Instructing Studio Cycling (sample manual)

Manual
Instructing Studio
Cycling
Version AIQ006852

Section 3
The key concepts of studio cycling
The benefits of studio cycling
Studio cycling classes are great for achieving new levels of cardiovascular and muscular fitness as well as general
health and wellbeing. Studio cycling also provides a useful variation on traditional training methods. As well as being
suitable for any fitness and skill level, studio cycling also gives the chance for every client to work at the maximum
intensity they feel comfortable at, thus providing an amazing workout for all.
Studio cycling can be an intense cardiovascular workout, burning 400–500 calories in a 45–60-minute session. It
can be used in a fat or weight loss programme with excellent results.
The physical benefits you may expect to see from regular studio cycling training include:
• Improved cardiovascular efficiency.
• Improved respiratory efficiency.
• Improved muscular strength and endurance.
• Improved stamina.
• Improved muscular definition.
• Improved body composition.
• Lower resting heart rate.
ACTIVITY
Describe each of the benefits
of studio cycling. Explain why
studio cycling provides these
improvements.
Hand positions
There are three designated hand positions for studio cycling, which should be used according to specific riding
techniques. The hand positions are referred to as positions 1, 2 and 3. Ensuring that the correct handlebar position
is maintained will help to eliminate upper body fatigue and aid strong posture while riding. In all positions, the hands
and wrists should be neutral to avoid joint strain.
Hand position 1
A narrow grip – generally used when mobilising joints, warming up and
cooling down. It is a good introduction to the handlebars. The hands can
be cupped one over the other if preferred. This hand position is used for
seated flat and seated sprinting.
Hand position 2
A wide grip – used within the main component of the class. As the grip
is wider, it will give more room for the chest to rise to allow the lungs to
expand maximally – this will ensure effective breathing. This hand position
is used for seated climb, running (standing flat), hill running, jumping, hill
jumping and sprinting (seated, standing and hill).
Hand position 3
Figure 3.1: Hand position 1
Figure 3.2: Hand position 2
A higher grip – used when out of the saddle and climbing with a high
resistance. It will ensure stability and, therefore, the safety of joints
throughout the whole body. This hand position is used for standing climb
and hill sprinting only.
Figure 3.3: Hand position 3
With all three hand positions you need to have a relaxed position on the bike. As with any exercise, you should make
sure that joints are not locked out, particularly the elbows, when using any of the grips. Shoulders should be relaxed,
and the head should be in line with the spine. It is essential that the body weight is controlled through the legs and
the core, and that body weight is not supported by the arms.
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The key concepts of studio cycling
Section 3
Riding positions
During a studio cycling class there will be sections that use different riding techniques. These can be utilised
in choreographed sequences that maximise both physical benefits and the opportunities for social interaction/
enjoyment within the class.
There are two main riding positions that are used – these are seated and standing. All of the techniques are
variations of these and utilise different hand positions and different resistance to change the feel of the cycle. The
riding positions are designed to replicate real riding experiences.
Seated
‘Seated’ or ‘seated flat’ riding is the basis from which other movements stem. Seated
sections in a class help to develop pedal stroke technique and stamina. The seated
position requires a medium resistance and can be used for a warm-up and recovery
in between profiles.
For a seated section, maintain a cadence of 80–110 rpm and place the hands in
position 1 on the bars. See the guide to cadence on page 23.
Seated climb
In a ‘seated climb’ on a studio cycle, the emphasis is on maintaining a strong riding
style while the resistance increases. It is important that the rider remains relaxed in
the fluid pedalling motion and does not fight against the pedals. To aid this technique,
it is often useful to shift the buttocks and bodyweight back into the saddle a little
more than in seated riding. The upper body should be stable and strong, and the rider
should resist the urge to ‘bob and sway’ as the resistance gets heavier.
For a seated climb, pedal at a cadence of 60–80 rpm and place the hands in position
2 on the bars.
Standing flat (running)
Standing on the studio cycle incorporates greater core and trunk activation, whilst
also being a welcome break from the seated position. ‘Standing flat’ riding technique
is known as ‘running’ and should be performed at moderate resistance levels, the
emphasis being on the ability to pedal at the same speed as in a seated flat whilst
pushing a slightly higher resistance. The riders’ technique when running is similar to
that of a seated flat position where the trunk is stable and balanced equally over the
left and right legs, maintaining a level hip position.
For a ‘standing flat’ section, pedal at a cadence of 80-110 rpm and place your hands
in position 2 on the bars
Standing climb
The ‘standing climb’ is an advanced technique and involves riders being out of the
saddle and pushing against a high resistance. To avoid over-pressurising the ankles,
knees, hips and spine, high-resistance climbs should be introduced slowly and
gradually. Climbing out of the saddle uses a different riding style to the seated and
running techniques; when climbing in a standing position, the weight is distributed
over each leg individually while pushing downwards on the pedals. The added
resistance that can be pushed in a standing climb will over time contribute greatly to
improved muscular strength and development in the legs.
For a standing climb, maintain a cadence of 60–80 rpm and place the hands in
position 3 on the bars.
Figure 3.4: Seated riding
position
Figure 3.5: Seated climb
riding position
Figure 3.6: Standing flat
riding position
Planning and instructing studio cycling sessions
Figure 3.7: Standing
climb riding position
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Section summary
Monitoring intensity in
a studio cycling class:
Heart rate
Heart rate has traditionally been the most commonly
used method of monitoring exercise intensity for
cardiovascular exercise.
Heart rate
Talk test
It is important to ensure clients are working at the
correct heart rate, based on their current fitness
levels, goals and ACSM guidelines.
RPE
Observation
Observation
Points of observation can include:
• Posture and alignment.
• Levels of coordination.
• Exercise technique.
• Facial expressions.
• Skin colouring (pallor around the lips may indicate
lack of oxygen).
• Sweating.
Over-exertion
Signs and symptoms of over-exertion:
• Chest pain.
• Shortness of breath.
• Light-headedness.
• Severe joint pain.
Ensure that all clients
have sufficient water
with them in an
appropriate bottle that
can fit into the studio
cycle drinks holder.
Rating of Perceived Exertion (RPE)
Borg’s Scale(Gunner borg 1982)
6-
7- very, very light
8-
9- very light
10-
11- fairly light
Modified Borg Scale
0- at rest
1- very easy
2- somewhat easy
3- moderate
12-
13- somewhat hard
14-
15- hard
16-
17- very hard
18-
19- very, very hard
20-
4- somewhat hard
5- hard
6-
7- very hard
8-
9-
10- very, very hard

Section 7
Planning a safe and effective studio cycling session
Standing gastrocnemius stretch
Teaching points
• Place hands on the handlebar for
balance and support.
• Feet hip-width apart.
• Step one foot back with large stride.
• Keep front knee bent and aligned
with ankle.
• Back leg straight, but unlocked, back
heel on floor.
• Both feet facing forward.
• Neutral spine, abdominals engaged.
• Align ear, shoulder, hip, knee and
ankle on stretching leg.
• Pelvic bones facing forward. Hold for
desired duration.
Options
• Place hands on wall for
balance.
• Four-point gastrocnemius.
Standing soleus stretch
Teaching points
• Stand facing the handlebars for
support.
• Feet hip-width apart, step one foot
back, narrow stride, both knees bent,
feet face forward, heels on floor.
• Neutral spine, abdominals engaged.
• Pelvic bones face forward.
• Drive back knee forward and sink
bodyweight down to stretch muscle.
• Hold for desired duration.
Options
• Place hands on wall for
balance.
• Kneeling soleus.
Standing hamstring stretch
Teaching points
• Standing with feet hip-width apart.
• Step one leg forward, keep the leg
straight, knee unlocked.
• Bend back leg and bend forward
from hip, sliding hands down thighs.
• Press buttocks and pelvis
backwards.
• Neutral spine and abdominals
engaged.
• Extremely flexible clients can place
the leg to be stretched on to their
bike seats or handlebars, as long
as this does not compromise the
neutrality of the spine.
• Hold for an appropriate duration.
Options
• Place foot on bench to
increase range of motion.
• Kneeling, lying or seated
hamstring stretch
variations.
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