moving
eye contact shows interest in others and through the group. This allows you to keep eye
demonstrates concern, warmth and credibility. contact and allows you to get feedback from all
class members.
Facial expression - smiling is a powerful cue
to transmit happiness, friendliness, warmth, Verbal instructions - It’s not what you say;
liking and affiliation. It is often contagious and it’s the way that you say it! Going beyond the
class members will react favourably and learn selected words includes vocal elements such
more. as tone, pitch, rhythm, timbre, loudness,
inflection. Using variety within these elements
Gesture - speaking without gesture may be not only avoids class members being bored and
seen as boring, still and unanimated. A lively inattentive, but can actively be used to focus
and animated style captures class member’s on desired body movement and encourage
attention and makes movements more accuracy in movement and dynamic. Does your
interesting, facilitates learning and provides voice convey warmth, confidence and delight?
some entertainment and in the case of physical When they get it right – yes! When speaking one-
activity is a useful and quick way to prompt class to-one or in a small group before class starts or
member’s movement. Nodding the head; giving when it ends, sounds like ahhh, ummm, ohhh,
the thumbs up sign; giving the hold/stop palm said with appropriate eye and facial expression
forward - these all reinforce your communication can demonstrate understanding and empathy.
and indicate that you want to listen or get a
response. Humour - Humour is often overlooked as
a teaching tool. Laughter releases stress
Posture and body orientation - you are and tension for both the instructor and class
a role model for class members and have to members; develop the ability to laugh at yourself
demonstrate correct posture/body alignment at and encourage class members to do the same
all times, however, facing the class and leaning – it helps to foster a friendly class environment
slightly towards them will give the impression of and facilitates learning. If you go wrong in class,
friendliness, approachability and receptiveness. forget what movement comes next; laugh at
If you have to momentarily turn your back to yourself, say “oops instructor error!”
demonstrate a movement, use of voice will
maintain the rapport, which is re-established
when facing them again.

16
Key points – Tips for effective communication
• Speak slowly and clearly
• Vary your pace and tone
• Check that the participants have understood – use Q&A’s
• Be aware of your body language – try to reduce any distracting habits such as constantly
hitching up trousers or constantly saying “OK”
• Be aware of class members body language – be prepared to change your approach if they
looked bored or confused
• Avoid jargon, abbreviations and technical terms, unless everyone knows what you mean
• Be prepared to repeat or find another way to say something
• Encourage participants to ask if they haven’t understood something
• Include all class members, especially quieter ones
• Be conscious of where people stand in class. Make eye contact and use their name when
addressing them
• Talk to and not at participants
• Offer additional support to people who may need it for example, keep those with hearing
impairment in your line of vision and then they will be able to lip read if necessary

17
 PART TWO:
PLANNING

Planning a class
Key Features Notes
• Goals and objectives
• Delivery style and teaching points
• Alternatives and modifications
• Motivation and communication

Motivation is a very important factor in the learning process. It is important to consider:

Intrinsic motivation that comes from within,
from a personal desire to learn more, from love
of the subject, curiosity etc.
Extrinsic motivation that comes from outside.
This includes learning for a purpose, to pass an
exam, to get good grades etc. Extrinsic motivation
involves rewards (and punishments) and is
sometimes thought of as the ‘stick or carrot’.
Initial motivation - This means the reasons
that students have for coming to class in the
first place, for example, to lose weight, doctor’s
advice, brought by a friend etc.
Continuing motivation – Initial motivation will
not usually be enough to sustain commitment to
regular and continuing attendance. Continuing
motivation requires variety in teaching methods,
music, pace, class organisation and often goal
setting e.g. purposeful objectives, which should
be achievable, challenging and progressive.

There are some factors that can de-motivate students. These can be personal (anxiety), environmental
(too hot or cold surroundings) and physiological (hunger). It is an instructor’s role to minimize these
factors as far as possible. You also need to consider risk management and content selection suitable
for a progressive and safe approach to the class.

18
19
 RISK ASSESSMENT CHECKLIST
It is your duty of care to those who attend your classes to complete a venue risk assessment, providing
participants with a safe and suitable venue and procedures. The venue risk assessment is designed to
safeguard and protect your class members and yourself from injury and to protect yourself legally in the
event of a claim being made against you.

Risk area Detail Date

1. Premises Are premises in a satisfactory state of repair?

2. Exits & passageways Safe and unobstructed

3. Emergency exits Ensure exits are clearly marked and that there is clear access
to doors and that they are not locked
4. Fire Planned an escape route from the venue, meeting point,
register for class, nearest alarm point, fire extinguisher etc
5. Emergency services Accessible for emergency services

6. First Aid First aid kit available, fully stocked and all supplies within date

7. Phone Do you have access to a phone or mobile in case of emergencies?

8. Disabled Access Do the premises give access and facilities for disabled persons?

9. Toilets Do the premises have adequate toilet facilities including those

for the disabled?
10. Changing Facilities For both male & females attendees

11. Kitchen Check that equipment provided is satisfactory

12. Heating Heated adequately, are the heaters safe and is the room well
ventilated?
13. Room size Number of participants attending the class, carry out
exercises/movements without causing bodily injury to others,
ability to observe each participant
14. Cleanliness Check all furniture and equipment is neatly stored

15. Floor Safe to work on, clear of dirt, drawing pins, glass, spills,
splinters, trailing cables, etc
16. Electrics/Equipment All plugs and sockets in working order. Equipment in good
repair & stored safely when not in use
17. Personal belongings Personal belongings stored safely away from the activity area

18. Class equipment In good repair, suitable for intended use

19. Attendees Suitable clothing, footwear & jewellery

20. Warm up/cool down Attendees are aware of & adhere to relevant warm up & cool
down exercises
21. Parking Observe parking facilities and keep class informed

20
 Date Date Date Date Date

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21
 EXAMPLE CLASS PLAN A safe and effective class structure.

Teacher: A. N. Other Date: 01/09/2016 No. of participants: 10

Age range: 16yrs+ Venue (including space/size): Large sports hall Time: 60mins.

Key Tutor activities throughout the taught session include…

• Welcome to the group (including relevant screening activities) with introduction of instructor
and session
• Accurate tutor-led demonstration to include facing the group and alternating to face the mirror
where appropriate (i.e. for changes of direction)
• Verbal and visual signals to assist the group in understanding instructions
• Keen observation skills and clear monitoring of individual response to movements, intensity
and physical ability
• Motivation of participants through verbal reassurance and an enthusiastic approach to the
session material
• Monitoring of spatial awareness of participants and encouragement of appropriate energy levels
to begin to build towards the session aims
• Side-on demonstration for conditioning/ stretches; talk through teaching points Aandselection of safe and effective exercises
use of equipment (where applicable)
and remind all participants of the various options and levels for each exercise that incorporates different components
of fitness, meeting participants’ needs,
• Leave front spot to observe and assist the group/ individuals as required. abilities and group goals.

Phase / Track Time Choreography Structure (Beats / music breakdown) Move

Warm Up
Boogie Tonight, 128 BPM (3.32min) 0-9 mins (to include Verse / Chorus approach to the design of movement repetitions. Making combination Basic
welcome) simple to follow, using blocks / repetitions of 32, 16, 8, 4, 2 and/or 1. the h
Somebody to Love, 132BPM (4.01min) Includ
• M
• Si
• St
• W
A warm-up and flexibility • D
component incorporating static
and/or dynamic stretching
• G
(the learner will need to plan a • Sq
minimum of 10-12 minutes). • Lu
NOTE
of mo
hams

22
 Session aims: Lead a group exercise session focusing on offering safe and effective movement
to music, using the aerobic curve for cardiovascular development. The session will also include
mat-based exercises for body conditioning and flexibility exercises (standing and seated versions).

Style: All over body workout (upper and lower body focus)

Location of nearest telephone: Gym Reception

Location of nearest first aid kit: on Studio Wall

Duty First Aider: Jane Smith

Safety checks required: (detail checks carried out and any subsequent action taken)
Check floor is clear of spillages and clutter, check temperature is correct for class, check
participant’s; PAR-Qs; verbal screen class for any new injuries or illness, check for new
participants, check that all participants have appropriate clothing and trainers.

Resource requirements: CD Player / iPod Dock

tive exercises
Any special arrangements or adaptations to be made: in response to available time,
e applicable) equipment or facilities, or participants present on the day) Some new participants ensure simple
omponents
nts’ needs,
adaptations are given.

Movement combination / Exercise Teaching Points & Alternatives

Warm Up
Basic, repetitive series of mobilization movements, gradually increasing • Posture and alignment reminders throughout (including ankles, knees and hips
the heart rate. in line, shoulders down and feet hip width apart)
Include: • Encourage the participants to respond to questions to indicate feelings/
• March response to intensity / enjoyment to music / understanding of style and
instructions
• Side toe tap
• Remind the participants to maintain spatial awareness at all times.
• Step touch to alternate sides
• Soft knee reminders where necessary and steady, progressive pace of the
• Walking patterns warm-up section.
• Double step touch • Regular breathing reminders with core reminders “tight tummy”.
• Grapevine • Alternative movements to be offered where possible/ necessary to ensure
• Squat basic alternatives to complex foot work options
• Lunge/push backs • March - with gentle arm swing progressing to add arm side raise on inhale, arm
NOTE: Dynamic stretches are included here through depth and quality lower as exhale
of movement to ensure a whole body approach (major muscles included • Side toe taps – with different directions or a set pattern for variety and
hamstring, calf, adductor, quad, latissimus dorsi, trapezius) coordination development
• Step touch to alternate sides - with arm progression to chest press movement
• Walking patterns - (x3) with step touch (forward / back direction) – with knee lift
to replace step touch or double step touch to side.
• Double Step Touch/ grapevine - to side with optional basic parallel foot work to
Choreography approaches, verse introduce mambo. Remind participants re. knee alignment and heel lead where
and chorus, add on, layering. appropriate. Add box step as appropriate.
• Squat – ensure postural alignment is maintained and encourage depth of
movement as appropriate. Ensure weight is kept in heels and upper body/
arms are kept close to body at this initial
• Lunge/Push backs – with arm swings or hand to hips as appropriate. Ensure
Regression and progression of accurate ankle, knee and hip alignment of back leg; ensure front knee is
exercises/equipment to accommodate tracking over middle toes and in line with ankle.
different participant needs. NOTE: Movements gradually increase in size and complexity with embedded
dynamic stretches. Alignment reminders in stretch guidance are important here,
to reinforce features for various levels of ability/ complexity/ intensity. Stretch
adaptations include static stretches, leaning on wall for balance or separate arm
and leg stretches (for those with limited mobility).

23
 EXAMPLE CLASS PLAN
Phase / Track Time Choreography Structure (Beats / music breakdown) Move

Warm Up
Love you More, 132BPM (2.54min) 9-12 mins • 1 block of 32 beats • M
• 1 block of 32 beats • W
• 1 block of 32 beats • D
• 1 block of 32 beats • G
• 1 block of 32 beats • M
• 1 block of 32 beats • Bo
• 1 block of 32 beat • W
• 1 block of 32 beats • G
• 1 block of 32 beats • Le
• 1 block of 32 beats • Kn
• 1 block of 32 beats • H
• 1 block of 32 beats • Tr
• 1 block of 32 beats • Q
• 1 block of 32 beats • (A

Phase / Track Time Choreography Structure (Beats / music breakdown) Move

Main CV

World Hold On – Bob Sinclair, BPM: 128 12-35 mins A series of pre-choreographed routines (using verse/chorus; 32 count choreography Move
(4.35 min.) structure and layering) a. St
ra
Touch Me – Cass Fox, BPM 132 (4.03
min.) Appropriate build-up, relevant to aerobic development to enable mastery of movement b. D
sequence, add-on of variations for complexity and style and performance of routine re
Borderline – Michael Gray, BPM: 132 relevant to session setting. c. G
(4.11 min.) of
A cardiovascular and muscular strength and endurance section showing d. Bo
Looking Back – Route 33, BPM 128 an intensity curve and a whole-body approach (the learner will need to SE
(4.50 min.) plan a minimum of 30-40 minutes). e. W
Get ready – Tung, BPM: 130 (4.03 min.) f. H
g. St
Repe

Example Movement: Specific Alte

Exercise/Movement Teaching Points Altern

• (D) Box step combination. 4 to each direction (turning) • Soft knees • 4
• Leading right leg. • Wide stance whilst stepping forward and back • Ar
• 4 x box step facing front • Hips facing forward
• 4 x box step facing right side • Step forward with a heel to toe action and step back with a toe to heel
• 4 x box step facing back action
• 4 x box step facing left side • Control arm movements
• Tap change on last box step to change leading leg and repeat in other • Keep elbows and knees soft on extension
direction
• Arms punch as stepping forwards

24
 Movement combination / Exercise Teaching Points & Alternatives

Warm Up
• March with shoulder rolls • Shoulders back, chest lifted
• Walk forwards and back (arm swings) • Keep knees slightly bent
• Double Side steps (elbow raises) • Single Side steps (alt)
• Grapevine • Double side steps
• Mambo Cha Cha • March on spot (alt)
• Box step • Keep knees slightly bent
• Walk forwards and back • Swing arms
• Grapevine • Side steps (alt)
• Leg curls • Side steps (alt)
• Knee lifts • No bouncing
• Heel digs into calf stretch • Keep chest up
• Transfer to hamstring stretch • Keep back straight, hand on thigh
• Quad stretch • Use wall to balance
• (Above movements repeated to allow re-warm, as appropriate) • As above

Movement combination / Exercise Teaching Points & Alternatives

Main CV

Movements include:
a. Step touch to alternate sides with heel dig or push backs, with arm
raises to shoulder height with diagonal knee lifts to alternate sides
nt b. Double Step Touch to side followed by mambo. 4 marches on spot to
replace mambo / arm raise on step touch with hop
c. Grapevine to side followed by leg curl. Use double step touch instead
of g/vine
d. Box step combination. 4 to each direction (turning)
SEE EXAMPLE DETAIL BELOW FOR BOX STEP INFORMATION
e. Walk forward followed by 2 x raises, Repeat back.
f. Half jacks (2 x R, 2 x L). Open arms to side raise.
g. Step with Hamstring curl.
Repeat A, B, C, D, E, F, G combinations above as required.
• Posture and alignment reminders throughout as relevant to the choreography
• Encourage the participants ask questions where appropriate/ required to
understand the choreography
• Provide safety reminders relevant to the movements/ exercises
• Remind the participants to maintain spatial awareness at all times.
• Soft knee reminders where necessary
• Where participants are having technique difficulties break down the movements
further e.g. teach legs and arms separately and then join together. If further
difficulties arise advise that only leg movements can be incorporated.
• Offer pre-prepared rhythmic variations as required for those with more/ less
experience.
Safe and effective postural reminders.

Specific Alternatives / Adaptions

Alternatives Adaptations for…

• 4 marches on spot to replace box step.
• Arms above the head stepping forwards and clap on stepping back
l •
• 14-16 Age Range: Make the box step moves into “funky” box step with
deeper kneed bend and hip movement. Ensure regular water breaks.
• Older Adults: Stance to be closer together to provide added stability.
Pre and Post Natal Participants: Women who have not exercised prior
to pregnancy should begin with 15mins continuous aerobic activity,
increasing gradually to 30 mins low to moderate level intensity; regular
water breaks. Stance to be closer together to ensure correct alignment is
maintained and be observant for signs of dizziness or nausea.
• Disabled Participants: If there is a different in strength between the left
and right side of the body, aim to improve the affected side as much as
possible without neglecting the side which is unaffected.

25
 EXAMPLE CLASS PLAN
Phase / Track Time Choreography Structure (Beats / music breakdown) Move

MSE / Condition
Easy – Groove Armada, BPM: 123BPM 35-49mins Colle
(4.21 min.)

Be Without You – Wi-Fi, BPM: 119 BPM X 4 reps Squa

(4.11min) X 4 reps Squa
X 4 reps Squa
Funky Boogie Now – Mix, BPM: 109
X 4 reps Squa
BPM (4.43 min)

8 x left leg, 8 x right leg (16 beats) Lung

4 x left, 4 x right (repeat x 2) (16 beats)
2 x left, 2 x right (repeat x 4) (16 beats)
Alternate legs left & right x 16 (16 beats)

X 1 reps (8 beats) Press

X 4 reps (16 beats) Press
X 4 reps (16 beats) Press
X 4 reps (16 beats) Press
X 8 reps (8 beats) Press

Hold for 16 beats Front

Hold 16 beats each side Altern

12 reps Barbe
SEE E

Long body flat back stretch on mat

For all exercises – 4 sets of 8 reps with rest after each set of 8 Curl-u

Modi

Lying

Back

26
 Movement combination / Exercise Teaching Points & Alternatives

E / Conditioning
Collect mats/ find spaces Take care with mats/ spacing and lowering (assist as needed)

Squats 3:1 tempo Straight back, do not lock out knees

Squats 1:3 tempo Hands crossed over chest or on hips
Squats 2:2 tempo Heels down
Squats 4:4 tempo

Lunge Combo Keep knee over ankle

Back straight
Runner arms
Squat (alt)

Press-ups 4:4 tempo Full press-ups or box-press ups (alt)

Press-ups 3:1 tempo Arms and hand shoulder-width apart and extend knees back so body forms
Press-ups 1:3 tempo straight line from knees to shoulders
Press-ups 2: 2 tempo No arching back, keep abdominals strong and held
Press-ups Singles Straighten arms without locking; keep body rigid, no bending in hips; no arching,
neck and head in line.
Under control raise the chest off floor; avoid jerky movements; look down.

Drop knees to floor (alt)

Front Plank
Pull abdominal muscles in
Alternate arm/leg raise in Plank
If raising alternate arm/leg is too much raise just an arm and then just a leg (alt)

Barbell Bicep curl (Prime mover – Biceps)

SEE EXAMPLE DETAIL BELOW FOR BOX STEP INFORMATION

Curl-ups Ensure back flat to floor with abdominals strong, tight; slowly curl up so the
shoulder blades raise up off the floor
Avoid pulling head forward; avoid lifting too high (max. 40 degree)
Progression option to add leg extension (engaging obliques) knees and legs lifted.
Opposite elbow aim towards left knee; hands placed at side of head; arms placed
across chest; arms stretched out over head/ touching thighs in front.
Change timing accent with curl and hold then lower down to mat (2-6 count
tempo variations) including full curl up on count 1, slowly lower 2/3/4 or slow curl
up on counts 1/2/3 and lower in 1 count.

Modified tricep dips Hands placed hip-width apart and bent knees
Straighten arms without locking out elbows, slowly lower body to 90 degrees;
abdominals tight, spine straight.
If wrist/ arm support weak in this position; offer bridge exercise from last week.

Lying side leg lifts Support the head; keep toes and knee facing forwards
Controlled movements, no rolling hips forward/back; hips facing front
Bend bottom leg in for balance or leave fully extended.
Add side plank hold (8 counts) then rest, then repeat; add pulse movement
following leg lifts.

Add long arms out in front – long lever

Back extension
If needed, offer back stretch with steady movement, looking down with bottom
pushed down towards heels and then kneeling with arched back.

27
 EXAMPLE CLASS PLAN
EXAMPLE EXERCISE: SPECIFIC ALTER
Exercise/Movement Teaching Points A

Barbell Bicep curl (Prime mover – Biceps)
• Maintain a neutral spine position B
• Feet hip distance apart for stability with knees soft; feet facing forward
• Keep the upper arm fixed to the body and flex from the elbow
• Maintain alignment between the shoulders, elbows and wrists
• Curl the arm up for a count of 2 counts, then control the arms down for 2
counts.

Phase / Track Time Choreography Structure (Beats / music breakdown) Move

Cool-down
Cool Down 49-58 mins • Progressive cool-down, with flexibility focus and re-mobilization movement features Tutor
(If, 121BPM, 4.35min) • Static stretches (main muscle groups utilised within the class) •
(Fade into You, 90BPM, 3.14min)
• Developmental approach directed for quads/ hamstrings and adductors (lower body •
focus) •
• Hold for 16 beats each side •
• Hold for 16 beats each side
• Hold for 16 beats each side
• Hold for 16 beats each side
• Hold for 16 beats each side
• Hold for 16 beats each side

Please note: The above example is provided as a guide only – it contains some of the assessment elements th

Within your session plan, please clearly indicate sufficient detail to ensure that a minimum of ONE exercise / m
illustrates ONE proposed adaptation AND ONE alternative to support special populations, (1) 14-16 age range;

The above example illustrates how to do this for the Main CV and MSE sections only, as a guide for your own se

An ADAPTATION is defined as a modification to the originally planned exercise that makes the exercise more sui
the impact of an exercise i.e. changing a Box Step with two jumps back to a Box Step with two steps back for p
laxin being present or changing the directional travel of an exercise i.e. changing a Grapevine with a 1/4 turn at t
tations to the originally planned exercise must demonstrate sufficient underpinning knowledge to support pa
movements”; “fewer reps”; “depends on the disability”.

An ALTERNATIVE is defined as a change of exercise from the originally planned exercise that uses the same fun
with a full turn right and left to a double side step with no turn right and left for a participant with limited sight to e
older adults if they are unable to get down on to the floor.

28
ECIFIC ALTERNATIVES / ADAPTATIONS
Alternatives Adaptations for…
Barbell bent over row (with narrow grip) or dumbbell hammer curl • 14-16 Age Range: Use a resistance band so the ROM can be more
rd effectively controlled/ managed
• Older Adults: Perform the exercises in a seated positions for added
stability or use just own body weight as resistance in order to maintain
effective technique and joint alignment
n for 2 • Pre and Post Natal Participants: Consider appropriate intensity and
provide a spotter or support to ensure the correct ROM and alignment
is maintained. With pre-natal participants change the equipment to
dumbbells as the bar bell may knock against the expectant mum’s bump
as the pregnancy progresses
• Disabled Participants: When working with a participant who has an arm
amputation perform the exercise with dumbbells instead so single arm
exercises can be completed.

Movement combination / Exercise Teaching Points & Alternatives

Cool-down
res Tutor to provide an opportunity for participants to provide class feedback. • Floor/ Standing alternatives for all stretches need to be available to
• Lie on back: Hamstring stretch & glute stretch participants as required
body • Kneeling: Hip flexor stretch • Posture and alignment reminders throughout
• Standing: Quad stretch; calf stretch • Remind the participants to maintain spatial awareness at all times
• Wide stance (adductor stretch) with back stretch • Soft knee reminders where necessary
• Alignment reminders in stretch guidance with reinforced reminders for various
levels of ability/ complexity/ intensity
• Hamstring - Bend opposite knee, foot flat on the floor, straighten leg to
ceiling (appropriate to own range); support with hands on calf/back of thigh
• Glute - Opposite foot on bent knee, hug through bent leg
• Hip flexor - Push hip forward, chest lifted
• Quad - Knees together, use wall if needed
• Gastrocnemius/ soleus (calf) - Keep front knee over ankle, chest lifted with
hands cupped in front.
• Specific additions for stretches to include:
• Quadriceps (standing, short stance; keep hips facing forward; avoid twisting
knee joint; supporting knee soft)
• Hamstrings (hips square to front; slight torso tilt forward; tight abs.)
• Gastrocnemius & soleus (lean forward; natural curve of the spine; knees,
ankles, hips in line; add pectoral stretch)

ments that are needed to fulfill your assessment work.

ercise / movement in each section, (1) Warm-up; (2) Main CV component; (3) MSE (Conditioning); (4) Flexibility,
ge range; (2) older adults; (3) pre and post-natal participants; (4) disabled participants.

ur own session plan and assessment submission.

more suitable for the special population groups such as a change to the arm lines of the exercise i.e. changing
back for pre and post-natal participants to reduce the possible effects of impact and joint instability due to re-
turn at the end to grapevines facing forward for older adults to assist with maintaining stability. Specific adap-
upport participants and therefore, the following statements do not meet the qualification requirements, “smaller

same fundamental foot/arm patterns or movements and/or the same prime movers, i.e. changing a grapevine
sight to ensure safety and stability or changing a dumbbell pec flye exercise to a press-up against the wall for

29
 Planning Considerations Notes
• Body conditioning and resistance features
• Using circuit formats
• Music & rhythm
• Movements, exercises & routines
• Delivery methods
• Managing changes to the planned class

Your turn! Use the template provided for devising your very own class plan

Teacher: Date: No. of participants:

Age range: Venue (including space/size): Time:
Style:

Phase / Track Time Exercises/Movements Tutor Activity

30
 HOME STUDY TASK
• Watch a class at a local fitness centre / online class / instructional video
• Consider the various elements of the class
• Note important features of the class

Session aims:

Resource requirements:

Special considerations:

Teaching Points Adaptations / Modifications

31
 Warm-up The 5 r’s
• Purpose and benefits of a warm-up • Rate - speed of movement
• Warm-up considerations • Range of movement
• Mobility pulse raiser features • Repetition’s - overload for strength or endurance
• Preparatory stretches • Resistance - longer / shorter levers: position
of weights on lever
• Use of music
• Rest - active or passive between sets
Main workout
• Purpose and benefits of the cardiovascular
Cool-down
and muscular strength and conditioning • Purpose and benefits of a cool-down and
components flexibility component
• Considerations include: • Cool-down considerations
»» skill and fitness level of participants • Types of stretching
»» simple easy to follow moves which • Use of music
gradually build into more complex
combinations over the allotted time • Exercise technique (these should include a variety
»» gradual increase of intensity over the of positions i.e. standing, sitting, lying - where
allotted time to achieve planned target appropriate)
heart rate »» Gastrocnemius and soleus
»» timing of the component »» Hamstrings
»» appropriate music and beats per minute »» Quadriceps
(BPM)
»» Adductors / Abductors
»» a whole body approach
»» Hip flexors
»» alternatives and progressions
»» Obliques
»» suitable exercise sequences
»» Deltoids
Exercise Technique »» Triceps
»» Pectoralis major
• Abdominal curl / crunch
»» Latissimus Dorsi
• Oblique twist »» Trapezius
• Back raise / extension »» Erector Spinae
• Relaxation and final mobilisation
• Press up
• Squat

32
How would you answer these questions during your class delivery?
• Is the body correctly aligned? For the individual and the activity
• Are the joints held in the correct position? And moving through an appropriate range?
• Is the momentum required for the activity controlled through the range of movement?

33
 COMMUNICATING & THE
IMPORTANCE OF MOTIVATION

Key Features Notes

• Good communication helps to motivate the
class
• Develops rapport
• Supports cueing

Remember
• Voice – projection and tone; consider the needs of the participants; the component, size of the
room; acoustics
• Positive feedback and encouragement; reinforcement of goals; instructor enthusiasm
• Verbal / non-verbal skills

Alternatives & Modifications

• Who needs adaptations?
• Planning a suitable range of moves
• Practical options for adapting and delivering exercises
• How to progress and regress activities

34
HOW TO INSTRUCT
YOUR SESSION

Jane Smith, 16

Key considerations Notes

• Awareness of different learning styles
• Delivery methods for choreography. To
include:
»» Break-down methods these include add-
on or linear teaching
»» Repetition and repetition reduction or
reverse pyramid
»» Layering
»» Half time teaching
• Teaching skills to include:
»» Introductory moves in the warm up that
feature later in the class
»» Holding patterns
»» Verse / chorus structures
»» Demonstration of exercises / pre-teaching
complex moves
»» Clear teaching points and reminders
»» Using motivation and communication
»» Mirroring the group
»» Observation skills and adopting teaching
positions to observe participants and
respond to their needs
»» Cueing in advance
»» Monitoring intensity
»» class organisation
»» Voice
»» Music – working with the structure and the
volume of the music
• Managing disruption
• Physical contact
• Correcting technique
• Adapting exercises according to participants
needs

35
 STRETCHING
KEY TIPS
Stretching muscles after they have been working (shortening) will prevent unnecessary adaptive
shortening. Stretching also helps dissipate lactic acid that accumulates during cardiovascular
exercise, preventing muscle soreness and aiding recovery. Stretching aids relaxation, helping your
class members feeling of well-being.
1. Ballistic
A form of passive or dynamic stretching in a
bouncing motion. Ballistic stretches force the
limb into an extended range of motion when
the muscle has not relaxed enough to enter it.
It involves fast “bouncing” movements where a
double bounce is performed at the end range of
movement.
2. Dynamic
Moving into and out of a stretch where dynamic
flexibility is a pre-requisite to the activity – e.g.
Golfer preparing his swing. It prepares the body
for what is about to follow.
3. Active
Active stretching eliminates force and its adverse
effects from stretching procedures.
4. Passive
A form of static stretching in which an external
force exerts upon the limb to move it into the
new position. In contrast to active stretching.
Passive stretching resistance is normally
achieved through the force of gravity on the limb
or on the body weighing down on it. It can also
be achieved with the help of a partner, stretch
bands, or mechanical devices.
HOME STUDY TASK
• Class planning for on course assessment
• Prepare music and resources
• Practice class delivery techniques
36
5. Static
Used to stretch muscles while the body is at
rest. It is composed of various techniques that
gradually lengthen a muscle to an elongated
position (to the point of discomfort) and hold
that position for 30 seconds to two minutes.
30 seconds is the minimum duration to get the
benefits of stretching, whereas two minutes is
the maximum (if a position can be held for more
than two minutes, a farther stretch should be
performed).
6. PNF –
Proprioceptive-
Neuromuscular
Facilitation
After first 15 seconds the client must activate
the stretched muscle by contracting against a
resistance. The client then relaxes and moves
the leg into a greater stretch. During the
contraction the golgi tendon organs send a
message to the brain that maximal force and
stretch cannot be occurring at the same time,
the brain ignores the message and the muscle
spindles stop sending a signal that the leg is in
fact stretched. This enables a greater degree of
manipulation.
37
 EVALUATION &
FEEDBACK

Reflecting on the class

Considerations include: Notes
• Personal practice
• Evaluating how effective the planned activities
were at meeting the needs of the group
• Adapting plans, equipment and facilities
according to the needs of the group
• Providing advice regarding safe and effective
alignment of exercise positions
• Providing alternatives to any potential harmful
exercises
• How effective and motivational the
relationship with the group was throughout
the class
• How well the instructing style matched the
needs of the group
• The effectiveness of teaching methods
• Evaluation
When does evaluation take place?
• Instructor to Learner Feedback
• Learner to Instructor Feedback

38
Top tips - giving feedback
• We give feedback in order to help another
person gain insight about themselves, and to
understand the impact of what they say and
do on others.
• Feedback should not focus on attitudes or
qualities, without specific examples that help the
person receiving the feedback to understand it.
For example, giving someone feedback that
they look very positive, or that they look nervous,
tells them very little about what they are doing,
or not doing. So think about specific things you
have noticed they do that leave you with that
impression about them.
• Own you thoughts, feelings and opinions by
using “I” statements e.g. “I found it difficult to
follow your instructions when you turned your
back to the group”. Statements that start
with “You” often sound judgemental to the
receiver e.g. “You were difficult to follow when
you turned your back to the group”. Keep
the feedback open and honest, short, clear
and to the point e.g. “I really liked the music
you chose and felt it fitted the movements
well”. Say what effect/impact their behaviour
had on you “I found it distracting when you
didn’t move in time to the music, and I started
to lose time too”. Suggest alternatives for
improvement; if appropriate e.g. “When I have
difficulty with that I find it helpful to ...”Don’t
give advice, especially, “If I were you I’d ...”
Avoid assumptions about what you have
noticed e.g. “You probably did that because
...” It’s not helpful, and we’ll never know why
someone did what they did.
• Think about your voice and your body
language. Keep your voice and your own
body language positive, open and relaxed
and your language objective. Keep a balance
of positive points you have observed, and
points from improvement.
• Few of us welcome criticism with open
arms, and many of us can feel awkward and
uncomfortable hearing praise, particularly in
front of other people. If caught unawares by a
critical comment, many of us can feel stung.
If we know it’s coming in advance, such as
in a feedback class, we can feel anxious and
defensive.
• Notice your feelings and listen, letting in what
is being said. Let the other person see that
the feedback is ‘going in’. It’s OK to nod
your head – it signals “I understand”, not
necessarily “I agree”.
• If the feedback is unclear, vague or
ambiguous then ask for specific examples or
for information about the effects on them e.g.
“Thanks for saying my music was good. Can
you say a bit more about what you thought
was good”.
• Accept the feedback and thank the people
who gave it. Remember it takes courage to
give feedback in a group setting.
• Look for consistency. If three people are all
saying that your style of delivery is clear and
easy to follow (and you are surprised by this)
it may be time to accept the strength that they
have noticed.
• Take responsibility for acting on feedback.
Remember that you have a choice about
what you decide to change. If you hear
many things that others would like you to do
differently that will help you, for example to
teach more effectively, then prioritise a couple
of things that you will work on first.
39
 PART 3:
DEVELOPING YOUR
EMPLOYABILITY SKILLS
BEING SELF-EMPLOYED
What are the key requirements to being
self-employed in the UK?
• UK tax requirements
• Financial business records and expenses
• Where to find relevant information and support

Industry relations and EMD UK

• Marketing yourself as a professional instructor
• Social media and interview presence

40
Preparing for your next assessment
• Identify marketing resources to promote yourself as an instructor
• Select two professional networks which could benefit your work as a fitness instructor
• Identify insurance requirements and suitable products for being a self-employed instructor

• Submit a professional CV and other supporting evidence that you feel would be beneficial to
represent you as a professional fitness instructor

Now turn to page 47 in the Learner Evidence Portfolio.

Image Credit: Exercise Move Dance

41
 PERSONAL AND
PROFESSIONAL DEVELOPMENT
Opportunities for development within
fitness sector
• Personal and professional development
• Self-reflection, evaluation and improvement
• Transferable skills
• Sources of information and how to access support
• The importance and benefits of personal and professional development
• Looking at your own skills base, identify three transferable skills
• Submit your development plan:
»» The importance and benefits of personal and professional development, self-reflection,
evaluation and improvement
»» Transferable skills
»» Identification of learning opportunities
»» Sources of information and further support

PREPARING FOR YOUR NEXT ASSESSMENT

Now turn to page 47 in the Learner Evidence Portfolio.
• Complete the CPD / action plan template

HOME STUDY TASK

• Portfolio completion – CPD action plan
• Personal CV
• Revise for theory exams
• Practical assessment preparation

42
43
 WORKING IN
THE INDUSTRY

Key Features Notes

• PPL Licences & PRS
• Downloading & recording music
• Data Protection & confidentiality
• Safety checking and manual handling
• Accident reporting
• Improving personal practice & CPD
• Memberships, licences & Insurance

44
45
 A BRIEF GUIDE TO PPL,
PRS AND PRO DUB

PPL (Phonographic PRS (Perform

Performance Limited) Rights Societ
This licence is needed to play music or music This licence is also needed
videos in public places, such as your dance/ public places. The monies
fitness classes. The money raised from these payments go to the publish
payments goes to the recording companies and songwriters.
performers.
PRS is the responsibility o
Instructors holding or organising fitness classes premises where your clas
that take place in premises other than a fitness However, it is best to check
centre (e.g. hired hall, community building or in place. If they do not, you
office) are required to take out a PPL licence
to cover those classes. Fitness centres are purchase a ‘Mobile PRS
responsible for purchasing PPL for classes in split into two levels - Level 1
their centres. (currently* £83.50 + VAT) an
classes with no higher limit
Non original or royalty free music does not + VAT).
require a PPL licence.
PRS licences cannot be ob
Not all premises require a licence, classes held UK.
in residential care homes for the benefit of
residents, or classes held for patients in hospitals To purchase a PRS lice
or hospices do not require a PPL licence. information go to prsfor
require more assistance the
PPL can be purchased through EMD UK at a 0845 309 3090.
20% discount (£1.45 per class) off of the RRP.
It is purchased annually and there is a per class
fee (current RRP £1.70).

46
orming
ciety)
needed to play music in
monies raised from PRS
publishers, composers and
sibility of the owner of the
our class is taking place.
to check that they have one
not, you can
e PRS Licence’ These are
- Level 1 is up to 60 classes
VAT) and Level 2 is from 61
her limit (currently* £134.50
ot be obtained through EMD
PRS licence or for more
prsformusic.com, if you
ance the helpline number is
Pro Dub
You will require a Pro Dub licence if you are
transferring, burning or copying music from
the internet to another device such as an iPad,
iPod, flash drive etc.
Pro Dub also is available in levels, with Level 1
probably being sufficient for teaching needs.
Level 1 allows you to transfer, burn or copy up
to 1,000 tracks (currently* £85.11 + VAT).
The Pro Dub licence does not include the right
to upload songs onto any website, ftp server
or shared network, or the copying of music for
retail or promotional purposes.
Pro Dub licences cannot be obtained through
EMD UK.
The website is prsformusic.com, type Pro Dub
in the search bar in the top right hand corner
search box. If you require more assis-tance the
helpline number is 0203 741 4500
* at time of publishing 8th February 2016
47
 MANUAL
HANDLING
Manual handling covers lifting and carrying, it is important to follow the tips below when moving or carrying
items to protect yourself and class members.
• Assess size and shape. Do you need assistance or a mechanical aid?
• Check there is enough space to make the lift
• Ensure you have the correct grip before lifting
• Stand correctly, close to the load, straight back, chin tucked in, feet apart with one foot in front of the other, facing
the direction of travel
• Lift with knees bent, use legs and not back as the lifting power
• Ensure view is not obstructed if carrying

Think about your classes, what types of things might you lift and carry before, during and after your
session?

48
INCIDENT REPORT FORM
In the instance of an accident you can use the following report form
to document the incident
Date of incident
Venue
Type of incident

Action taken

By whom

Name and signature of

injured person

Address and telephone no

of injured person

Name and signature of

teacher

Name and signature of

witness
Address and telephone no
of witness

49
 DATA
PROTECTION
What is the 1998 Data Protection Act?
The Act aims to promote high standards in the handling of personal information
and therefore protect the individual’s right to privacy. The Act requires individuals
/ organisations to process personal data in accordance with eight Principles. The
Principles of the Act are:
1. Personal Data will be processed fairly and lawfully.
2. Processed for specified, lawful and compatible purposes.
3. Adequate, relevant and not excessive.
4. Accurate and up to date.
5. Not kept for longer than is necessary.
6. Processed in accordance with the rights of the individual.
7. Processed with appropriate security.
8. Not transferred outside the European Economic Area (EEA – EU plus Liechtenstein, Norway
and Iceland) without adequate protection.

What is classed as personal information?

This is data that gives information about a living individual. In its broadest sense if the
information can be used to identify a living individual then it is regarded as ‘Personal
Data’ – this can include their name, their email address, a photograph, a fingerprint etc.

50
51
 IMPROVING PERSONAL
PRACTICE & CPD

At EMD UK we know it’s important to keep your classes fresh and up to date, thanks to our Open
Bursary it’s just got a whole lot easier. Bursaries of up to £150 are available to help teachers and
instructors like you to expand your career by qualifying in a new dance fitness or group exercise style
or approach.
Visit here for more info and to apply:
emduk.org/become-an-instructor/bursaries-funding-and-payment-plans/open-bursary-application
Once you’ve qualified from this course and received your Pro Membership Package, you’ll have
access to a wide range of support documents to help develop your skills as a teacher / instructor,
from disability awareness, to safeguarding and social media.

52
INSTRUCTOR
MEMBERSHIP
All fitness professionals are required to hold adequate insurance which covers (your) legal liability for death,
injury or illness to others and loss of, or damage to, third party property.
Our Combined Liability Insurance covers you for Personal Liability and Professional Indemnity for up to £10
million! Including Legal Liability for damages and legal costs arising out of Third Party loss, injury or damage,
in connection with organised exercise, movement and dance activities for the purpose of teaching and
promoting activities recognised by Exercise Move Dance UK.
Check out our awesome membership package (including insurance) which is built into this course. You can
take advantage of all the excellent benefits once you’ve qualified to help kick start your instructing career.

We've got you covered with our

Pro Membership Package!

Membership Associate Pro Zen Pro PT Pro Specialist

only (e.g. Zumba, B1)

Dance Fitness Insurance

Group Exercise (including

Dance Fitness) insurance and
/ or Dance

Yoga and / or Pilates

insurance

Personal Training insurance

Specialist Insurance (e.g.

Stroke Rehab, Fall prevention)

Access to Discounted REPs

Access to Discounted PPL

Access to Discounted DBS

Free access to MyGroupFit

Access to discounted Sound

Dynamics purchases

Instructor Support

Class listings

Cover my class discount

Teaching Resources

CPD opportunities

You'll receive your FREE Pro Package membership once you've qualified from your course. If you need cover
for other classes simply get in touch and we can upgrade your insurance for you! Purchasing of membership
packages is subject to relevant criteria being met. Terms and conditions apply. Please check our website for
full details.
53
 NOTES

54
55
EMD UK - 14 Graylands Estate
Langhurstwood Road
Horsham
West Sussex
RH13 4QD
#StandAtTheFront