CONTRIBUTORS
Maureen Baker ISTD, MBBO, Dip CR
Training Director, Les Mills International Ltd
Emma Barry B Phys Ed
Creative Director, Les Mills International Ltd
Bryce Hastings Adv Dip Phys, MNZSP
Technical Consultant, Les Mills International Ltd
Pete Manuel
International Master Trainer, Les Mills International Ltd
Master Trainer, Fitness Professionals Ltd, UK
Dan McDonogh Dip Recreation Management
Program Director RPMTM, Les Mills International Ltd
Glen Ostergaard BSc
Program Choreographer RPMTM, Les Mills International Ltd
Phillip Mills BA
Founder, Les Mills International Ltd
Mike McSweeney
Past RPM™ Product Manager, Choreographer and International Master Trainer, Les Mills International Ltd
Steven Renata MCom
Agency Support Manager, International Master Trainer, Les Mills International Ltd
Bridget Armstrong MHSc (Hons), Post Grad Dip Phys, MNZSP, MNZMPA
Education Manager, Les Mills International Ltd
Special Thanks To
Michelle Bridges (Les Mills Asia Pacific)
© 2006 Les Mills International Limited. All rights reserved. No part of this document may be used, stored or
reproduced in any form or by any means without prior written permission from LMI International Limited.
Requests and enquiries concerning reproduction and rights should be addressed to Les Mills International
Limited, 150 Victoria Street West, Auckland, New Zealand, P O Box 91137, Auckland Mail Centre.
Telephone +64 (09) 366-9900.
Report Coordinator: Bridget Armstrong
Word Processing Software – This document has been created using Word 2000.
Table of Contents
Message from Phillip Mills........................................................................................................................... 1
Welcome to Les Mills................................................................................................................................... 2
The 5 Key Elements to Packing Classes ................................................................................................ 5
Reflections on the Masterclass.................................................................................................................... 8
Les Mills Culture.......................................................................................................................................... 9
What is RPM™?........................................................................................................................................ 10
The Science Behind RPM™...................................................................................................................... 11
Choreography to WOW! Your Classes....................................................................................................... 18
RPM™ Choreography............................................................................................................................... 22
Role Model Technique............................................................................................................................... 28
RPM™ Technique...................................................................................................................................... 30
RPM™ Technique Class............................................................................................................................ 54
Worksheet: Role-model Technique to Pack Classes..................................................................................56
Coaching Mastery...................................................................................................................................... 58
Coaching to Pack RPM™ Classes............................................................................................................ 62
Instructor Scripting Sheet........................................................................................................................... 73
Worksheet: Day 1 Checklist....................................................................................................................... 74
Worksheet: Day 1 Journal.......................................................................................................................... 75
Connecting................................................................................................................................................. 77
Worksheet: Connecting Mind Map............................................................................................................. 81
Creating Fitness Magic.............................................................................................................................. 83
Les Mills Quality Assurance....................................................................................................................... 89
Assessment Self-analysis Form................................................................................................................. 92
Assessment Cover Sheet.......................................................................................................................... 93
Instructor Assessment Form...................................................................................................................... 94
Program and Quarterly Launches.............................................................................................................. 97
Worksheet: Day 2 Checklist....................................................................................................................... 99
Worksheet: Day 2 Journal........................................................................................................................ 100
Ongoing Fitness Training......................................................................................................................... 101
Instructor Action Plan............................................................................................................................... 105
“Get in the Zone with RPM™” Brochure.................................................................................................. 106
I
II
Message from Phillip Mills
People these days are getting busier and busier. We currently work 30% more hours than we did in the
1960s. As we become busier we no longer have time for traditional sports and leisure activities. We don’t
exercise, we eat fast food and we get fat. In families, typically both parents work and don’t have time to
take the kids to play sports. So the kids eat junk food and play computer games and they get fat too.
Obesity is predicted to be the number one health problem of this century. It is growing at epidemic
proportions and isn’t predicted to peak until the next decade.
At the other end of the scale, however, is a growing group who know we have to do something about this.
The number of people using health-clubs in most developed nations has doubled over the past 10-15
years. Partially driven by people’s time constraints, going to the gym is becoming the biggest ‘sport’ in the
Western world.
For us in the fitness industry, the challenge has been to replace the fun and camaraderie that were
previously created by traditional sports activities. Until recently, going to the gym had been a pretty
uninspiring experience. If we go back 20 years, for instance, standard gym activities like riding an exercise
bike were tedious and boring. Over time, the equipment got better and we saw innovations like the cardio
theatre. Riding our exercise bike became less boring, but it remained something of a chore.
Then in the 1990s came a major change. Aerobics, which had bubbled away in a niche through the ‘80s,
became the Group Fitness revolution. Suddenly you could ride your bike in a social environment with
inspiring music and a great instructor to motivate you. The same thing happened with weight-training,
martial arts, yoga, dance classes and a host of other activities. Instead of being a chore, this new way of
training became something that people loved and wanted more and more.
At Les Mills we have been passionately devoted to creating this revolution for over 25 years. We welcome
you to the team and hope you will share our passion for the cause. As Group Fitness instructors you bring
health, community and magic to people’s lives. What you do is very, very important.
Kia ora tena koutou.
Arohanui.
Welcome and good luck.
Phillip Mills
Les Mills International
© 2006 Les Mills International Limited
1
It’s about you…
Creating life-changing fitness experiences everytime, everywhere
Said another way, you are responsible for the environment to promote positive change for your
participants. And change can come in many forms – big and small. Getting a result, caring for health,
feeling great, escaping everyday life or simply enjoying music and movement with others.
Your job is to make sure this happens every time you teach, every place you teach, wherever you are in
the world.
Never been on stage? Just started teaching?
Have courage. You are beginning an exhilarating journey and you will be supported every step of the way.
Been teaching a while? Months? Years? Decades!
Become a beginner again. Take a risk. Step outside your comfort zone. Explore new ways to become
better at your craft.
Regardless of your background, you are joining a passionate group of people committed to health, fitness
and fun.
Welcome to Les Mills.
© 2006 Les Mills International Limited
2
Be a Leader
Changing the world takes bold people, leaders. And the best leaders don’t talk about it, or even do it – they
live the path. We share an ethic in the Les Mills Creed:
We are the warriors in the battle against sedentary lifestyle
We are here for the people in our classes
We honor our program, our peers and our club
We keep ourselves in peak physical condition
We love music and exercise
We welcome feedback
We create magic fitness experiences
We strive to be star performers and remain team players
By inspiring positive change in our classes we can change the world
To change the world you need to teach from a place of strength. Our job is to help you get there. Together
we can make great things happen. Are you ready?
© 2006 Les Mills International Limited
3
Think BIG. Keep the spirit alive.
Keep writing until you reach the end of the page.
So what are your strengths?
What are you passionate about?
How well do you communicate with people?
What is your story? Your experience of exercise so far…
What changes do you dream of making?
© 2006 Les Mills International Limited
4
Your measure of success
Let’s face it – the ultimate test of successful group fitness teaching is big class numbers. Your job is to grow
class numbers, reaching as many people as possible – one class at a time, one person at a time.
You’ll know you’re there when your classes are packed!
The 5 Key Elements to packing classes
1.
Choreography to WOW! your class
2.
Role model Technique
3.
Coaching mastery
4.
Connecting
5.
Creating Fitness Magic
© 2006 Les Mills International Limited
5
I think the biggest challenge for me out of the 5 Key Elements will be…
© 2006 Les Mills International Limited
6
Nail the basics
Les Mills programs deliver a result. Your specific role is to deliver safe, effective classes. To do this you
must satisfy some basic teaching skills. These form your criteria for assessment.
Find your way to greatness
Your road to great teaching is a personal one. You have unique strengths and must teach from these. But
don’t stop there – take the many opportunities within the Les Mills system to stretch yourself. Great
instructors have a huge repertoire of skills they draw from. Build yours so you can bring more of yourself on
stage.
Use this resource to develop your skills
This book is the beginning of a conversation. Inside you’ll find concepts that have served many instructors
over the decades and can help you become a powerful instructor.
This is a great resource to revisit. Your career unfolds in many ways. Sometimes you’ll just need a reminder
of the basics. Other times you’ll be ready to extend your skills. Or simply remember why you love what you
do!
So grab a pen and fill in the gaps…
© 2006 Les Mills International Limited
7
REFLECTIONS ON THE
MASTERCLASS
© 2006 Les Mills International Limited
8
LES MILLS
CULTURE
Haka and Hongi – Maori traditions in the Les Mills culture
Many of the original Les Mills trainers have Maori heritage
and have enriched the culture of Les Mills with their traditions and customs.
For example, many countries have Les Mills newsletters called “Kia Ora”
– a common Maori greeting.
Two of the most popular Maori traditions are the Haka and the Hongi. The haka is an ancient warlike
challenge with fierce movements performed to a Maori chant. It is famously used by New Zealand’s
national rugby football team – the All Blacks, and other national representative teams at the start of their
matches.
It is now also a regular custom at Les Mills events to symbolize the global challenge for our ‘warrior-like’
instructors in the war against obesity.
Also part of the Les Mills culture, the hongi is the Maori welcome expressed by the pressing of noses,
something akin to the Western custom of kissing someone by way of greeting.
The literal meaning of hongi is the ‘sharing of breath’. In the hongi (traditional greeting), the ha or breath of
life is exchanged and intermingled. Through the exchange of this physical greeting, you are no longer
considered manuhiri (a visitor) but rather tangata whenua, one of the people of the land. When Maori greet
one another by pressing noses, the tradition of sharing the breath of life is considered to have come directly
from the gods.
In Maori folklore, woman was created by the gods molding her shape out of the earth. The god Tane
(meaning male) embraced the figure and breathed into her nostrils. She then sneezed and came to life. Her
name was Hineahuone (earth-formed woman).
Les Mills trainers and instructors often greet each other with a strong Roman-style handshake incorporating
the hongi into their greeting.
© 2006 Les Mills International Limited
9
WHAT IS
RPM™?
RPM™ is the indoor cycling workout where you ride to the
rhythm of powerful music. Take on the terrain
with your inspiring team coach who leads the pack through
hills, flats, mountain peaks, time trials, and interval training.
Discover your athlete within – sweat and burn to
reach your endorphin high.
RPM™ is the ride that brings out the athlete in all of us.
© 2006 Les Mills International Limited
10
THE SCIENCE
BEHIND
RPM™
Knowledge is power
How can we claim that RPM™ is the calorie burner? What is the science behind achieving results in
RPM™?
Everything you need to know about ‘how and why’ the program works is here in these pages. So take it
upon yourself to understand more about the physiology, physical changes and benefits of RPM™.
You will be a master coach when you draw on your scientific knowledge of the program and use it to better
educate and individually motivate the people in your class. To help you we have given you ‘knowledge’ and
some ideas on ‘what you should say in class’.
What does RPM™ do for you?
1. RPM™ burns calories
Your body needs energy (measured in calories) to perform physical activities. The energy is supplied to the
body through one of three energy systems, which are either aerobic or anaerobic:
 Aerobic system (fat and carbohydrate)
 Lactate anaerobic system (carbohydrate)
 Phosphate anaerobic system (carbohydrate)
The shift between energy systems depends on the intensity and the duration of an activity. Short, intense
bursts of exercise rely mainly on the anaerobic systems while lower intensity longer types of exercise use
mostly the aerobic system.
Research1 has shown that RPM™ burns between 600 and 700 calories per 45-minute class. You can see
why it is called the calorie killer.
The demands during the class followed by the need for muscles to recover afterwards results in an
increased resting metabolism. Resting metabolism will also increase in a regular RPM™ participant as their
lean muscle mass increases as these tissues require ongoing energy supplies for sustenance.
© 2006 Les Mills International Limited
11
RPM™ burns calories and keeps burning calories after class.
2. RPM™ improves your cardio fitness
When you exercise regularly your cardiovascular system becomes stronger and more efficient. If you
exercise at high intensities your cardiovascular system becomes even stronger and more efficient. You can
measure the relative intensity of your exercise by looking closely at how fast your heart beats per minute ie
your heart rate (HR). On average, your maximum heart rate (MHR) is calculated at 220 minus your age.
RPM™ has been shown to train participants in a range of 65 – 90% of their estimated maximum heart
rate1. This falls within the intensity range as recommended by the ACSM for an effective cardiovascular
workout.
Associated with improved cardiovascular fitness are the following benefits:
 Reduction in blood pressure
 Increased HDL-cholesterol (good cholesterol)
 Decreased total cholesterol
 Increased aerobic work capacity
 Improved heart function
 Decreased resting heart rate
 Increased stroke volume (an increase in the quantity of blood leaving the heart with each beat)
 Increased mobilization and utilization of fat
In general, cardio respiratory fitness is recognized as the most important health component.
RPM™ gets you fit and keeps you fit. It helps reduce the risk
of heart disease.
© 2006 Les Mills International Limited
12
3. RPM™ increases your lean muscle mass by improving muscle strength and endurance
Improved muscular definition is the most noticeable result from doing RPM™. This happens as a result of
an increase in lean (fat-free) muscle mass and a decrease in overall body fat. The amount of relative
muscle gain and fat loss varies between participants. The rate of improvement depends largely on
someone’s initial level of fitness, how often they do a class and how hard they work during the class.
RPM™ participants of average fitness levels can expect to see and feel positive changes in body shape by
doing 2 to 3 classes per week over a 6 to12-week period.
RPM™ is an endurance-based class. Endurance training recruits mostly Type I muscle fibers, which are
the smaller diameter muscle fibers used during sustained activities. This is the main reason why overall
hypertrophy from RPM™ is low. The intensity is based on volume – not resistance. In other words, you
won’t bulk up as a result of doing RPM™. Instead you will achieve lean muscle mass that is stronger and
has better endurance.
Strength
Strength gains occur in the first few weeks of RPM™ training due to the improved efficiency of the neuromuscular pathways. Initial strength gains therefore can happen quickly and then will often plateau as the
training continues. Further gains can be experienced at around 6 to 8 weeks as the body develops extra
muscle fibers to cope with the demands of the class. The amount of new muscle generation will again
depend on the fitness level and strength of the new participant.
RPM™ tones muscles, changes your body shape, increases your metabolism,
and makes you stronger.
How does RPM™ do these things?
Exercise selection
The exercises within each track of the RPM™ workout have been selected to cater to the resistance
training needs and cycling abilities of the general population.
Exercise sequencing
The tracks are ordered with the following considerations taken into account:

Warmup phase to raise core body
temperature, increase mobility, and prepare physically and mentally.
© 2006 Les Mills International Limited
13

active recovery to condition specific energy systems.
Use of repeated intervals and

varied resistance to increase muscular strength and endurance.
Use of repeated inclines and

Use of active recovery and
postural breaks between tracks to ensure workloads remain achievable and effective.

Cooldown phase including
recovery spin and postural stretches to promote flushing of oxygenated blood and return to a steady
state.
Exercise intensity – Self-regulated
The ability to regulate individual intensity is a key benefit of RPM™ training. During the initial 12-week base
period, new users can regulate intensity by limiting the amount of resistance they use and their cadence.
Participants can progressively increase resistance and cadence to achieve relative results on a continuing
basis.
How does it fit into my training plan?
We recommend you do RPM™ 2–3 times per week for the best result. A rest day in between or doing some
resistance-based exercise or stretching will provide you with a balanced fitness training regime. Rest days
allow your muscles to recover.
For frequent group fitness class goers, RPM™ provides an effective cross-training workout. For cycling
enthusiasts it provides an effective indoor alternative.
Is it for everyone?
Cardiovascular training has become an important component of all fitness programs, whether your goals
are weight loss, muscle toning, rehabilitation or sports conditioning. RPM™ provides a time-effective
calorie-burning solution on a bike, improving daily activities for all ages including those with special needs.
RPM™ and pregnancy
General advice
Women need to seek medical clearance from their doctor or lead caregiver before exercising during
pregnancy. There are some health conditions and pregnancy conditions that make exercise unsafe or
uncomfortable.
Pregnant women in class should be encouraged to monitor their own intensity. We recommend that they
work at a moderate intensity. In RPM™ this can be achieved by reducing the cadence (speed) and
© 2006 Les Mills International Limited
14
resistance (load). Also raising the handlebars will make the experience more comfortable for many women
as they progress through their pregnancy.
Invite them to discuss their progress with you. Use the guidelines outlined below and if you are unsure of
how to answer questions, ask them to seek advice from their pregnancy caregiver.
Tell them they should listen to their own body first – if it doesn’t feel right, then don’t do it.
Things to avoid:
 Dehydration
Inform pregnant women to keep well hydrated. They should have frequent sips of water before, during
and after class.
 Hypoglycemia (low blood sugar)
Have small complex carbohydrate snacks before class.
 Over-heating
Keep cool for greater comfort.
 Becoming overly fatigued or tired
Encourage them to rest when they need to.
 Over-stretching
Hold stretches at a ‘maintenance’ level.
Pregnancy hormones begin to cause changes in women immediately. From an early stage of pregnancy
some women opt out of exercise. Others may need to change the intensity and duration of training due to
symptoms of fatigue, light-headedness, nausea and vomiting and tachycardia or breathlessness. Once this
phase is over (0–12 weeks) and women rejoin class, they need to begin at low intensity and build up until
they are comfortable with the mainstream again.
However, other women feel fine carrying on ‘as normal’ and this can be encouraged without worry if they
have no contraindications to exercise in early pregnancy (as advised by their pregnancy caregivers). This
advice is consistent with the recommendations of the ACOG (American College of Obstetricians and
Gynecologists)2.
Participants will vary as to what stage of their pregnancy will require that they stop doing RPM™ prior to
childbirth. Again, this will need to be discussed with their caregiver.
Doing RPM™ while pregnant is a personal choice. There are many benefits of continuing exercise while
pregnant and it is generally accepted that providing pregnant women are sensible with their exercise
regime, they should be able to continue with existing programs well into their pregnancy.
© 2006 Les Mills International Limited
15
RPM™ and younger populations
RPM™ provides an ideal training environment for instilling and improving cardiovascular fitness in younger
populations.
RPM™ and older populations
RPM™ provides an ideal training environment for improving cardiovascular fitness in older populations.
Medical clearance should be obtained prior to commencing RPM™, particularly if the individual has had a
long time away from exercise or is experiencing any health issues. After starting classes, a graduated
approach should be taken to slowly increase the demands of the class.
Where’s the fun?
Forms of movement that interpret music creatively not only have physical benefits but also have emotional
therapeutic effects. Exercising this way and in a group environment is compelling and makes you feel
energized. Research has told us that regular participation in RPM™ classes encourages participants to
experience feelings of strength, assertiveness and self-confidence. Working in a group also allows you to
achieve a volume of work that you may not be able to replicate on your own.
References:
(1) Lythe, J., and P. Pfitzinger, Caloric expenditure and aerobic demand of BODYSTEP™, RPM™,
BODYCOMBAT™ and BODYATTACK™. 2000, Unisports Centre for Sport Performance: Auckland.
p. 1-15.
(2) Artal, R and M. O’Toole, Guidelines of the American College of Obstetricians and Gynecologists for
exercise during pregnancy and the post-partum period. British Journal of Sports Medicine, 2003.
37 (1): p. 6-12.
© 2006 Les Mills International Limited
16
Notes
© 2006 Les Mills International Limited
17
CHOREOGRAPHY
TO WOW!
YOUR
CLASSES
To grow your class numbers you need to deliver a product people love.
This means great choreography set to great music.
Your job is to learn your choreography 100%.
Your recipe for success
Because two vital ingredients of a fantastic class are quality music and movement, we provide you with
original music and choreography created by experts who focus on nothing else.
Now you are free to inject all your energy and creativity into delivering a life-changing fitness experience.
Everything you need every three months
Each quarter you’ll receive a program kit containing all the teaching resources you need:
 Fresh new music
 Class footage and education
 Choreography and education notes
Do what great live performing artists do
Dancers, musicians, public speakers and actors all know their material intimately, allowing them to focus
completely on its delivery.
The better you know your choreography, the freer you are to teach. The better you know your music, the
more you can bring it to life and connect with your class. The better you understand the supporting
education, the closer you can move yourself and your class toward mastery.
© 2006 Les Mills International Limited
18
Each release is predictable yet different
Every program follows a standard structure and delivers on a promise. This makes sure your participants
get the experience they came for, regardless of time slot or instructor.
The variety within each class is shaped by the musical journey and the training objectives. You’ll notice that
each release has its own special focus, innovations and magic moments. This spice keeps it interesting for
participants over time.
Music is a key motivating force in creating fitness magic. Choreographers typically select a release from
over 2,000 songs.
Every song in a release is deliberately placed to create a journey.
Know that decades of development sit behind each new release
Les Mills has been creating safe, effective programs since 1980. Each release is navigated through
industry standards, tested and trialed by movement experts, and injects the most magic per minute. The
marketing tools provided to your club support this.
Move toward mastery
Like anything new, learning choreography can be difficult at first. With focus and practice, it becomes easier
over time.
Find your formula to learning choreography
Find the best way you learn choreography: usually it’s a mix of watch, listen and do. Find the formula that
allows you to learn choreography quickly and accurately.
 Attend as many Quarterlies as you can to experience great role models…
 Watch, listen and do your DVD several times…
 Look for patterns in the choreography notes and visualize them…
 Take notes…
 Listen to your music in the car… in the shower… any time…
 Get actively involved in Club Launches…
 Set aside preparation time before every class…
© 2006 Les Mills International Limited
19
My formula is:
YOU KNOW YOU’RE THERE WHEN…
You learn choreography quickly and effectively
You feel confident and excited about delivering a new class
You can play any song on the release and your body knows the riding position
© 2006 Les Mills International Limited
20
NOTES
© 2006 Les Mills International Limited
21
RPM™
CHOREOGRAP
HY
The format
The RPM™ class format has been proven over time to deliver a high calorie-burning workout that gets
results.
Class objective
The overall objective of an RPM™ class is to burn calories and improve all areas of cardiovascular fitness
on an indoor bike. You achieve this objective by following the 9-track class structure on the next page.
Each track has a specific training objective and unique visual ride (terrain/profile). The tracks have been
purposely sequenced to ensure a balanced, effective workout and that the benefits of this aerobic training
are optimized.
All the safety features (such as music speed, riding positions, cadence, load, and active rest periods) are
built into the choreography. Instructors MUST adhere to ALL these safety features. They form the basis of
competent assessment in this key element.
Your role is to coach an RPM™ experience where each rider
is achieving personal success and enjoyment.
It is compulsory that every class you teach is structured following the class format on the next page. Any
deviation from this format will destroy the unique blend and dynamics of the class and participants will not
receive the associated benefits. The best results are achieved when the class is timetabled in a 45-minute
slot. However, there are situations where this is not possible, such as lunchtime classes; therefore a
compulsory 35-minute class format has also been designed. As well as these two formats we also provide
you with an extended 60-minute format. Again, there is to be NO deviation from the class structure/s
outlined on the next page.
© 2006 Les Mills International Limited
22
How long should I teach the new release for?
Once your club has launched the new release and you have been cleared to teach, you should begin to
use it immediately. Teach the entire new release for a minimum of two weeks and a maximum of four
weeks and then start to integrate other tracks. We suggest you replace at least half of the new tracks with
previous release tracks. Then you will not only ensure variety in music but participants will still experience
the magic, excitement and training effect of the new launch tracks.
Guidelines for mixing and matching different releases
1. Follow the compulsory formats outlined in this manual for 45, 35 or 60-minute classes.
2. Only deliver tracks from Release 24 and onwards. This will keep your class up to date with
choreography and training concepts, such as the Cadence Ladder.
3. It’s important to ensure continuity and flow in each class – push play and go! So, to keep transitions
timely it is recommended that you only work with two Release CDs and the best time to change-out the
first CD is after Track 4.
4. Remember to balance track selection by mixing up song styles and artist gender.
Track and Training Objectives for RPM™
45-minute Class Format
TRACK NAME
TRAINING OBJECTIVE
1. Pack Ride
To warm up the riding muscles, create the social feel of a pack ride and
focus on riding technique and pedal stroke.
2. Pace
To further prepare the body for the work ahead by increasing intensity
through load, pace and recovery.
3. Hills
To build leg strength and endurance through increased load, using
Seated and Standing Climbs.
4. Mixed Terrain
To work with and control different loads and speeds across varying
terrains.
5. Intervals
To increase anaerobic ability by maximizing load, speed and recovery.
6. Free Spin
To experience active recovery through variations of speed work.
© 2006 Les Mills International Limited
23
TRACK NAME
TRAINING OBJECTIVE
7. Mountain Climb
To increase strength, endurance and power through increased intensity
and load in this final physical peak.
8. Ride Home
To recover cardiovascular systems and flush the legs.
9. Stretch
To restore joint, muscle and soft tissue mobility. To coach effective
stretching of all major riding muscles.
35-minute Class Format
TRACK NAME
TRAINING OBJECTIVE
1. Pack Ride
To warm up the riding muscles, create the social feel of a pack ride and
focus on riding technique and pedal stroke.
2. Pace
To further prepare the body for the work ahead by increasing intensity
through load, pace and recovery.
3. Hills
To build leg strength and endurance through increased load, using
Seated and Standing Climbs.
4. Intervals
To increase anaerobic ability by maximizing load, speed and recovery.
5. Free Spin
To experience active recovery through variations of speed work.
6. Mountain Climb
To increase strength, endurance and power through increased intensity
and load in this final physical peak.
7. Ride Home
To recover cardiovascular systems and flush the legs.
© 2006 Les Mills International Limited
24
60-minute Class Format
TRACK NAME
TRAINING OBJECTIVE
1. Pack Ride
To warm up the riding muscles, create the social feel of a pack ride and
focus on riding technique and pedal stroke.
2. Pace
To further prepare the body for the work ahead by increasing intensity
through load, pace and recovery.
3. Hills
To build leg strength and endurance through increased load, using
Seated and Standing Climbs.
4. Mixed Terrain
To work with and control different loads and speeds across varying
terrains.
5. Intervals
To increase anaerobic ability by maximizing load, speed and recovery.
6. Free Spin
To experience active recovery through variations of speed work.
7. Hills
To build leg strength and endurance through increased load, using
Seated and Standing Climbs.
8. Free Spin
To experience active recovery through variations of speed work.
9. Mountain Climb
To increase strength, endurance and power through increased intensity
and load in this final physical peak.
10. Ride Home
To recover cardiovascular systems and flush the legs.
11. Stretch
To restore joint, muscle and soft tissue mobility. To coach effective
stretching of all major riding muscles.
© 2006 Les Mills International Limited
25
New participant technique class format (30 minutes) – Full format discussed in Technique Section
STEP
FORMAT
Step 1
Pre-Class
Step 2
Introduce the RPM™ brochure called “Get in the Zone with RPM™”
(5 mins)
Step 3
Discuss the RPM™ essence and class format (10 mins)
Step 4
Practical session (10 mins)
Step 5
Discussion (5 mins)
The RPM™ brochure is available to download from eClub, the Les Mills website for club resources, which
is accessed from the homepage of www.lesmills.com. The club you teach for will have been given the login
and password required to access eClub. The brochure can be found in the RPM™ section under the
Campaigns menu option.
USING YOUR MUSIC AND THE CHOREOGRAPHY
NOTES
The music
Mastering choreography begins with becoming familiar with each song. RPM™ uses original music so the
power of each song is not diluted. Each song or track has its own style and the feel is captured in the
choreography, which is designed specifically to enhance the musical journey. Listen out for the lyrics that
capture the essence of the program.
The choreography notes
You will teach powerful effective classes if you read all of the information provided for you in your
choreography notes. Not only do you receive a complete breakdown of the choreography but you are
given:
 Coaching cues such as, “start to build leg speed”, “lock and load”
 Coaching tools such as the 6 P’s of RPM™
 The profile or terrain for each track
 Ideas on how to interpret music and create class magic
 Ongoing education keeping you up to date with program trends and choreography
 Coaching focus/track objectives
 Program/track benefits
© 2006 Les Mills International Limited
26
How do you read the choreography?
First you follow the music and then read the position that matches. Every beat is counted for you so you
know exactly where you are as you listen to the song. Ideas on how to teach and cue the position are also
written alongside the exercises.
How to learn and understand the choreography for each track
Understand the profile of the ride and visualize the terrain you will be riding ie flat road, inclines, descents.
Know the music inside out. Understand the structure of the music. Know how many counts are used for
each position change eg, 4x8 Ride Easy followed by 4x8 Racing. Also get to know the musical landmarks
that help to tell you where you are within the track ie music change, a lyric or sound effect.
Learn the sequence of riding positions and how they relate to the riding profile. Really think about how
the ride changes with the positions used.
Learn the changes of pace. This will establish the speeds we are riding at, reflecting intensity and terrain.
Included in pace is use of the Cadence Ladder (in Tracks 2, 4 and 6). This is COMPULSORY. Every
instructor MUST ride the Cadence Ladder. It is not an option but rather part of the track choreography.
Know the resistance changes. The amount of load determines intensity and terrain.
Use the coaching cues as a guide. Script your own ideas based on the 5 Key Elements, the track’s
training objective, and your own track objective.
ASSESSMENT GUIDE
Do I know the choreography for each track?
Do I follow the correct format?
Do I balance my track music selection?
© 2006 Les Mills International Limited
27
ROLE MODEL
TECHNIQU
E
Grow your class numbers by becoming such a fantastic role model
your participants aspire to move like you.
Your job is to be an example of perfect technique.
You are a powerful role model
People come to class to get results. The main way they achieve them is by following you. The way you look
and the quality of your movement determines their physical experience. Great technique forms the
foundation of your teaching.
You can build class numbers by executing crystal-clear movement with energy. This will bring the best out
of your class physically.
Transcend to inspirational movement
Consider some of the best physical performances in the world – Olympic gymnasts, professional dancers
and athletes, the Cirque Du Soleil. Not only are they awesome examples of precision and power but you
also feel the emotion of their movement – their sense of flow or connectedness. The difficult appears
easy… you can achieve this too.
Move toward mastery
A great way to improve is to do what successful instructors do. Try some of the following tips.
Get fit to teach
No excuses here – you need to be in shape! To execute every repetition, every track for the entire class
and to coach well, you need to train specifically for your program.
Because your participants generally work at a lesser movement quality and intensity than you, you have to
be ‘larger than life’ to get more from them.
© 2006 Les Mills International Limited
28
Be a perfectionist with your technique
Review your execution fanatically and eliminate the habits that keep you from perfect movement. Practise
in the mirror and videotape your class on a regular basis. Demand peer review. Become your own harshest
critic.
Practice, practice, practice
Discipline and practice will get you there but the practice has to be perfect. Perfect Practice! Perfect
Practice! Perfect Practice!
Become an active member of your Club Launch team and take the opportunity every three months to tidy
up technique with your peers.
YOU KNOW YOU’RE THERE WHEN…
Your participants start to ride with great technique
Your participants tell you they are inspired by the way you ride
A peer, trainer or manager tells you that your riding technique is perfect
© 2006 Les Mills International Limited
29
RPM™
TECHNIQU
E
People love the intensity, the adrenalin rush, the high they feel from the energy of the group and they love
the simple athleticism of the program. But we know that they also come to get results – they want to
increase their fitness and achieve other exercise goals. To do this they have to ride with great technique –
and they’ll do this by copying you. You have to become an expert in RPM™ riding technique.
How to role-model RPM™ technique
To be an effective role model you have to learn how to execute all of the RPM™ riding positions perfectly.
You’ll also need to demonstrate how to increase the intensity of some positions to challenge those
participants who want the maximum benefit from your class, as well as decrease exercise intensity for the
less able or fit. There are five components of great technique and to be an outstanding role model you
need to be competent in all of them. They are: Position, Execution, Timing, Fitness and Feel.
Let’s take a look at each of these components and how they are assessed. The rest of this section shows
all the riding positions that are used in RPM™ along with information about how to coach them.
Your technique is assessed under five key areas:
1. Position
Aligning your body correctly creates the foundation for effective cycling techniques. Many people have poor
natural posture and alignment. Your challenge as an RPM™ instructor is to set up and maintain correct
posture and body alignment in every position for its duration.
2. Execution
Cycling execution is determined by the riding position. Each position places different demands on the
stabilizing musculature and loads the muscles through a varying range. It is essential that the fundamental
cycling techniques are followed no matter what the riding position. These are ‘cycling in circles’, ‘equal
power input’ and a ‘dynamic ankle’ movement.
© 2006 Les Mills International Limited
30
3. Timing
You must work with the rhythm of the music (on the correct beat) and ‘paces’ in the choreography to
achieve role-model technique. Poor rhythm interpretation will mean poor riding technique and a frustrating
experience for people in class.
You will experience exceptions to the rhythm rule in our high cadence tracks, Tracks 2, 6 and sometimes
Track 4. We call this the Cadence Ladder. It is COMPULSORY that instructors ‘ride the ladder’ and at the
paces indicated in the choreography notes. Failure to do so will result in assessment failure.
Use of the Cadence Ladder will see a ‘build-up to top speed or pace’ where we encourage people to
achieve their personal top speed, with control, for short bursts throughout the track. We coach them to then
shift their focus to recovery by using slightly lower speed intervals for both recovery and build-up phases.
However, there are also times when we encourage people to ride just in front of the beat, for brief
periods of time (using the same load), to give them the opportunity to ‘power train’.
Apart from these two situations, we always ‘bike to the beat’ or, if you prefer, ‘ride to the rhythm’.
4. Fitness
You must role-model perfect technique every turn of the wheel, every track, every class. If you lack
endurance, you will fatigue and lose form. Stabilizing your body and maintaining each riding position will
help you to work with big resistance, avoiding fatigue and minimizing the risk of injury.
5. Feel
RPM™ is a program about riding with the rhythm in an authentic cycling journey or experience. You need to
demonstrate the appropriate energy, look and cycling attitude. You will be a powerful role model when you
coach your class to personal success by bringing out their inner athlete.
Novice options
New people to RPM™ may find the cycling cadence in seated or standing positions challenging. Before
and during tracks, remind them they can decrease resistance and/or cadence or go to the seated position
during standing phases. Participants should be encouraged towards prescribed intensity but use options
whenever form is compromised.
Technique Assessment
You will be assessed for competency in all but two of the riding positions using the RPM™ assessment
schedule under the movement areas above. Being competent in all positions is vital to obtaining your
license to teach.
© 2006 Les Mills International Limited
31
RPM™ Bike Setup
Before any ride can begin you must first learn how to set up yourself and your participants correctly on the
bike. Taking the time to help your participants size their bikes will only take you a few minutes but the
difference in the riding experience will last longer!
Proper bike setup not only ensures we ride more efficiently but it also helps to prevent knee and lower back
pain.
Seat Height
The first and most important adjustment is the seat height. Proper seat height contributes most to force
production. An improper seat height can lead to less force production and injury.
There are several ways to establish seat height. However, in a group exercise setting with limited time and
minimal equipment, we want to use the most simple but accurate method to establish seat height.
Off the Bike
Off the bike, correct seat height is found by adjusting the seat to match the height
of the top of your hip bone.
On the Bike
On the bike and in a Ride Easy Position put your legs at 12 o’clock and 6 o’clock.
Take out your 6 o’clock foot and place your heel over the pedal. If the heel just
touches the pedal then you’ll have a good seat height for generating great force
production. The angle of the knee will be about 15 to 20 degrees.
Things to be aware of when making seat height adjustments:
If the rider feels anterior knee pain, then the seat should be raised to a knee angle of 15 to 20 degrees from
bottom dead center.
If the rider feels posterior knee pain including pain in the calf and/or Achilles, the seat should be lowered to
a knee angle of 25 to 35 degrees from bottom dead center.
If the hips move from side to side while riding, the seat is too high.
© 2006 Les Mills International Limited
32
Handlebar Height
The handlebar height should be level with the saddle or slightly below. Beginners
or people with lower back problems may want to raise it slightly above the saddle.
Ultimately, handlebar height is about comfort for the participant especially if they
experience lower back pain.
Seat Forward and Back
With the feet on the pedals at 3 o’clock and 9 o’clock, position the saddle so that
the front of the knee (3 o’clock) is directly over the center of the pedal or through
the first strap of the cage. This can be determined more accurately by the use of a
plumb line.
Handlebar Forward and Back
This position helps to ensure that a participant rides with as little stress as possible
on the spine.
With your butt at the back of the saddle you should be able to reach the Racing
Position without having to slide your sitting position forward. Correctly aligned, this
should create a 90-degree angle between your upper arm and your torso.
RPM™ Riding Positions
The riding positions are the most fundamental aspects of any ride, both indoors and out.
There are positions that are designed for flats, speed work, maximum force production and specific
strength. Also, there are positions that allow a rider to conserve energy and recover.
Each of the positions will differ slightly in the way they impose demands on the body and the working
muscles. Our goal is to have participants riding both effectively and efficiently in each position for the best
ride possible!
Let’s take a look at each position in depth and the technique involved.
© 2006 Les Mills International Limited
33
RPM™ reinforces ideal postural alignment, which has a positive carry-over effect on daily activities. For
people to achieve correct postural alignment we use a physical checklist to set up our Basic Riding Position
– Ride Easy.
© 2006 Les Mills International Limited
34
The technical rationale for correct body alignment in the Ride Easy Position:
 Encourages biomechanical efficiency in seated or standing positions
 Encourages head and neck in neutral position
 Encourages slightly retracted and depressed scapula
 Encourages high chest position, elevating the first rib – to support and stabilize thoracic kyphosis
 Encourages a comfortable and light grip on handlebars to promote core stability rather than using the
bike frame for postural support
 Targets key stabilizers – engaging the abdominals for lumbar stability
 Encourages elbows to be held in at the sides and facing downward
 Maintenance of efficient lower limb alignment with the hip, knee and middle of the foot maintaining a
linear relationship
 Encourages efficient pedaling action through 360 degrees
Ride Easy
This is the basic riding position used in all tracks and can also be used for recovery.
From a seated upright position, we tilt forward from the hips and place the hands on the horizontal part of
the handlebars.
Once here, we emphasize a tall chest by pulling the shoulders back and then dropping them down to
create some space between the neck and ears.
Next, we encourage a relaxed grip with soft elbows that come in towards the body, not out.
And finally, emphasize a nice long spine by sliding the hips to the back of the seat.
POSITION
INITIAL CUES
© 2006 Les Mills International Limited
FOLLOW-UP CUES
35
COMMON FAULTS
Ride Easy
 Tip forward from the
hip
 Hands shoulder width
 Firm but relaxed grip
 Head in neutral
 Eyes 6½ ft (2 meters)
in front of flywheel
 Chest lifted
 Shoulders back
 Long back
 Activate the core
 Hips, knees, ankles in
line
 Middle of kneecap in
line with 2nd toe
 Sink into the
handlebars
 Fingers relaxed
 Soft elbows
 Chin in
 Eyes on the road
 Chest proud
 Shoulders in back
pockets
 Back is long and
strong
 Narrow the waist
 Knees in
 Feel the bike
 Shoulders and fingers
not relaxed
 Rounded back
 Too far forward in the
saddle
 Elbows locked
 Head down
Seated Recovery
This position is used for postural breaks and stretches during some tracks and at the end of every track to
allow for recovery and rehydration.
We sit up straight and tall with great posture and maintain light resistance with a slow leg speed.
From here we transfer to Ride Easy to begin the next track or phase. It’s time to grab the pace again.
POSITION
INITIAL CUES
Seated Recovery






Sit up tall
Shoulders back
Lift chest
Arms loose at sides
Activate core
Hips, knees, ankles in
line
FOLLOW-UP CUES
COMMON FAULTS
Make yourself taller
Relax and recover
Rise and rejuvenate
Shoulders relaxed
Open chest, easy
breathe
 Let the arms hang
 Core on
 Shoulders not back
and relaxed
 Rounded back
 Head down





Standing Recovery
This position is used during Tracks 3 and 7. It’s used for recovery and postural breaks as we slow down to
a walk on the pedals, usually ¼ to ½ pace. This helps to ‘flush the legs’ and recover.
Here we stand up tall with a long spine and eyes straight ahead. We maintain a fairly firm grip on the
handlebars for safety and balance reasons. As you walk, encourage breathing from participants for
recovery until it’s time to grab the pace again.
© 2006 Les Mills International Limited
36
POSITION
INITIAL CUES
FOLLOW-UP CUES
Standing Recovery
 Standing tall on the
bike
 Firm grip
 Shoulder blades back
and down
 Head in neutral
 Chest is up
 Back long
 Activate abs
 Weight evenly placed
on pedals







© 2006 Les Mills International Limited
37
Rise and recover
Proud chest
Long, strong back
Walking tall
Relax and recover
Light legs
Easy breathe
COMMON FAULTS
 Weight too far forward
 Leaning on
handlebars
 Shoulders not relaxed
 Rounded back
 Relaxed grip
 Stopping the legs
 Taking off too much
resistance
Racing
Firstly, it’s important to know that this is a riding position and not a cue to automatically go faster.
From Ride Easy, we reach out and place the hands on the vertical part of the handlebars. It’s important
not to overreach in this position because we don’t want to compromise the lower back or the neck.
After we reach into Racing, cue class to pull the shoulders back, and drop them down. Then slide back in
the saddle with a relaxed grip.
It’s from this position that we introduce the Cadence Ladder and start working at faster speeds.
POSITION
INITIAL CUES
FOLLOW-UP CUES
Racing
 Reach further forward
 Head in neutral
 Eyes 6½ ft (2 meters)
in front of flywheel
 Chest lifted
 Shoulders back
 Long back
 Activate the core
 Hips, knees, ankles in
line
 Middle of kneecap in
line with 2nd toe









© 2006 Les Mills International Limited
38






Reach long
Drop into the dippers
Tuck under the wind
Aerodynamic
Streamlined
Slip back
Chin in
See the flat road
Back is long and
strong
Narrow waist
Knees in line with toes
Smooth circles
Perfect circles
Slip it back a little
Slide back, feel the
glutes/quads
COMMON FAULTS
 Overreaching on the
handlebars
 Too little resistance
 Bouncing in the
saddle
 Too far forward in the
saddle
 Shoulders/fingers not
relaxed
 Rounded back
 Elbows locked
Aero-Racing
This position is also used for higher speed work but with a more aerodynamic feel.
From the Racing Position, bring the hands to the inside ‘D’ or ‘bull horns’ depending on the bike that you’re
riding. Once you have your hands on the inside, again slide your hips back in the saddle. Remain relaxed
with the grip. This is how we ride this position in Tracks 4 and 6.
POSITION
INITIAL CUES
FOLLOW-UP CUES
Aero-Racing
 Hands onto middle of
handlebars
 Grab onto the small
handlebars
 Hands come into the
middle







Hands on the ‘D’
Tuck in
Drop in, go low
Aerodynamic
Feel the slipstream
Fight the wind
Time trial position
COMMON FAULTS
 Resting forearms on
handlebars
 Shoulders not relaxed
 Rounded back
 Head down
When we use this position in Track 5, our Interval Track, we briefly slide forward in the saddle slightly for
increased power as we’re under more resistance. Here the grip is a little firmer as we’re exerting a lot of
force.
POSITION
INITIAL CUES
FOLLOW-UP CUES
COMMON FAULTS
Aero-Racing – Track 5
 Slide forward in
saddle
 Tighten your grip
 Slip it forward a little
 Slide forward, feel the
quads
 Resting forearms on
handlebars
 Shoulders not relaxed
 Rounded back
 Head down
© 2006 Les Mills International Limited
39
Seated Climb
This position is used in Tracks 3 and 7 for Hills and Mountain Climbs. It’s designed to help improve
muscular strength at slower cadences with heavier loads.
It’s similar to Ride Easy except the hands are a little narrower on the handlebars. The upper body is in a
slightly lower, more aggressive position with an emphasis on staying at the back of the saddle for the most
muscle recruitment.
In this position we really need to focus on great pedaling technique as we’re under more resistance. By
putting an emphasis on the push/pull points of the pedal stroke we can help our participants to ride strongly
and effectively.
The push point is found at about 3 o’clock and the pull point is found at about 6 o’clock.
POSITION
INITIAL CUES
FOLLOW-UP CUES
Seated Climb
 Hands are slightly
narrower than
shoulder-width apart
 Firm but relaxed grip
 Tilt forward from hip
 Slide back in the
saddle
 Strong core
 Drive pedal forward







Tip forward
Hands in, elbows in
Drive the legs
Feel the climb
Solid in saddle
Fire the big guns
Big muscles, big
results
COMMON FAULTS
 Hands too wide or too
close
 Shoulders/fingers not
relaxed
 Grip too tight
 Not enough resistance
 Too far forward in the
saddle
 Rounded back
 Not breathing!
Standing Climb
The Standing Climb transitions from the Seated Climb Position. While pedaling in the Seated Climb
Position you add a little more resistance and reach to the extended position of the handlebars and rise. The
tendency for a lot of people is to come too far forward when they stand and they end up supporting
themselves with their upper body. So, once you rise, keep your butt over the saddle. This keeps the
emphasis on the lower body. A great cue to use here is that the rider “should be able to feel their butt tap
the seat” while climbing. We need to keep a firm but relaxed grip on the handlebars with elbows in.
Participants should be able to wiggle their fingers while in this position.
Another thing we often see is people bobbing up and down. What we want to see is the upper body fairly
motionless with just a little side-to-side movement. A lot of upper body movement equals wasted energy!
© 2006 Les Mills International Limited
40
Once we set up the correct body-position, cue class to keep their heads and necks in neutral by keeping
their eyes on the road… about 3 feet (one meter) in front of the wheel.
POSITION
INITIAL CUES
FOLLOW-UP CUES
COMMON FAULTS
Standing Climb
 Hands placed at end
of handlebars
 Firm but relaxed grip
 Rise up
 Keep your butt over
the saddle
 Pull slightly toward
your same arm as you
drive legs
 Reach it long
 Strong grip, strong
body, strong climb
 Firm grip, soft arms,
strong middle
 Quick and light on
your feet
 Feel your butt tap the
seat
 Feel the steepness
 Too far forward in the
saddle
 Not keeping weight
over the pedals
 Shoulders/elbows not
relaxed
 Rounding back
 Not enough resistance
 Too much side-to-side
movement
Standing Hover
This position allows some recovery for the quads during Standing Climbs because it puts more emphasis
on hamstring and gluteal recruitment. This position is also used for transferring from Standing to Seated
Climb.
How do you correctly set it up? Pull back over the saddle, stay slightly above the seat, elbows and abs in.
Keep a pocket of air between you and the saddle.
POSITION
INITIAL CUES
FOLLOW-UP CUES
Standing Hover
 Pull back over saddle
 Stay above the seat
 Activate abs, glutes
and hamstrings
 Minimal body
movement
 Elbows in
 Lock in the
abdominals





© 2006 Les Mills International Limited
41
COMMON FAULTS
Butt back over saddle  Pulling too far back
Hovering above seat
 Grip too tight
Pull back
 Rounded back
Activate abs
Imagine an air pocket
between you and your
saddle
Standing Attack
This position will be cued from either the Standing Climb or Racing Positions. It allows quick power surges
out of the saddle for durations of under 30 seconds as it involves maximum effort.
From the Standing Climb Position, come forward toward the handlebars, just ahead of the saddle, for a
short burst of power. You would be working just in front of the beat. Then pull back over the saddle to pace
and back to Standing Climb.
From Ride Easy or Racing Position, it’s a quick stand off the saddle, again forward, for no longer than
15 seconds and then back down to the saddle to pace. You’ll find this position used in Track 5, our Interval
Track.
POSITION
INITIAL CUES
FOLLOW-UP CUES
COMMON FAULTS
Standing Attack
 Hips more forward of
the saddle
 Stand forward of the
seat
 Rise up and forward
 Not enough resistance
 Flatten out your back  Rounded back
 Dig deep, turn the
 Shoulders not relaxed
pedals
 Attack out of saddle
 Time trial
 Resistance = distance
 Get ahead of the
bunch
RPM™ STRETCHES
Every great ride must finish with effective stretches so as to minimize muscle stiffness and injury.
Let’s take a look at the most common RPM™ Stretches.
When we stretch in RPM™ we always adhere to the basic concepts of stretching muscles:
 Never bounce into a stretch. This activates a protective contraction of the muscle which reduces its
ability to lengthen and can result in injury
 Always move slowly into the stretch and allow time for it to gradually lengthen
 Encourage breathing while holding stretches. Stretching should create a relaxed feeling and not pain.
Pain may indicate an area of dysfunction in the joint or muscle being lengthened.
By moving the two ends of the muscle away from each other and holding this position for a sustained
period of time, we help to increase muscle length.
Let’s run through the stretches for the key muscles in the RPM™ program.
© 2006 Les Mills International Limited
42
EXERCISE
EXECUTION
FOLLOW-UP CUES
Chest
In the Seated Recovery Position, place the hands
underneath the back of the saddle, relax the
shoulders down and gently pull the elbows in
towards each other, opening the chest.
 Focus on breathing
into chest and
shoulder area
 Relaxed grip
Lats and Side Flexors
Again in Seated Recovery Position, interlock the
 Focus on breathing
fingers and raise the arms above the head and then
into the muscles down
relax the shoulders down. From this position we
the side of the back
lean to one side reaching away, lengthening
 Inhale and then
through the side of the back, and maintaining a tall
exhale as you move to
chest. Then we move to the other side.
the side
Glutes and Lower Back
Still in Seated Recovery, with
one leg at 90 degrees, place
the opposite hand on the
outside of the knee. Relax the
shoulders down and slowly
rotate looking over the
shoulder until a mild stretch is
felt in the lower back on the
opposite side.
Calves
While still on the bike, come to a standing position
 Keep a relaxed upper
with your feet at 3 o’clock and 9 o’clock to balance
body with a slight
your body weight. Slowly drop the back heel as you
forward lean
bring the front knee forward until a mild stretch is
 Inhale and then
felt. Then repeat on the other side.
exhale as you move to
the other side
 Breathe into the calf
muscle
© 2006 Les Mills International Limited
43
 Make sure not to overrotate as the stretch
should be comfortable
 Go only as far as your
lower back will allow
you to
 Maintain a tall chest
 Breathe into the lower
back
EXERCISE
EXECUTION
Hamstrings
Align pedals horizontally and apply moderate
 Do not over-stretch.
resistance to the flywheel to reduce momentum.
Only go as far as the
Flex at the hip until elbows rest on the handlebars.
hamstring will allow
Keep the hands in the Standing Climb Position.
 Breathe into the
Incline the trunk forward and elevate the tail bone to
hamstring
activate a stretch in the forward leg. Repeat on
other leg.
Quadriceps
With one hand supporting you on the bike, use the
other to take hold of the heel and pull it towards
your buttocks. Stand tall and try to keep the knees
close together. Keep the supporting knee soft and
draw the belly button toward your spine to engage
your core. To increase the stretch move the hips
forward while gently pulling the leg back.
 If it is too difficult to
grab the ankle then
grab your shin
 Try and keep the hips
square
 Breathe into the leg
muscle
Gluteals
Maintain support on the bike and place the foot on
the opposite knee and sit the buttocks toward the
floor. Maintain a tall chest and move your tail bone
away from you to increase the stretch.
 Try and keep your
head and spine in a
straight line
 Breathe into the glutes
and the hips
© 2006 Les Mills International Limited
FOLLOW-UP CUES
44
EXERCISE
EXECUTION
FOLLOW-UP CUES
Hamstrings Stretch
(floor-option)
Cross one leg in front and place hands on the front
thigh to support yourself. With a tall chest and long
spine reach away into a forward bend until you feel
a stretch in the back of the hamstring. Increase the
stretch by elevating the tail bone. Repeat on the
other side.
 Before you bend
forward, inhale and
then exhale
 Only go as far as the
hamstring will allow
you to
 Do not round the back
to increase the stretch
 Inhale as you come up
from the forward bend
 Breathe into the
hamstring
Iliotibial Band
Stand with the stretching leg pushed inward behind  Inhale and then
the standing leg. Push the hips toward the
exhale into the side
stretching hip and side-bend the trunk away. Reach
bend
the hand of the rear leg to the ceiling to maximize
 Do not overreach.
the stretch.
Only reach as far as is
comfortable
RIDING TECHNIQUE
Cycling biomechanics
When you cycle, there is a coordinated action in the muscles of the hip, knee and ankle. Cycling creates a
huge cardio response due to the fact that a large number of muscles around these three joints are engaged
during the pedal stroke.
© 2006 Les Mills International Limited
45
Correct pedal technique
The fluidity or smoothness of pedaling is a fundamental technique skill. Let’s take a closer look at the two
very important principles of ‘cycling in circles’ and ‘equal power input’. Lack of competency in either area
can reduce fluidity and lead to long-term injury or a reduction in training effectiveness.
Inexperienced people often fall into the trap of pushing with only one leg rather than using both. They also
have a tendency to push down on the pedal, not forward – therefore ‘cycling in squares’ resulting in
unequal power input.
It’s important that we always drive the pedal forward with both legs and initiate this movement from
the hip, rather than the knee. The result will be ‘cycling in circles’. This makes the cycling action more
efficient and productive, recruiting all the leg muscles and allowing us to power through the whole of the
pedal stroke.
One of the additional keys to ‘cycling in circles’ is a ‘dynamic ankle’ movement. This means flexing and
extending the foot throughout the pedal stroke. Ensure that the heel drops down at about 4 to 5 o’clock to
initiate the pull-back action at the bottom of the stroke.
© 2006 Les Mills International Limited
46
This is easy to explain if you think of the pedal stroke as a clock face (see below). Muscle activation will
vary at different points on the circle.
It has been estimated that the quadriceps will provide the most force production from about 12 o’clock to
approximately 3 to 4 o’clock assisted by Gluteus Maximus from about 1 to 4 o’clock.
Then from 4 or 5 o’clock through to approximately 9 o’clock the hamstrings will provide the most force
production as a hip extensor and then will continue to engage from 7 to 9 o’clock by flexing the knee.
The hip flexors will assist the up stroke from 7 back up to 12 o’clock.
Power output will vary due to muscle recruitment throughout the different ranges of the pedal stroke. It has
been estimated that the push forward over the top accounts for about 10%, the down stroke approximately
65% and the pull back, 25%.
Optimal seat height will provide the best platform for full recruitment of all muscle groups.
Perfect circles
When you cycle in perfect circles you improve the efficiency of the ride enabling an increased workload. It
also gives riders a sense of ‘authenticity’ as they will ride more like cyclists.
The key idea is to generate maximum power from all muscle groups at every point in the circle.
The goal of perfect circles is to:

pedal stroke (12 and 6 o’clock)
Take out critical dead spots in the

Increase power output
© 2006 Les Mills International Limited
47
The benefits are:
 Increase leg drive and therefore power output
 Increase pedal stroke fluidity and technique
 Smooth out critical dead spots
How do you ride in perfect circles?
Basic Technique:
Roll over 12 o’clock. Cue: “Roll over the top of the pedal”
Push through 3 o’clock. Cue: “Push forward and down”
Scrape down through 6 o’clock. Cue: “Scrape the bottom, like scraping mud off your shoe”
Pull up through 9 o’clock. Cue: “Lift the heel”
Advanced Technique:
Consider the foot angle relative to the lower leg.
High Cadence
When you cycle at high cadence with light load the need for big power is minimal. Your foot will not want to
move much at the ankle and it will maintain a perpendicular angle to the lower leg.
Low Cadence
When you pedal slower under more load actively varying your foot angle you can increase the power
output. How? By dropping your heel during the pedal stroke. This will give your leg more length and allow
the big machinery (quadriceps) to generate more force.
You will also generate more power if you drop the heel as you push down at the bottom of the stroke and
then ‘flick’ the ankle up as you move through 6 o’clock. This engages hamstrings and rests the quadriceps
for the up phase.
© 2006 Les Mills International Limited
48
Eliminate dead spots
To eliminate the dead spots at 12 and 6 o’clock and find the perfect circle:

o’clock
Push forward over the top, 11–2

Push forward and down, 3 o’clock

o’clock
Drop heel and flick the foot, 5–7

7–11 o’clock
Lift your heel in the back stroke,
Resistance or Load Dial
Along with appropriate bike setup, cadence and technique, resistance (or load) is one of the key factors
in people achieving results from their RPM™ workout. You’ll find many people are either not aware or are
unsure of how to manipulate load to get the most out of their ride.
The resistance control is to RPM™ what the weight is to BODYPUMP™ – but perhaps more so. It provides
control, safety and the terrain feel. This is so important to our ride.
Encourage the class to always train with at least road tension or minimum resistance. This is the
resistance that puts them in control. It’s also the resistance that helps to keep their butt in the saddle. For
you, coaching the appropriate use of resistance throughout class is the key to a safe and effective workout.
Safe because it gives control; effective because no resistance = no distance and no results.
Concept of Resistance = Distance
If two people ride at the same cadence, the person who rides with the biggest gear/load/resistance will
cover more distance. They will travel further faster. This increases the ability to be able to generate force.
An increase in force production means the rider will get stronger, fitter, faster and burn more calories.
Cadence Ladder
The Cadence Ladder enables us to use music at high cadences, 120–140bpm.There is energy in music at
this speed. By using the ½ pace and build-up phases it allows riders of all abilities to be coached toward
top personal pace. Each racing phase is choreographed to be no longer then 30 to 45 seconds.
Riding high cadence at low resistance stresses the cardiovascular system in the low to high aerobic zones.
Here, fat is the major energy source. It also trains neuromuscular speed – an essential element for
athletes. Light loads at pace can also aid recovery by acting as a flush.
© 2006 Les Mills International Limited
49
The different paces:
½ Half Pace CUES: “Riding the half beat” “On half pace” “Recovery pace”
½+ Three-quarter Pace CUES: “Building speed” “Sitting under the rhythm” “A little quicker”
1/1 Top Speed CUES: “Top pace” “Your fastest speed” “Riding the rhythm”
1/1+ Power Speed CUES: “Driving just over the music” “5% quicker” “Surging”
The Push Point
The push point is the point in the circle where most load is felt, where maximum power is achieved and
where you start to have control of the pedal. If we coach people to understand where the push point is,
then it acts as the point of reference for the amount of minimum resistance they can use at a given
cadence.
For most people the push point is at 3 o’clock in the cycle circle. CUE: “Feel the load in the front of the
pedal” “Start to find pedal”.
Other terms for this point in the pedal stroke are ‘working load’, ‘muscle tension’, ‘road resistance’ and
‘point of control’.
It is important to establish the working resistance early on in the track. Rather than turning up every 4x8
counts, you can ride more intelligently by setting the minimum resistance early and making minor
adjustments as you progress, depending on how participants are feeling.
As a result you will ride more effectively right from the start, rather than leaving it till halfway through the
track to start to work.
Perceived Exertion – “How hard are you working?”
RPM™ provides a variety of training options for class participants. Each track is choreographed to train a
particular cardiovascular system whether it is aerobic endurance, muscular strength or maximum aerobic
power (MAP).
There are many ways to coach participants about how they should be feeling in each track. We could cue
75% of maximum HR or 7.5 out of 10 on the Perceived Exertion scale, as an example, but unless people
know their maximum HR, using these numbers can be confusing. We need to use language that
EVERYONE can understand.
In RPM™, we have a system of ‘user-friendly’ language that lets people know how hard they should be
working in any given track.
Let’s take a brief look at the different cardiovascular system, the percentage of HR involved in training that
system and the language we use to describe that system.
© 2006 Les Mills International Limited
50
1. Aerobic efficiency
 Up to 80% of maximum heart rate
 Work periods of 45 minutes or more of continuous work
 Aerobic energy system
 No recovery time needed
 Purpose – to increase muscular endurance and fitness
RPM™ coaching language: Can ride here for long periods – slightly out of breath – “Comfortable”
2. Aerobic/Lactate threshold
 Work periods of 3 to 15 minutes
 Combination of aerobic and lactate energy systems
 Intensity – 80–90% MHR
 3 to 5 minutes recovery
 Purpose – to improve power output at higher intensities
RPM™ coaching language: Quite short of breath, starting to feel “Uncomfortable”, need a breath after
every sentence
3. Maximum aerobic power (Anaerobic threshold)
 Work periods of 1.5 to 4 minutes
 Aerobic and lactate energy systems
 Intensity – 90–100 MHR
 1:3 work to recovery
Purpose – to improve anaerobic capacity and VO2 max
RPM™ coaching language: Can start a sentence but cannot finish it. Need air rather than water! Can say
one or two words – “Breathless”
4. Anaerobic power (Peak power)
 Work periods of 5 to 30 seconds
 ATP – PC energy system
 Maximum speed and maximum force
 1:3 work to recovery
 Purpose – to increase peak power
RPM™ coaching language: Can barely think. You feel sick – “Breathless”
© 2006 Les Mills International Limited
51
5. Specific strength
 1–10 minutes work
 Maximum force at 60 to 80 rpm
 1–5 minutes recovery
 Purpose – to increase muscular strength, endurance and power
RPM™ coaching language: Breathing not an issue but rather leg strength. Legs are working harder than
the heart – “Comfortable”
Please note: The above training zone descriptions are merely a guide to help you coach participants in how
they should be feeling during a particular track. Because participants will have different levels of fitness,
some individuals may be in the recommended training zone and others may not.
Technically, increased performance in each training zone is best obtained when each zone is trained
independently from the other systems. For example: to improve Aerobic Threshold, an entire workout would
be dedicated to training that system without crossover into the other systems.
In RPM™, we are trying to help participants increase their levels of fitness in all areas. There will be
crossover in systems being used both in and between tracks, depending on their level of fitness and their
ability to recover.
What does all this mean?
Example: John Smith
MHR: 189 bpm
Lactate/Aerobic threshold: 159 bpm or 85%, held for 3–15 minutes
MAP/Anaerobic threshold: 172 or 92%, held for 1.5–4 minutes
To become stronger he needs to be working between 159 and 172 bpm.
From “Comfortable”, to “Breathless”.
So how do you use this in class?
© 2006 Les Mills International Limited
52
Perceived Exertion and coaching cues per track
TRACK NAME
PERCEIVED EXERTION SCALE
COACHING LANGUAGE (CUES)
1. Pack Ride
5 to 7/10
“Ride here all day”, “Very
comfortable”.
Warmup/Easy
2. Pace
7.5 to 8.5/10
More controlled but more difficult
than Track 1
3. Hills
7 to 9/10
Comfortable to uncomfortable
4. Mixed Terrain
7 to 8.5/10
Comfortable, but just!
5. Intervals
8 to 9/10
The edge! ‘All-out effort’
6. Free Spin
7 to 8.5/10
Comfortable, but just!
7. Mountain Climb
8 to 9/10
Work is VERY hard
8. Ride Home
9. Stretch
5 to 6/10
From “Working but comfortable” to
“Somewhat short of breath at the
end” or “Uncomfortable”.
From “Comfortable” to “Somewhat
short of breath” or
“Uncomfortable” to “Start a
sentence but cannot complete” or
“Breathless” in the last power
phase.
Coach recovery in the first phase
and build through the levels to be
“Somewhat short of breath” or
“Uncomfortable” by the end.
Working at maximum “Short of
breath” or “Uncomfortable” to
“Start a sentence but cannot
complete” or “Breathless”. Coach
recovery phases.
Work through the levels to reach
“Somewhat short of breath” or
“Uncomfortable”.
From “Comfortable” to
“Uncomfortable” to “Start a
sentence but cannot complete” or
“Breathless”.
Recover to natural breathing
“Ride here all day”, “Very
comfortable”.
N/A
N/A
© 2006 Les Mills International Limited
53
ASSESSMENT GUIDE
Position: Do I demonstrate the right alignment and posture for each riding position?
Execution: Do I demonstrate safe, effective and correct riding technique?
Cadence: Do I move in time with the music and on the correct beat?
Fitness: Do I demonstrate leg strength and high-level conditioning?
Feel: Do I demonstrate the appropriate energy, look and cycling attitude?
© 2006 Les Mills International Limited
54
Notes
© 2006 Les Mills International Limited
55
RPM™
TECHNIQUE
CLASS
RPM™ technique classes are an effective way to teach new members about the program and the
exercises.
These classes should take about 30 minutes and, if possible, be scheduled just before a normal class.
They should include a discussion about the class and the program and also include a practice session
covering the most common riding positions. We have outlined the technique class in five easy steps.
Technique class format (30 minutes)
STEP
FORMAT
STEP 1:
PRE-CLASS
As people arrive, show them to a bike and if they don’t already have
them, suggest they should always bring a towel, a drink bottle and, if
available, a gel seat. This will make the ride more comfortable for them.
Inform them that you’ll set them up on the bikes a little bit later.
STEP 2:
INTRODUCE THE
BROCHURE
Give participants a copy of the RPM™ brochure and discuss:

hat RPM™ is
W

hat it will do for them
W

asic bike setup and riding technique
B
(Steps 1 and 2 should take you 5 minutes in total)
STEP 3:
DISCUSS THE ESSENCE
AND CLASS FORMAT
(10 mins)
Tell them RPM™ is a group indoor cycling class that will inspire the ‘inner
athlete in them’. That it’s a very ‘alive and energetic’ class that’s time
efficient, challenging but also able to be self-regulated.
Explain that there are seven working tracks and two recovery tracks, and
the purpose of each track.
© 2006 Les Mills International Limited
56
STEP
FORMAT
STEP 4:
PRACTICAL SESSION
(10 mins)
Perform the following:

S
et up everyone correctly on the bike. Make sure they understand how
you do this so they can replicate it next time.

emonstrate and explain ALL riding positions.
D

emonstrate the different paces.
D

xplain about the resistance dial/lever and brake.
E

emonstrate riding in smooth circles.
D
If time allows, ride Track 1. Coach to the positions, cadence, resistance
and smooth riding circles.
STEP 5:
DISCUSSION
(5 mins)
Here we talk about:

ow many classes to do per week
H

ow you should feel after class
H

ow to identify potential injuries
H

nswer any questions they may have.
A
Use the brochure as your guide – it contains all the information you
need (see Brochure in the appendices of this manual).
The RPM™ brochure is available to download from eClub, the Les Mills website for club resources, which
is accessed from the homepage of www.lesmills.com. The club you teach for will have been given the login
and password required to access eClub. The brochure can be found in the RPM™ section under the
Campaigns menu option.
© 2006 Les Mills International Limited
57
worksheet
Role-model Technique to Pack Classes
Give yourself an honest appraisal of where you think your technique is at the moment. For any riding
position that needs work, make a note of what you need to work on.
Excellent
Good
Position
Needs Work
Is it body position, execution (smooth circles, dynamic ankle) timing, fitness or exercise feel?
Comment
Example:
Standing Climb

© 2006 Les Mills International Limited
Too much side-to-side movement
58
Notes
© 2006 Les Mills International Limited
59
COACHING
MASTERY
Grow your class numbers by mastering the art of coaching.
People will come to your class if they can follow you easily and
you lead them to a place they couldn’t get to on their own.
Your job is to make sure your class can follow successfully
and get the results they came for.
Give the right information at the right time
Great coaching includes everything you say and do to help your participants follow the class correctly and
reach their goals.
Lead by example
You must lead from the front – visually and verbally. Your number one goal is to have everyone doing the
right thing at the right time in the right way. Options need to be given as necessary. The quality of your cues
determines the quality of the workout. The timing of them determines the success.
Coach them to mastery
People want more from you. They expect to work harder, understand more, be corrected and know how to
get the most from their workout. In class, your participants want you to help them achieve their goals. They
want to feel successful, both in the short and long term. Your job is to add value – to be the catalyst
between your participants’ abilities and their desired results.
Always teach as if there’s someone new in class
Even if there isn’t a new person in class, cover the basics well. Great instructors send and continue to send
consistent messages of support. Give enough guiding tips to provide the first-timer with a well-informed and
successful experience. Even long-term participants appreciate the basics being covered in a fresh and
interesting way.
© 2006 Les Mills International Limited
60
Be organized
A well-organized room makes a well-organized workout. Always check your microphone, sound system,
ventilation and lighting. Prepare for each class and expect the unexpected.
Move toward mastery
Do what great coaches do to get the best from their players
Think back to an old sports coach, a school instructor or music tutor who helped you succeed. It is most
likely they used one or some of the following principles to encourage you. You too can be remembered as a
mentor in years to come by incorporating the following:
 Believe in your participants’ abilities to succeed and always be positive.
 Trust and respect that each person has a unique motivation to be in your class and
find ways to challenge and inspire them individually.
 Understand that learning is a process so be patient and look for progress over time.
 Measure your success by their success.
Constantly ask questions of yourself
In which ways will you treat your participants as individuals? When can you catch them doing things right?
How will you show them you believe in them? What do you say and do to make this real? How do you
inspire and challenge your class?
© 2006 Les Mills International Limited
61
YOU KNOW YOU’RE THERE WHEN…
Your whole class is following successfully
They understand why they are riding each position
They improve over time
© 2006 Les Mills International Limited
62
NOTES
© 2006 Les Mills International Limited
63
COACHING TO PACK
RPM™
CLASSES
Les Mills consumer research tells us that people in RPM™ classes want to know:
 How to ride correctly
 Why they should ride in a certain way
 What physical benefits they’re going to get from the tracks
In summary, these are:
1. Improved cardiovascular fitness
2. Calorie burning (between 600 and 700 calories per class)
3. Improved muscle/leg strength and endurance
Your role as coach is to teach people how and why to ride correctly and also inform them what the benefits
are. To do this you need to:
 Use role model technique at all times
 Coach correct timing and execution
 CRC where necessary
 Communicate the purpose and benefits of the various riding positions and program
 Script the information you want to deliver
 Be organized
© 2006 Les Mills International Limited
64
Class management
We know a well-organized room sets the scene for a well-organized workout; however, there is one other
important skill you need to master if you are to really manage your class like a professional. We call it ‘Push
Play and Go’. To become proficient at this you need to:
 Be efficient in your transitions. Plan ahead the information you need to give your participants between
tracks and try to keep your class flowing.
 Only stop the music where absolutely necessary, or as defined by the program choreographers in the
technique ‘mixing and matching’ section.
Coaching language
We call our coaching language cues and divide them into three types – Initial Cues, Follow-up Cues and
Motivational Cues. This concept is simple to use and easy to understand. However, before discussing
them, we need to understand how people learn.
Learning styles
There are three main learning styles. Knowing what they are is the key to giving the most powerful cues
that work for your class.
Visual learners
VISUAL learners like to watch. They’re the ones who say “Don’t tell me, show me!” Visual learners
remember most of what they see, and not much of what they hear. They just need to see you cycle
perfectly, and they’ll soon follow.
Aural learners
AURAL people learn by listening. They benefit most from clear, precise coaching that tells them exactly
what to do – because they will do exactly what you say. You must choose your words carefully – say what
you mean, and mean what you say.
Kinesthetic learners
KINESTHETIC learners are hands-on, practical types. They want to ‘do’ whatever it is they’re learning. You
need to explain to them how it feels to cycle correctly, and then they’ll work at finding that feeling. If they
know how the right and wrong positions feel, they’ll be able to adjust their technique so it is right.
Although everyone favors one of these three learning styles, everyone relies to some extent on all of
them.
© 2006 Les Mills International Limited
65
So you have to role-model perfect technique as well as verbally coach the class to get it right.
Verbally coach class using the following:
Initial Cues to technically set up the move
They are the ‘must-dos’ of the move. They are simple, clear and concise, and come from an understanding
of correct technique and exercise benefits. They tell your class exactly what to do and ensure correct and
safe cycling execution. They include cues like, “tip forward from the hip”, “hands shoulder-width apart”,
“firm but relaxed grip”, “head in neutral” and so on. They also include options to reduce intensity for
beginners such as, “find your own top pace”.
Follow-up Cues to create positive change
They are non-technical in nature and coach your class by evolving, extending or enhancing the feel of the
move. They help your class get closer to perfect cycling technique and should be brief and direct. For
example, “sink into the handlebars”, “fingers relaxed”, “back is long and strong”, “chin in”, “eyes on the
road”, “make yourself taller”, “smooth circles”.
Follow-up Cues also use imagery and visualization techniques. For example, “narrow your waist, soften the
elbows”, “shoulders in back pockets”, “tuck under the wind”, “cycle in circles”.
By keeping your cues in ‘feel mode’ rather than ‘think mode’, your class stay connected to their bodies
and the workout.
Follow-up Cues can be created by using sentence starters such as: “It feels like… It looks like… Give me…
Show me… Try to… Can you… If you… Picture… You are like… Imagine…”. Close your eyes and feel with
your words!
Motivational Cues to extend participants beyond what they would normally do
They are generally used towards the end of a track when the class is starting to fatigue and lose focus, or
in a sequence or position that places higher strength or intensity demands on the body. They challenge…
refocus… entice… drive… spur… coax… and encourage the class to achieve better results. They also
provide the opportunity to use contrast in your vocal delivery, language and execution, which is
fundamental to an inspiring and results-orientated workout.
Your library of cues will include Initial Cues that set up your moves, Follow-up Cues that create positive
change, and Motivational Cues to extend people beyond what they thought they could achieve.
© 2006 Les Mills International Limited
66
Creating positive change – the CRC model
You will be successful in correcting unsafe or incorrect form if you do it in a positive way. This model is very
effective for correcting technique. It works best if you have created an environment of respect and trust.
 Connect with the individual you want to correct by making eye contact
 Recommend a change to improve technique
 Commend by praising the individual
If you are correcting the class as a whole, then the following model is also successful:
 Recommend a change to improve technique
 Commend by praising the class
Become an expert at identifying poor technique
Observe and act quickly. Begin by offering correctional cues to the entire class or groups within the class
and then to selected individuals. As a general rule, personalized correction cues should be delivered with
direct body, face and eye contact and supported by a caring and sincere tone of voice.
If these strategies do not work for you immediately, use the time between tracks to reinforce your
message. Remember that technique correction requires personal awareness by the person, acceptance
and time to review. For some people it’s a matter of understanding all three elements before change
occurs.
Objectives give you a powerful purpose
Class-focused Objectives
Objectives that focus on your class shift the focus from you to the people in front of you. This not only
makes the experience more inclusive, but it gives you a powerful sense of purpose for your class.
A simple process called ‘objective setting’ helps you do this. You ask yourself the questions: “What is it
that I want my class to experience? What is my goal for them?”
When we design our objectives we can draw from all the Key Elements. Objectives are not necessarily
stated but are the foundation of your coaching language and purpose for the class.
© 2006 Les Mills International Limited
67
Track Objectives – your track-coaching focus
You must plan objectives or a focus for every track in every class you teach. Think about what it is you want
participants to feel and experience in the track. What is the correct technique for them to execute
positions safely and achieve maximum results? Are there new positions? Which energy system are you
targeting? What benefits do you want them to experience?
Have a look at the choreographer’s Coaching Focus that heads up each new track in your choreography
notes. This will give you a powerful example in deciding on your own. And remember to always begin your
own track objective with, “I want the people in my class to feel/experience...”. This will ensure the
objective is participant-focused and not instructor-focused.
Coaching Mastery – The 6 P’s
Question: What is the best way to coach the track objective?
Answer: Use the 6 P’s. This is your guide to teaching to your track objective.
1. Profile – the track terrain
2. Position – the riding positions
3. Pace – the cadence or leg speed
4. Push – the load/resistance
5. Pedal – riding in circles
6. Perceived Exertion – track intensity
How to use the 6 P’s
Decide on your track objective. This is the key idea to be coached and aligns with the track’s training
objective.
Then use four to five P’s as your key coaching tools for each track. However, three of these are compulsory
and consistent throughout the class – with the exception of Track 1 where you’re trying to establish correct
technique for the rest of the ride. They are:
1. Profile
2. Position
3. Perceived Exertion (PE)
© 2006 Les Mills International Limited
68
The fourth is determined by the track’s training objective. And will either be:
1. Pace, or
2. Push
So script your track with your objective in mind and use a variety of coaching tools (the 6 P’s) as a means
to deliver this. As the track unfolds, introduce the ideas in logical order.
Phase 1: Setup
Use Initial Cues
 Introduce the track using the track objective and the track PROFILE. These are closely linked. This
should be done in the transition.
 Next, set up the correct riding POSITION.
 Finally, set up either PACE or PUSH.
 Optional: PERCEIVED EXERTION.
Phase 2: Follow-up
Use Follow-up Cues
These evolve, extend or enhance correct technique.
 Revisit POSITION, PACE or PUSH.
 Reinforce with CRC if necessary.
 Introduce or revisit PERCEIVED EXERTION.
Phase 3: Motivate
Use Motivational Cues to challenge and inspire participants to finish strongly.
 Use a feeling cue for PERCEIVED EXERTION.
 Use expressive Motivational Cues.
(Note the compulsory P’s are in BOLD.)
Track 1 – Pack Ride
Training Objective: To warm up the riding muscles and focus on pedal stroke technique.
 Profile: Flat road.
 Position: Coach the Ride Easy and Racing positions.
 Pace: Find easy riding speed.
 Push: Establish the Push Point and gain pedal control.
 Pedal: Coach Perfect Circles.
© 2006 Les Mills International Limited
69
 PE: 5 to 7/10, “Comfortable”.
© 2006 Les Mills International Limited
70
Track 2 – Pace
Training Objective: To further prepare the body for the work ahead by increasing intensity through load
and pace.
 Profile: Flat road with intervals of top speed followed by a hill at the end.
 Position: Coach Ride Easy, Racing and Standing Climb positions.
 Pace: Use the Cadence Ladder to build onto top pace. Coach 1/2, 1/2+ and 1/1 variations.
 Push: Establish Push Point for pace variations. Establish pedal control.
 Pedal: Coach Perfect Circles.
 PE: 7.5 to 8.5/10. From “Comfortable” to “Uncomfortable”.
Track 3 – Hills
Training Objective: To build leg strength and endurance through increased load using Seated and
Standing Climbs.
 Profile: Series of hills that increase in intensity towards the end.
 Position: Coach Seated and Standing Climbs.
 Pace: Use the climbing speeds and power options.
 Push: Establish working resistance early in the track. Find the “climbing tension” or “standing load”.
 Pedal: Encourage maximum leg drive through efficient pedal strokes.
 PE: 7 to 9/10. Work will start from “Comfortable” to “Uncomfortable” to “Breathless” in the last work
phase.
Track 4 – Mixed Terrain
Training Objective: To work with and control different loads and speeds across varying terrain.
 Profile: A series of flat roads, Standing Climbs and descents.
 Position: Coach Ride Easy, Racing, Aero-Racing, and Standing Climbs. Also coach the fast transitions
in and out of the saddle.
 Pace: Use the varying paces and Cadence Ladder options.
 Push: Manage load in the Seated and Standing phases.
 Pedal: Coach Perfect Circles.
 PE: 7 to 8.5/10. Coach recovery in the first phase and build through the levels to be no more than
“Uncomfortable” at the end.
Track 5 – Intervals
Training Objective: To increase anaerobic ability by maximizing load and speed.
 Profile: A flat road with a series of high-intensity work efforts and recovery.
 Position: Coach Ride Easy, Racing, Aero-Racing and Standing Attack positions.
 Pace: Encourage riders to be on the top cadence.
© 2006 Les Mills International Limited
71
 Push: Utilize maximum load at set speed; find the equilibrium.
 Pedal: Encourage maximum leg drive through efficient pedal strokes.
 PE: 8 to 9/10. Working at a maximum. Coach recovery phases. “Uncomfortable” to “Breathless” at the
end of each interval.
Track 6 – Free Spin
Training Objective: To experience active recovery through variations of speed work.
 Profile: A flat road with sections of work that build to top pace.
 Position: Coach Ride Easy, Racing and Aero-Racing positions.
 Pace: Coach the Cadence Ladder.
 Push: Encourage light load and pedal control.
 Pedal: Coach Perfect Circles.
 PE: 7 to 8.5/10. Work through the levels to reach no more than “Uncomfortable” at the end.
Track 7 – Mountain Climb
Training Objective: To increase strength, endurance and power through increased intensity and load in
this final physical peak.
 Profile: A series of mountains that increase in size right till the end!
 Position: Coach Seated and Standing Climbs.
 Pace: Use the climbing speeds and power options.
 Push: Establish working resistance early in the track. Find the “climbing tension” or “standing load”.
 Pedal: Encourage maximum leg drive through efficient pedal strokes.
 PE: 8 to 9/10. From “Comfortable” to “Breathless” at the end.
Track 8 – Ride Home
Training Objective: To recover breathing and flush working muscles.
 Profile: Flat road.
 Position: Ride Easy and Seated Recovery. Effective stretching.
 Pace: Easy and flush speed.
 Push: Light load.
 Pedal: Smooth circles.
 PE: 5 to 6/10. Recover breathing and flush legs.
Track 9 – Stretch
Training Objective: To restore joint, muscle and soft tissue mobility. To coach effective stretching of all
major riding muscles.
© 2006 Les Mills International Limited
72
Give the right information at the right time
Sequence of Coaching
The ‘Flat Line of Coaching’ is a great tool to assist in the correct ordering of all coaching cues
during a track. It helps you to give the right amount of information at the right time, using three phases.
Timing is everything.
Setup – Initial Cues
In the first phase you need to coach correct setup and execution of the riding positions – introduce the track
objective if appropriate, offer safety tips, desired load/resistance and cadence/pace. This is the time that
your Initial Cues are most effective.
Follow-up – Follow-up Cues
As the track progresses, and the class is moving as one, you need to continue to coach and adjust
technique positively. This is when your Follow-up Cues are most effective. Ensure you offer technique
correction if needed, and load and cadence options as the intensity increases.
Motivate – Motivational Cues
This third phase requires you to focus, motivate and inspire the class to the end. Reinforce correct body
position at the start of this phase so they finish with great form.
By using this progressive approach you will be able to deliver the most appropriate cues at the right time,
thus ensuring maximum results.
© 2006 Les Mills International Limited
73
Ultimate class preparation – scripting
Scripting is the key to effective coaching and is useful for new instructors building their library of cues. It
also improves recall and instructor confidence.
When you script you write down all the verbal and visual cues you’ll use to effectively coach the cycling
positions in the track. It really helps you choose the most efficient cues for the position. It also helps you to
sequence your cues in a logical way.
However, before you begin scripting, decide on your objective for the track and then you will be clearer in
the cues to use. A well-prepared and rehearsed script will produce thorough coaching.
Vocal quality
The way you say things is more important than what you say
A major part of the way we communicate comes from the way we say things: the tone of our voices. A
simple word like “attack” spoken at conversational level has four to five times less impact than the same
word spoken with passion and energy at a high volume. This is the power of voice intonation.
To be successful in your verbal cueing you need the following:
Clarity – you need to really use all the muscles in your face to clearly articulate what you are saying.
Contrast – using your voice to help create mood – sometimes friendly, sometimes aggressive, sometimes
quiet, etc…
Pitch – making sure your voice doesn’t get too high and squeaky, or low and gravel-like.
Speed – speaking at a RPM™ pace – slow enough that the class can understand you but quick enough to
convey a sense of urgency. You want your class to feel like you are ‘getting on with it’.
To develop the impact of your vocals you need to try the following:
Increase the speed of your speech without losing clarity.
Use a wide variety of instructions that express different emotions.
Contrast conversational and motivational levels by varying volume, tone and pitch.
Work on highs and lows.
Replace words with sounds.
Try to project your voice to people in the back row. Good breathing techniques and a good microphone are
essential.
© 2006 Les Mills International Limited
74
Videotape your class. This will highlight your vocal strengths and weaknesses.
For many instructors it may be a simple case of improving pronunciation and enunciation or varying the
tone. However, until you hear yourself on tape, your weaknesses will not be apparent.
Visual instruction
While role model technique is the most powerful means of visual communication, you can use separate
parts of your body to communicate information that might otherwise be conveyed verbally. This is beneficial
due to the often ‘intense nature of the class’ AND it provides contrast in your coaching style. For example:
The head can express direction (follow the flat road ahead, up the hill, etc) and emotion.
The face can express animation, concentration, emotion, motivation, relationship and relaxation.
Arms can express direction, energy, intensity and feeling, and help preview position changes.
Hands and fingers indicate feeling, direction, and riding technique/quality (cycling in circles)
Pre-cueing and previewing moves increases people’s success and enjoyment
Pre-cueing
Pre-cueing positions – or preparing participants for the next position while they are completing the previous
one – is a skill that makes a big difference for people to feel successful.
Pre-cues are done on the last 4–8 beats of the musical phrase. People find it frustrating to miss the position
change because the instructor does not provide this information.
Previewing
Showing a position before it happens is a useful skill in introducing the next position. You can preview the
next cycling position 4–8 counts before it is introduced in the track. This is especially valuable for visual
learners.
ASSESSMENT GUIDE
Do I deliver the right information at the right time?
Am I easily understood and followed?
Do I use effective coaching language?
Am I organized?
© 2006 Les Mills International Limited
75
Instructor scripting sheet
Name:____________________________________
Track:_____________________
Track Introduction: __________________________________________________________
Track Objective: ____________________________________________________________
POSITION
COACHING CUES
CONNECTING
FITNESS MAGIC
FABULOUS
FINALE…
© 2006 Les Mills International Limited
76
Worksheet
Put a tick () beside every statement that is true for you and highlight the ones that you’ll need to spend
more time working on.
DAY 1 CHECKLIST:
I understand the essence of RPM™ and what it means to be a RPM™ instructor.
I know the target market for RPM™.
I can identify what makes a great RPM™ instructor.
I know the 5 Key Elements of packing classes.
I understand why I need to learn my choreography 100%.
I have some good ideas for learning it quickly.
I know my presentation track choreography 100%.
I understand the importance of the role model technique.
I know the key points for every riding position in my presentation track.
I can execute the riding positions in my presentation track correctly.
I know what I’ll be assessed on for the Key Element of Technique.
I understand the importance of coaching in RPM™.
I understand the Flat Line of Coaching.
I have great Initial, Follow-up and Motivational Cues scripted for my presentation track.
I know how to cue non-verbally.
I can pre-cue and preview the riding positions in my presentation track.
I understand the importance of keeping my corrective coaching positive (CRC).
I can use my voice effectively to instruct, educate and motivate.
I understand the type of training and the intensity needed to get fit for teaching RPM™.
I am looking forward to tomorrow’s presentation!
Homework:
© 2006 Les Mills International Limited
77
worksheet
Day 1 Journal
Take a few moments to record any thoughts or reflections you’ve had about your first day of RPM™
training.
© 2006 Les Mills International Limited
78
Notes
© 2006 Les Mills International Limited
79
CONNECTING
Grow your class numbers by developing powerful relationships with your participants. When you
create an atmosphere that allows them to tune in with themselves, the workout and you, you create
connection.
Your job is to engage your participants.
The art of connection
People have a basic need to belong. Deepen your relationship with them over time and you will not only
have big classes but friends for life.
Be real
Rather than ticking a series of boxes, connecting is a state of being. It’s about sharing. When you connect,
information, feelings and experiences flow freely in both directions. There is a dialogue rather than a
monologue.
Fake smiles, unnatural teaching styles and false praise do not open communication channels with your
class. In fact they shut them down.
You need to be you! Create a warm and welcoming environment. Respect the needs of each person in
class and engage them in your experience.
Know what you are doing
You cannot focus on your participants if you don’t know what you’re doing. Know your music and
choreography intimately, master your technique and put aside any drama in your day to meet the needs of
your class. The more you prepare for class the more confident and free you will be during it to connect.
Choose the right approach
Acknowledgement is a personal thing. Not everyone likes their name bellowed out in class but a comment
before class, a smile or some praise can do wonders. And sure, some people just want to be left to their
workout – and that’s fine. Make sure you don’t get in the way of that!
© 2006 Les Mills International Limited
80
Practise your skills in real life
When you meet or greet someone look them in the eyes. Really look at them – don’t glance them over or
pierce them with a stare – just hold nice warm eye contact for a few seconds. At home… down the street…
in the supermarket.
Catch your participants doing things right
Everyone loves a kind word and hates being ‘told off’. Praise your class often. Be assertive without being
negative. Never single out a person for criticism. This sends a strong message to them as well as everyone
else in the room. Trust and connection can be broken in a single moment and takes a long time to rebuild.
If participants look away from you, don’t lose confidence – remember, they may just be shy or
concentrating or not even realize you’re looking at them.
People vote with their feet. Honor that.
Set the scene
Your introduction is your first opportunity to connect with the group. At some level you are being judged.
What is this person going to be like? How is this class going to be? So keep your tone positive and upbeat.
People are relying on you to engage them in the workout.
Move toward mastery
Below are some tips from instructors who connect well at many different levels. Use the ones you feel
comfortable with and add your own.
 Treasure your class slot like gold – be there every week and make each week special.
 Practise looking at every person in class.
 Get to know and remember people’s names.
 Have genuine conversations with your class members.
 Involve them – request song suggestions and welcome feedback.
 Prepare your class from your participants’ perspective. Use the sentence starter: “Today I want the
people in my class to feel/experience…”
 Practise warm, genuine eye contact for a good few seconds in class… at home… at the supermarket…
 Notice all sections of the room: front, back, left and right, near and far. We all have sections we naturally
look to – make sure you reach everyone.
© 2006 Les Mills International Limited
81
Host your own party, catering to your participants’ needs
Treat your class like a set of friends. Enjoy their company, build their trust, share experiences with them.
The more you know your class members and love teaching, the more they enjoy being with you. Be more
than just the 5pm instructor!
Be open
On stage or off, people are looking for your message. How approachable are you? Do you look like a good
person to workout with? Is this a good time to approach you with a question?
From the moment you park the car, walk through reception or enter the studio, you are sending a message.
What is your message?
Use the magic of silence
Before class, between tracks and after class are special opportunities when you are not competing with the
music. Use these times to exchange feelings and deepen your dialogue. How can you make them feel
special? How will you engage them in the program… the music… and your company?
Go the extra mile
You are in a position that serves others. Find new ways to go beyond the call of duty – to add value to your
participants. Change lives every day. It makes their day and the satisfaction for you is unlimited.
“Fail to honor people, and they will fail to honor you.” – Lao Tse, 2500 BC
“Be the change you want to see in the world.” – Gandhi
YOU KNOW YOU’RE THERE WHEN…
People spontaneously come up to talk to you before and after class
They respond to you by replying, smiling back, and maybe even laughing at your jokes!
The same people keep coming back – and, MOST IMPORTANTLY, they bring their friends
© 2006 Les Mills International Limited
82
ASSESSMENT GUIDE
Do I engage my participants in the workout, the music and ME?
Am I open and approachable?
Do I cater to the needs of my class participants?
© 2006 Les Mills International Limited
83
worksheet
CONNECTING MIND MAP
Draw a picture or a mind map or write a list of words to help you remember what the fourth Key Element –
Connecting – is all about:
© 2006 Les Mills International Limited
84
NOTES
© 2006 Les Mills International Limited
85
CREATING
FITNESS
MAGIC
Captivate your class by creating a memorable experience that people hate to miss.
Your job is to teach with the look and feel of the program and to do this in a natural way.
So what is magic?
Magic is everywhere if you look.
Recall the last time you were captivated by an experience. Maybe you were buried in a good book?
Standing in awe of a sunset? Watching your favorite artist perform? Crying at a movie? Dancing?
Laughing uncontrollably with friends?
How did it make you feel?
That’s right; regardless of your specific feelings you were swept away on a journey weren’t you? Your
senses were heightened; you actually stopped thinking and started feeling.
This is magic. And we can create it in our classes. But first let’s look at why we should.
People need to feel human
Having feelings is what it means to be human, and experiences that evoke these feelings make us more
human – more compassionate toward others, more motivated to be better at what we do; sometimes just
happier and more alive.
What we do fits right into this category. Aside from the health benefits people get from exercise, movement
therapy studies have for decades shown that letting people experience different emotions through dance
and other forms of creative movement has major psychological benefits.
Songs and movies are great because they help us experience all sides of our natures, instead of
suppressing some emotions until we go crazy.
Think back to some famous movie moments: Mel Gibson making his speech to lead his troops into battle in
“Braveheart”; Ewan McGregor and Nicole Kidman singing the duet at the end of “Moulin Rouge”; or how
about when Robin Williams’ breasts catch on fire in “Mrs Doubtfire”!
© 2006 Les Mills International Limited
86
We find ourselves living their moment, experiencing the intensity of their situation. You are utterly
compelled. The hackles on the back of your neck rise. Your heart beats a little quicker. You sigh. You laugh
out loud. You are utterly compelled by them in their moment.
So many people these days have jobs, which make them behave like machines, and they crave any
experience that lets them feel human again.
We can give them the release they seek
We are in the business of creating fitness experiences. The magic is already there in the music and
movements – a lot of the time all we have to do is move out of the way and let it happen.
When the other four Key Elements begin to come together you’ll begin to see magic. The biggest thing we
can do as instructors is let the music, movement and essence of the program create this and just hang on
for the ride!
Create the ‘buzz’ of your class
The people in our research groups say over and over again that while they may have chosen a class for
mainly practical reasons, like its physical benefits, it’s the unique ‘buzz’ of a particular class that keeps
them coming back for more.
The secret is to identify exactly what the unique experiential elements are that people love in each class,
and how to make sure that they’re maximized in our own classes.
We know their main desire right now is for better coaching. They still place very high value on the unique
experience of each of our programs. But they say they want this delivered in a way that is authentic, adult
and in keeping with the style of the program – not superficial, patronizing and unnatural. They essentially
reject the ‘cheerleader-style’ teaching approach, which they associate with 1980s ‘aerobics’.
The modern generation of classes is based on activities like cycling, martial arts, yoga and weight training.
It talks to a much wider set of audiences and it requires a whole new vocabulary of teaching styles.
So what teaching styles are in keeping with these modern classes? How do we, as teachers, appropriately
interpret the unique experience of these activities?
Look at the essence of the program. Is it strong and athletic? Fun and uplifting? Focused and centered?
What really ‘goes off’ about a teaching style? What creates the ‘buzz’? Where’s the magic?
The joy people get from our athletic programs is often the feeling of strength and empowerment. We don’t
have to bang them over the head with it though. It’s already there in the choreography. Honor that and
you’re over halfway there!
© 2006 Les Mills International Limited
87
Don’t obstruct the experience
A big part of being successful is simply not obstructing the feelings that will come naturally with the music
and the movements if we let them. So let’s explore what we mean by ‘obstructing’ the natural feel of a
specific class.
If your program or track asks for focus, silence and serenity but you teach like Mel Gibson leading his
troops into battle in “Braveheart”, there is an obvious disconnect. Similarly, if you take a ‘Barbie Doll’
approach to teaching a strong and athletic program, you make a spoof or hoax of the experience.
You irritate participants if you interrupt the natural flow of the experience. Stopping too long between tracks,
being unfit, diluting the power of a song by teaching over the top of it or not knowing your choreography are
common barriers to creating magic.
Be relaxed and natural
Keep it real – don’t adopt a persona or voice that isn’t your own.
Think about when you attend other people’s classes. Doesn’t it feel great when they teach in a relaxed and
natural way rather than ‘acting’?
Acting is just that – acting. Being is something very different.
Shakespeare said:
“This above all to thine own self be true.
And then it must follow as the night, the day,
that thou canst be false to any man.”
In other words, be true to yourself. It’s not about putting something on over the top. It’s what’s on the inside.
“To be or not to be,” said Shakespeare.
“To do is to be,” said Socrates.
“Do be do be do,” said Frank Sinatra.
While it might be fun to do, out-of-character presentations don’t feel good when you’re on the receiving
end, and especially over the length of an entire class.
No one is exclusively one-dimensional so don’t teach that way. Take Braveheart and Barbie as examples.
Even Braveheart would have a gentle side if he were talking to his baby daughter. Even Barbie would have
a tough side if her child was trapped under a car or Ken was being beaten up by bad guys!
© 2006 Les Mills International Limited
88
In AIM (Advanced Instructor Module), which is your next module in teaching mastery, we do some in-depth
work around the façades we each put up in public, and deconstruct some of the fears and social
conditioning responsible for them.
This way we build a stronger, more authentic teaching persona through greater honesty and multidimensionality.
Commit to strong goals for each track
The key to creating great experiences is preparing strong goals that you can commit to for each track. You
need to really think about this and plan it into your teaching for it to work. Until you’ve completely mastered
it, writing out your objectives will help you get your thoughts clear.
One focus word may represent your objective. Remember: the key to an objective’s success is that it is
class-focused – it’s about THEM, not YOU. When you go into a class or a track with a strong enough classfocused objective, you lose your self-consciousness and the words and your character just come naturally.
Strong class-focused objectives are a way for us to channel magic. But remember, we don’t want to be
‘dialed up to the max’ all the time. The key to creating great experiences, to making the magic, is to find the
Braveheart in our own characters from time to time, but always to be ourselves.
When you set strong class-focused objectives, make sure you:
 Decide on the feelings you’re going to interpret.
 Plan in the track where and how you’ll bring the feelings in.
 Know that some songs can have a number of different feelings and experiences.
 Understand we become boring if we portray only one feeling.
 Let the music inspire you and shape the experience.
Create a journey of contrast
Magic lives in diversity. In the same way bands alternate up-tempo songs with slow ballads to create
contrast, so do we. You’ll find contrast in the music selection, tempo, intensity and style as well as in the
movements. We crave the polarities and enjoy relief from sameness.
Great instructors develop diversity in the way they execute movement, coach and connect.
Sometimes we may be loud and motivating, other times silent or minimalist in our cues. Contrast is a
crucial part of being multidimensional and capable of delivering an authentic experience.
© 2006 Les Mills International Limited
89
Develop your stage skills
Consider the power of a fantastic cabaret singer. Everything she does contributes to her performance – the
sway of her body, the expression on her face, the soul in her voice. From this we receive so much more
than just the song. And it can be the same when you teach.
You are in the ‘exer-tainment’ business. From the moment you step on the stage until the moment you step
off, you are in charge of the experience. There are numerous stage skills from the performing arts that you
can master over your teaching career and these will make your class delivery even more powerful.
Some basic skills are introduced during initial training and you’ll receive continuing education with each
new release. Learn from the Quarterly Workshops, through team-teaching, by attending live theater, standup comedy and improvisation, watching movies, taking courses and trying new things.
Take every opportunity to sharpen your tools:
 Build your stage presence
 Train your voice
 Master musicality
 Work contrast into your delivery
 Create impacting moments on stage
 Improve your improvisation skills
 WOW the crowd!
Ask why you are here
Thinking about the reason we’re here will help us find the passion and the energy to create powerful
experiences for people. It’s part of giving them what they pay their money for and bringing some magic into
their lives.
The best instructors who constantly create magical class experiences have a passion or unswerving belief
in what they do. They express an infectious love for exercise, movement, music and the program.
Love what you do and show it!
© 2006 Les Mills International Limited
90
YOU KNOW YOU’RE THERE WHEN…
You are in a state of flow
You teach from the program essence
Your class is addicted to your workout experience
They clap and cheer spontaneously at the end of each track or class
ASSESSMENT GUIDE
Do I capture the program essence?
Is my class a journey of contrasts?
Is my teaching style natural?
© 2006 Les Mills International Limited
91
LES MILLS
QUALITY
ASSURANC
E
To maintain the high standards expected of RPM™ instructors, Les Mills International has established firm
guidelines for the training, assessment and the ongoing development of all RPM™ instructors.
This section details the RPM™ module assessment outcomes as well as providing guidelines that explain
in detail what each instructor will be required to present for their module clearance and assessment.
Prior training
There are different rules in different countries relating to minimum standards of entry for instructors wishing
to pursue a career in group fitness. In most cases, instructors require a minimum national fitness
certification or qualification.
As there is a level of assumed group fitness knowledge in Les Mills training, all instructors undertaking
training and assessment are expected to have group fitness experience and skill.
Assessment and feedback are integral to the Les Mills instructor training model.
In order to achieve a full qualification, RPM™ instructors are formally assessed at module training and
again after submitting a video of a full class.
During the module, instructors present specified tracks, and receive feedback on their progress in
conjunction with video review.
Following final presentations, instructors receive a form to take back to the club representative, which will
indicate one of the following:
 PASS
 WITHHELD
 RESIT
© 2006 Les Mills International Limited
92
RPM™ module clearance
PASS: To achieve a PASS, an instructor must show that they know the choreography, can role-model
technique and can ensure their class is doing the right thing at the right time.
After team-teaching a minimum of four classes, an instructor can begin working towards Assessment by
teaching classes on their own in a licensed center.
WITHHELD means that understanding and demonstration have been achieved in most of the above Key
Elements. However, some attention is still required before a PASS can be awarded.
Receiving a WITHHELD allows an instructor to teach three consecutive tracks with another instructor who
has either achieved a PASS or is already RPM™ qualified.
It is recommended that this instructor team-teach in a licensed center for a minimum of eight classes.
To achieve a PASS and begin working towards Assessment, a Quality Assurance notification (which verifies
when the required competency levels have been achieved) is to be received by the Agency Assessment
Department from a club representative. This form is available to download from eClub, the Les Mills
website for club resources, which is accessed from the homepage at www.lesmills.com.
A RESIT means the required level of understanding and demonstration of choreography knowledge,
technique and ensuring the class does the right thing at the right time have not yet been achieved. A PASS
can be awarded after Module 2. It is recommended that an instructor receiving a RESIT continues to work
under the supervision of other qualified RPM™ instructors.
RPM™ assessment
To become RPM™ qualified, all instructors achieving module clearance are required to pursue assessment
review within three months of completing RPM™ initial module training.
In Assessment, certain minimum standards must be met, with competency achieved in a defined number of
compulsory elements.
A DISTINCTION is awarded when an instructor shows Mastery has been achieved in all 5 Key Elements.
A PASS is awarded when all compulsory elements listed on the Assessment are achieved.
A WITHHELD is awarded if sufficient elements have been identified to warrant the recognition and
assistance of the club representative.
© 2006 Les Mills International Limited
93
It is recommended that the instructor work on the areas required for a minimum of four weeks before cosigning a Quality Assurance form with the club representative.
To obtain a PASS, both the instructor and club representative must acknowledge and ensure all areas
within the compulsory criteria are addressed.
A RESUBMIT is awarded when sufficient elements have been identified to warrant the recognition and
assistance of the club representative and another Assessment to be submitted.
When receiving this outcome, both the instructor and club representative must ensure all areas within the
compulsory criteria are addressed.
Instructors receiving this outcome need to work with other qualified RPM™ instructors until they have been
cleared by the club representative and are ready to resubmit the assessment. A minimum four-week time
frame is recommended.
A Quality Assurance form must be co-signed with the club representative and presented with the
resubmitted Assessment.
Ongoing instructor development
After achieving an Assessment PASS, instructors are required to maintain a high standard of skill by
regularly attending Les Mills workshops and ensuring the Quarterly education material is integrated into
each release.
It is also recommended that instructors seeking further development attend the Les Mills Advanced
Instructor Module (AIM) and the Group Fitness Management (GFM) module when available.
The Training and Assessment procedures provided within the Les Mills system in no way negate the
necessity for additional courses to be undertaken by instructors.
© 2006 Les Mills International Limited
94
ASSESSMENT self-analysis form
Assessment Due Date: _________________________
Use the checklist below to identify elements that you are doing really well and those that require your
ongoing attention.
Information obtained here can be included on the Cover Sheet that is sent with your Assessment.

ASSESSMENT CHECKLIST:
Have I recorded the whole class, including pre and post-class interaction?
Have I ensured there are some participants visible in the recording?
Have I viewed my entire class to check that I can be seen and heard clearly throughout?
Did I show that I knew my choreography 100%?
Did I follow the correct class format?
Position: did I demonstrate the right alignment and posture for each track?
Execution: did I demonstrate safe, effective and correct riding technique?
Cadence: did I ride in time with the music and at the correct pace?
Am I easily understood and followed by my class?
Did I use effective coaching language?
Did I engage my participants in the workout, the music and ME?
Did I appear to be open and approachable?
Did I use a wide variety of methods to cater to the needs of my class?
Did I capture the essence of RPM™?
Did I provide a journey of contrasts?
Circle any areas requiring ongoing attention:
Choreography Knowledge / Track Selection / Class Structure / Push Play and Go
Position / Execution / Cadence / Fitness / Feel
Initial Cues / Follow-up Cues / Motivational Cues / Pre-cueing / Class Management
Sequence of Coaching / Voice / CRC – Technique Correction
Engaging Participants / Being Open and Approachable / Catering to my Classes’ Needs
Capturing the Program Essence / Contrasting the Journey / Natural Teaching Style
© 2006 Les Mills International Limited
95
ASSESSMENT COVER SHEET
This Cover Sheet is to be fully completed and submitted with your Assessment.
Instructor Name:________________________________
Address: _________________________________________________________________________
______________________________________________ Post / Zip Code: ______________________
Phone Contact: ___________________________ Email: ____________________________________
Club Name:_________________________ Club Representative: _____________________________
Please tick ():
ASSESSMENT
ASSESSMENT RESUBMITTED
Please indicate the RPM™ release you are submitting for assessment: ____________________________
Self-analysis Summary:
How did you feel about the class you taught?
Detail any instructing goals you are striving to achieve right now:
List any areas that you have identified as having done really well:
List any areas that you have identified as requiring your ongoing attention:
List any information that you would like your Les Mills Assessor to take into consideration?
_______________________________________
_____________________________________
Instructor’s Signature
© 2006 Les Mills International Limited
Club Representative’s Signature
96
© 2006 Les Mills International Limited
97
INSTRUCTOR ASSESSMENT form
ASSESSMENT OVERVIEW:
This form provides a ‘snapshot’ of the areas requiring immediate attention. Compulsory elements (indicated as bold)
are to be addressed as a priority. Reference your Program Manual and Starter Kit DVD to continue to develop the
skills/elements highlighted below.
Choreography
Competent
Develop the highlighted elements
Correctly delivers the choreography?
Yes / No
Choreography Knowledge
Follows the correct format?
Yes / No
Class Structure
Balances track selection?
Yes / No
Track Selection
Technique
Competent
Develop the highlighted skills
Demonstrates correct alignment & posture for each
riding position
Yes / No
Position
Demonstrates safe, effective & correct riding
technique
Yes / No
Execution
Moves in time with the music & on correct beat?
Yes / No
Timing
Demonstrates leg strength & high-level conditioning?
Yes / No
Fitness
Demonstrates the appropriate energy, look and cycling
attitude
Yes / No
Feel
Coaching
Competent
Develop the highlighted skills
Delivers the right information at the right time?
Yes / No
Sequence of Cues
Is easily understood and followed?
Yes / No
Initial Cues / Follow-Up Cues /
Pre-Cueing
Uses effective coaching language?
Yes / No
Visual Instruction / Motivational Cues /
CRC / Voice
Is organized?
Yes / No
Appearing Organized / Push Play & Go
Connecting
Competent
Develop the highlighted skills
Engages participants?
Yes / No
Engaging Participants
Appears open and approachable?
Yes / No
Open and Approachable
Caters to the needs of the class?
Yes / No
Catering to Your Classes’ Needs
Fitness Magic
Competent
Develop the highlighted skills
Captures the essence of the program?
Yes / No
Capturing the Program Essence
Creates a journey of contrasts?
Yes / No
Contrasting the Journey
Has a natural teaching style?
Yes / No
Natural Teaching Style
Comments:
Comments:
Comments:
Comments:
Comments:
COMPULSORY ELEMENTS:
6
© 2006 Les Mills International Limited
ACHIEVED:
98
TECHNIQUE
Were you an example of role model technique?
To achieve a competent score in Position, Execution and Timing you must achieve success in 70% of the compulsory
elements (indicated as bold) below.
All areas requiring attention are indicated with a (*). See Action Plan for recommendations.
Technique
Position
Execution
Timing
7
7
7
%
%
%
Yes/No
Yes/No
Yes/No
Ride Easy
Seated Recovery
Standing Recovery
Racing
Aero-Racing
Standing Hover
Standing Attack
Seated Climb
Standing Climb
RPM™ Stretches
Total Compulsory Elements:
Total Achieved:
Competency Achieved:
Bring immediate attention to the following areas:
© 2006 Les Mills International Limited
99
Fitness
Feel
NOTES
© 2006 Les Mills International Limited
100
PROGRAM AND
QUARTERLY
LAUNCHES
Program Launch
A great launch is vital to the success of RPM™ in your club. EVERYONE at the club needs to get behind it
and instructors need to be totally prepared to teach awesome launch classes. Practising how to teach as
part of a team is really important.
Here’s the list of things to do pre-launch:
 In-house training – regular training sessions for choreography rehearsal, fitness and peer assessment
 Marketing – posters, new members, guest passes, banners, brochures, personal trainers
 Staff classes – full dress rehearsals to internal staff
 Club support – educate and involve all instructors, staff, personal trainers, and membership
consultants/sales staff
 Inter-club meetings
 Building up to the Launch:
 Launch dates
 Orientation classes and timetabling
 Strategies for overcrowding and flexible timetable
 Booking, registration and payment systems
Quarterly Launches
 These launches should be treated as major events in your club.
 Use the posters and materials provided.
 Make a big deal out of Quarterly Launches to keep the program new and fresh and to keep the passion
alive.
 You need a RPM™ club representative that keeps the RPM™ culture alive in your club and works with
the GFM or Club Manager to keep the profile of the program high.
© 2006 Les Mills International Limited
101
 To keep the culture alive and to build a following of loyal members you must invest in the product and
facilitate four fabulous launches per year and encourage the excitement that comes from new releases.
It’s just like a James Bond movie – we know what to expect but we’re totally excited about seeing the
new love interest, the new baddies and the new stunts.
 Hand out free passes to participants to bring friends along to Club Launch day.
Use a theme for quarterlies
Super Saturday – all of the classes are launched on a Saturday.
Manic Monday – all of the classes are launched on a Monday.
World Class Wednesday – all of the classes are launched on a Wednesday.
Team Teaching
 Choose the right number of people for the size of the stage – sometimes two is all that will fit.
 Each instructor must be able to role-model perfect technique and not compromise the intensity of the
tracks in any way.

When two or three instructors are
working together, one must be the leader and the others, the shadows:
 The leader LEADS the session and FOCUSES attention
 The leader is the one who SPEAKS
 The leader gives basic instructions and makes the most of the corrections
 The leader is positioned slightly to the front, in clear view of everyone
 The leader establishes the energy, intensity and feel of the tracks
 He or she is the ‘conductor’
 The shadow/s follows the leader’s instructions and does whatever the leader says
 The shadow/s can show cadence options and provide a profiled angle for participants to view correct
cycling technique
 Three instructors on stage can also help represent a cycling peloton
 The shadow and the leader can swap roles but only during a transition that fits with the flow of the
RPM™ structure
 The best place to change the leader in RPM™ is after Track 4
 Team teaching or teaching in pairs is not a competition between instructors but, instead, it’s a team effort
and with instructors being well-prepared and practised it can really enhance the whole RPM™ Launch
experience for participants.
© 2006 Les Mills International Limited
102
Worksheet
Put a tick () beside every statement that is true for you and highlight the ones that you’ll need to spend
more time working on.
DAY 2 CHECKLIST:
I know how it feels to teach a RPM™ track.
I understand the areas I need to work on to improve.
I understand what the Key Element of Connecting is all about.
I know how to effectively communicate and connect with class participants.
I understand the importance of enabling participants to connect with each other, the cycling positions,
the music and the whole experience.
I know how to overcome some of the common barriers to Connecting.
I know how to prepare a great class introduction.
I understand the importance of having participant-focused track objectives.
I understand the benefits of assessment.
I know how to improve my teaching in all 5 Key Elements.
I know how to create Fitness Magic.
I understand the importance of a great RPM™ Launch.
I know what to do to make Quarterly Workshops successful.
I know what I need to do in preparation for my assessment video.
I am excited about being part of the global family of RPM™ instructors.
Homework:
© 2006 Les Mills International Limited
103
worksheet
Day 2 Journal
Take a few moments to record any thoughts or reflections you’ve had about your second day of RPM™
training.
© 2006 Les Mills International Limited
104
ONGOING
FITNESS
TRAINING
Set personal benchmarks for improved RPM™ fitness using the following fitness test:
RPM™ fitness test: The Race of Truth (50 mins)
The purpose of the Race of Truth is to provide a training format for you to not only increase your level of
fitness but to improve your riding technique. You can follow it on your Starter Kit DVD.
Block 1:
Warmup
90-100 rpm
Duration:
5 minutes
Perceived Exertion:
Finish @ 6 or 7 “Comfortable”
Try and have HR/PE at a 7 out of 10 by the end of the 10 minutes, looking to increase load at the same
cadence about every 2 minutes.
Block 2:
* Single Leg Drill
30 seconds/leg @ 90–100 rpm
45 seconds/leg @ 90–100 rpm
1 minute/leg @ 90–100 rpm
Duration:
4 minutes
Perceived Exertion:
7 out of 10
* HR not a concern here as it is technique-based drill
Most people have a weak and a dominant leg. This drill will expose that. This drill will help to reinforce/
emphasize the push/pulling motion of the pedal stroke as well as to prepare the rider more for the
increased workload ahead.
© 2006 Les Mills International Limited
105
Block 3:
Technique – Speed – Neuromuscular Efficiency
Duration:
3 minutes @ 100 rpm
3 minutes @ 110 rpm: Maintain previous load
3 minutes @ 120 rpm: Lighten load a little
30-seconds rest in between each set
10 minutes total time
Perceived Exertion:
8 to 9 “Uncomfortable”
This block emphasizes technique in terms of controlling the pedal stroke during increased momentum. It
will give the instructor an idea of not only the difficulty of pedaling faster but also the importance of
maintaining a smooth pedal stroke at all times.
Block 4:
Aerobic/Lactate Threshold
3 by 6-minute work periods with 1 minute between
each work period.
Duration:
Set 1:
3 minutes @ 100–110 rpm – * good resistance
2 minutes @ 90 rpm
1 minute @ 70 rpm – Standing Climb
1-minute rest
Set 2:
1 minute @ 70 rpm – Standing Climb
2 minutes @ 90 rpm
3 minutes @ 100–110 rpm
1-minute rest
Set 3:
1 minute @ 100–110 rpm
1 minute @ 70 rpm
1 minute @ 100–110 rpm
1 minute @ 70 rpm
1 minute @ 100–110 rpm
1 minute @ 70 rpm
*Last 30 seconds have participants start to build to 100% effort and then sprint with 10 seconds to go
21 minutes total time
© 2006 Les Mills International Limited
106
Perceived Exertion:
8/9 out of 10 – 10 out of 10 in last 30 seconds of 3rd
work phase.
Block 5:
Use choreographed Tracks 8 and 9 from Module
Release CD to recover and stretch.
Total time:
© 2006 Les Mills International Limited
45 – 50 minutes
107
NOTES
© 2006 Les Mills International Limited
108
Instructor Action Plan
GOAL
SPECIFIC TASKS
Short Term (Next Week)
Medium Term (3 Months)
Long Term (12 Months)
© 2006 Les Mills International Limited
109
WHEN (DATE)
© 2006 Les Mills International Limited
110
© 2006 Les Mills International Limited
111