| Liquid Rhythms |
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Consider this... Participants coming to YOUR class because of the MUSIC you play! This has certainly been an important aspect in land based classes for as long as group fitness has existed. Admittedly, this is sometimes missing in aqua classes and music is merely a background beat. When we know that music can transcend time and is a universal form of communication, why are we then using it as "something in the background"? Music Rhythms Exercise intensity can be dictated by the energy in the music. High energy music is ideal for cardiovascular components, sprints, drills, interval and circuit type classes. Low energy music can be used effectively for strength, flexibility, stability, balance and suspended exercises. And then there is everything in between, where a wide range of exercise concepts and movement patterns can be incorporated. Keeping this in mind, even within a song there is high and low energy sections. For example, choruses are usually the highlight of a song. This is when the song peaks with memorable catchy lyrics. The verse is the ‘story telling' part of the song and is usually lower in energy. As an instructor, taking advantage of these energy levels can make it much easier to either motivate participants to achieve target heart rates or get them to focus on technique and form. How To Map And Use Liquid Rhythms Step 1 Mapping your music provides you with a plan of the highs and lows of each song. There are two ways music can be mapped. Option 1.
1,2,3,4,5,6,7,8 I I I I 1,2,3,4,5,6,7,8 1,2,3,4,5,6,7,8 1,2,3,4,5,6,7,8 The maximum number of strokes you can have in one line is 4 Eg: I I I I This is referred to as a block which is a total of 32 counts (4 lots of 8 counts) Replay the same piece of music again and group and name the blocks ie; Introduction, Chorus, Verse 1, Verse 2, "wa, wa, wa" etc. What names you use in reference to each block is up to you Option 2. The second method does not actually count how many beats there are in each section, but instead, you write down the names that help you identify sections in the music ie; Introduction, Chorus, Verse 1 etc. This is useful for those who find mapping counts challenging, but still need to know, for example, where and how many ‘choruses' there are. Step 2 - Get Wet The only real and safe way to find out if an idea works is to try it yourself in the pool. Now that you have a plan of the music, try a few exercise concepts in the pool. This is when you decide whether the music is fast enough for cardiovascular exercise, or slow enough for strength or deep water concepts. Moving around in the water with the chosen song will greatly encourage creativity. Identify exercises that would be effective for each a section eg: Jacks with tucks = Chorus Kicks in front = Verse 1 Jogging with arms forward and side pushes = Instrumental Step 3 - Try it in class The first few times that choreography is attempted in class there will be varying levels of success. This will be a reflection of your own teaching skills and how you are able to apply it in this format. Remember that no one is brilliant the first time or even the second, but once you are comfortable with what YOU have put together, then it will become more natural. Ask participants for their feedback. This is invaluable as it will guide you on how to work on your delivery. Sometimes you can, in your earnest to plan well, have too many moves or unfamiliar exercises. Your class will be able to tell you if this is the case. Ask specific questions about sections you are not sure about. This will ensure that you get the type of feedback that will help you to improve. Step 4 - Review and assess Not everything will work. You may find that an idea or move does not flow well, or receive feedback from participants that suggests you need to change something. This can be looked upon as an opportunity to use your classes to improve your teaching skills as well as delivering a workout to your clients. No one is perfect, but strive to become the best that you can be. Step 5 - Start the process again Yes, choreographing and class planning can be time consuming, but the end result is a class that you know that will work time and time again. Here is what you will know and achieve by completing this process:
Liquid Rhythms Consider what rhythms and energy could be created with Latin, Arabic, Indian, American Swing, Country and Western, Jewish, French, Classical, Musicals and Operas. When using music from different sources, try to interpret with movements that are inspired by the piece. For example classical music evokes memories of ballet so use an effective aqua move that best fits with this style, e.g. hands on hips and a flick kick forward. Questions to ask yourself:
Get in! Try it out, and find out what sheer pleasure it is to move with the music rather than having it as a motivating background. The exercises described here are one that I mapped for On The Beautiful, Blue Danube by Strauss. This song is available on Liquid Rhythms 2 from Music and Motion Studio. Introduction Exercise 1. Knee lift and double flick kick, hands on hips This exercise is a grounded move (no propulsion) so it will challenge core stability and balance
Exercise 2. Giant flick kicks This exercise is a propulsive move and is performed as the music gains intensity in the introduction. It will also increase heart rate.
First Instrumental Exercise 3. Hip abduction and adduction This exercise is a grounded move (no propulsion) and it will challenge core stability and balance.
Exercise 4. Kicking Combination This exercise can be performed in both shallow and deep water. It works most of the muscles in the body, as it is a compound exercise that involves a full body movement to perform the 270 degree kicks. It is very important to keep changing the body position to compliment the kicking leg action, so that the body is always in alignment.
In deep water, the non working leg, is suspended with a slight bend in the knee to bring the ankle float under the body. This makes the movement much more controlled.
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