Unconventional training using unique implements (kettlebells, sandbags, clubs etc.) and methods (gymnastics, calisthenics, strongman, etc.) are often seen as the staple of the super-fit, strong and young.
While these methods and practices are becoming more commonplace, what value do they have for beginners who want to improve their health and fitness? And furthermore, would they need to be modified to ensure applicability and safety in this diverse population?
This article will discuss the rationale for an unconventional approach to training beginners and suggest example exercises and programs. It will also share some of my experiences of working with beginners in both a commercial and rehabilitative capacity.
In four interconnected sections, the Quad City Wind Ensemble performs Philip Sparke's 'Dance Movements.' The conductor is Brian Hughes. DANCE MOVEMENTS - Philip Sparke. Banda CIM Benimaclet 2015. Of the ones from the textbook, the definition of dance that I feel is the most complete is “rhythmic movement of the feet or body, ordinarily to music.” My definition wouldn’t differ from it because dance is a physical activity in which you use body movements to move along with the music. The four movements are all dance-inspired, although no specific dance rhythms are used. The first has a Latin American feel and uses xylophone, cabasa, tambourine and wood block to give local colour. The second woodwind movement uses a tune that had been plaguing me for some time and is, I suppose, in the style of an English country dance.
It should be noted that “training for” any broad population is necessarily very complex and that making specific recommendations is both challenging and complicated.
Conventional Fitness Options
Before tackling the “what” and “how,” we need to examine the “why.” The conventional health and fitness environment and approach typically consist of:
● Machine-based, often seated, resistance exercise.
● A focus on aerobic exercise, over and above strength and functional movement.
● An abundance of mobility aids that reduce the physical requirements of the individual.
● A focus on aerobic exercise, over and above strength and functional movement.
● An abundance of mobility aids that reduce the physical requirements of the individual.
I would argue that this conventional approach to health and fitness can be largely ineffective in supporting the needs of beginners. My experience has been that improving an individual’s ability to move comfortably has a far greater impact on their daily life and health than anything else. That, in turn, directly improves quality of life.
Of course, any training program can be impacted by other factors such as disease and obesity, but these can be treated both independently and as part of the overall goal of the program.
Having worked extensively in the commercial fitness environment and rehab fields, I can say that the majority of coaches and trainers default to a “better safe than sorry” policy when working with beginners. This typically leads to a disparity between the goal setting process and the practical implementation of any program.
An Unconventional Approach
It is easy to categorize a certain type of training or equipment as being “unconventional” or as leading to a certain type of result. Our industry is guilty of this over and over again.
The important thing to consider when approaching a large, diverse population is that we are examining the probable result of applying the principle rather than a 1+1=2 approach. Therefore, I think it’s important to further qualify the desired results from this unconventional approach.
When we elect to try kettlebell training instead of the step class, barbell strength program, or a resistance machine circuit, what are we really trying to achieve? We want to gain the results that are typically associated with those activities.
If you don’t first set out those goals then it becomes increasingly difficult to both implement and adapt your training options to achieve optimal success.
I believe training for beginners should be focused on function above aesthetics; so much of my work has been centered on basic human movement patterns. This approach makes it relatively easy to construct a sound program and monitor progression and regression in each area.
Functional Movement Exercises Programming
As a baseline, a focus on an exercise in each movement pattern is a sensible approach. This may also need to be adapted for certain individuals. You could also substitute any of the exercises below for a comparable exercise with a specific training implement. The following is an example of a basic human movement program with exercises and comparable daily activities:
1. Squat
The bodyweight squat is a simple movement pattern that can be progressed or regressed through altering the level of support, range of motion, or resistance. The squat is comparable to sitting down and standing up.
2. Lunge
The lunge is a vital movement pattern that has good transfer into walking, stair climbing, and picking up things from the floor. Again, it can be progressed or regressed through the level of support, range of motion or resistance.
3. Hinge
A classic deadlift movement is not only an excellent exercise to strengthen the posterior chain but is one of the most functional of daily movements – picking up an object from the floor. The deadlift can also easily be performed in any environment e.g. with a holdall, shopping bag, or suitcase. The range of motion and resistance can easily be adjusted and variations like the suitcase deadlift offer additional flexibility and progression.
4. Push
An exercise like the push-up is the simplest upper body push movement but can offer difficulties for those with reduced mobility. As a baseline exercise, I actually prefer a standing resistance band press as it also helps to develop balance. For those who are unable to stand, the exercise can be regressed to a seated version.
5. Pull
A standing resistance band pull offers a great antagonist to the resistance band push. As with the push version, the resistance band pull can also be performed from a seated position if necessary.
6. Rotate
A standing resistance band rotation is effective in developing both rotational strength and balance. Like the resistance band push and pull, it can be performed from a seated position if necessary.
7. Walk
The ability to walk is such a fundamental part of daily life that it should be a priority in any training program, and specifically one aimed at beginners. This can mean that the training program actually contains walking or that it is constructed to help enable a healthy gait (most likely it will be a combination of both).
It’s Time for You to Start Refining Functional Movement Exercises
For those that have traditionally thought of unconventional training as an unsuitable option, it is time to change that attitude.
The value of unconventional training comes not in the range of implements and methods that can be used, but in the way that the training can be made applicable to diverse populations.
Applying sound coaching principles with an unconventional approach can produce amazing results. Check out my 4 Reasons Why Everyone Should Consider Unconventional Training.
Dance Movements Sparke Pdf Merge Pdf
Related Posts
Dance Movements was commissioned by the United States Air Force Band and first performed by them at the Florida Music Educators’ Association Convention in January 1996.
It is cast in four movements which play without a break; the second and third feature woodwinds and brass respectively.
In many respects, the circumstances of the commission itself were the musical inspiration for the piece: I had been asked to write for a very large band, which included piano and harp. It was the first time I had used these instruments in a concert band score and (as in Stravinsky’s Symphony in Three Movements) their presence coloured the score and, indeed, the type of music I wrote.
The four movements are all dance-inspired, although no specific dance rhythms are used. The first has a Latin American feel and uses xylophone, cabasa, tambourine and wood block to give local colour. The second woodwind movement uses a tune that had been plaguing me for some time and is, I suppose, in the style of an English country dance. The brass movement was composed without a specific dance analogy, but I think it can been seen as a love duet in classical ballet. The fourth and longest movement has, I hope, cured me of a ten-year fascination, almost obsession, with the music of Leonard Bernstein and I will readily admit that it owes its existence to the fantastic dance music in West Side Story.
Dance Movements Sparke Pdf Merger
1. Ritmico
The opening theme on horns and saxophones is played amidst stabbing chords from the top and bottom of the band. A gentler theme follows on piccolo and clarinet, followed by the flute, oboe, trumpet, harp and glockenspiel. The main motif of the movement then arrives, which includes a dotted rhythm, which is to recur at all significant moments. A climax is reached and an angular figure follows on oboes, saxophones and clarinets. Previous material then reappears to bring the movement to a close.
2. Molto Vivo (for the Woodwinds)
The second movement starts with a rustic dance tune, which is continually interrupted. It passes through various keys and stages of development until a bubbling ostinato arrives on piano, harp, glockenspiel and cello. Over this, the oboe lays a languid tune, which is then taken up by soprano and alto saxophones. Clarinets and lower winds introduce a new idea; it is built on 9th and 11th chords, highly syncopated and interspersed by snatches of the ostinato. Eventually the oboe theme reappears, accompanied by the lower wind chords. The dance tune then establishes itself once more and reaches a climax before winding down to a close.
3. Lento (for the Brass)
The third movement opens with whispering muted trumpets, harp and vibraphone. Declamatory statements from horn and trombone answer each other and a slow and majestic chorale gets underway. Trumpets join to reach a climax where the original trombone statement reappears, bringing back the opening trumpets figures.
4. Molto ritmico
The final movement bursts into life with a passage featuring the percussion section. The whole band then joins in until a driving bass ostinato establishes itself. Melodic snatches are thrown around the band until a gradual crescendo leads to a unison passage for the entire band. A robust theme appears on horns and saxophones but eventually the earlier sinister music returns.After a short pause a plaintive tune on the woodwinds leads to a more rhythmic one on the brass but it is not long before the percussion remind us of the opening of the movement and the ostinato reappears. The robust horn tune is this time played by the full band but the moment of triumph is short and a running passage appears which starts in the bottom of the band but works its way to the upper woodwinds. Eventually the brass plays a noble fanfare which dispels the darker mood and ends the movement in a blaze of colour.