Then you NEED to know the 4 principles of fitness training. They're absolutely essential. The common goal of total body fitness. Your exercise program should be designed specifically to get you to this goal. Your exercise program for total. Principles of Muscular Training To have a good exercise program, the seven principles of exercise. When developing a strength training program, it is important to include exercises that work all the major muscle groups in both the upper and lower body. 1 Physical Fitness (Ranger Award elective) requirements 2 Notes 3 Requirement resources 4 Related awards 5 See also. Explain at least six principles that guide you in developing a physical fitness program. Four components of physical a. Principles of the Program by Miranda Esmonde-White LEVEL ONE Instructor’s Manual &RS\ULJKWHG0DWHULDO. How can you design your personal exercise program? Use six steps for planning exercise types, intensity, frequency. General fitness can be improved in as little as 30 minutes 3 times a week. For improved conditioning, you should try to maintain 30-60 6. Answer to When developing a fitness program, principles of training and . Question 1 options: stretching yoga exercising strength. Juan and Shanice took samples from around their classroom to grow bacterial cultures. Principles of developing a well-rounded program of physical rehabilitation for female students in the special medical group with consideration of physical activity impairment Authors Golod N. An easy way to get started on developing a personal fitness program is utilizing the F.I.T.T. This acronym stands for Frequency, Intensity, Time and Type. These are the areas in which someone could increase or overload in order to improve fitness. You will be required to develop a 6 week training program using the TRAINING METHODS AND TRAINING PRINCIPLES relevant. Things you will need to think about! Use your fitness testing to pick 1 health related fitness component to improve and one health. The FITT Principle of Training. Think of The FITT principle as a set of rules that must be adhered to in order to benefit from any form of fitness training program. These rules relate to the Frequency, Intensity, Type and Time (FITT) of exercise.. These four principles of fitness training are applicable to individuals exercising at low to moderate training levels and may be used to establish guidelines for both cardiorespiratory and resistance training. The FITT principle is used to guide the development of unique and bespoke fitness plans that cater for an individual's specific needs. Frequency. Following any form of fitness training, the body goes through a process of rebuild and repair to replenish its energy reserves consumed by the exercise. The frequency of exercise is a fine balance between providing just enough stress for the body to adapt to and allowing enough time for healing and adaptation to occur.. Cardio. Respiratory Training. The guidelines for cardiorespiratory training (also called aerobic conditioning) is a minimum of three sessions per week and ideally five or six sessions per week. Experts suggest that little or no benefit is attained over and above this amount. Of course athletes often fall outside the suggested guidelines but even elite performers must give themselves time to rest. Resistance Training. The frequency of resistance training is dependent upon the particular individual and format of the program. For example, a program that works every body part every session should be completed 3- 4 days a week with a day's rest between sessions. On the other hand, aprogram that focuses on just one or two body parts per session, in theory you could be completed as frequently as six days per week. Many bodybuilders follow such a routine. Remember though, each time you complete a strenuous strength training session (regardless of the body part) you are taxing your body as a whole - including all the physiological systems and major organs. INTENSITYThe second rule in the FITT principle relates to intensity. It defines the amount of effort that should be invested in a training program or any one session. Like the first FITT principle - frequency - there must be a balance between finding enough intensity to overload the body (so it can adapt) but not so much that it causes overtraining. Heart rate can be used to measure the intensity of cardiorespiratory training. Workload is used to define the intensity of resistance training. Cardio Respiratory Training. Heart rate is the primary measure of intensity in aerobic endurance training. Ideally before you start an aerobic training program a target heart rate zone should first be determined. The target heart rate zone is a function of both your fitness level and age. Here's a quick method for determining your target heart rate.. Heart Rate & Maximum Heart Rate. Heart rate is measured as beats per minute (bpm). Heart rate can be monitored and measured by taking your pulse at the wrist, arm or neck. An approximation of maximum heart rate (MHR) can also be calculated as follows: MHR = 2. Target Heart Rate. For beginners a target heart rate zone of 5. So if, for example, you are 4. Multiply 1. 80 by 5. For fitter, more advanced individuals, a target heart rate zone of 7. Staying with the example above, that 4. There are limitations with heart rate and the heart rate reserve method, while no means flawless, may be a more accurate way to determine exercise intensity. Resistance Training. For resistance training, workload is the primary measure of intensity. Workload can have three components: The amount of weight lifted during an exercise. The number of repetitions completed for a particular exercise. The length of time to complete all exercises in a set or total training session. So, you can increase workload by lifting heavier weights. Or you could increase the number of repetitions with the same weight. Finally, you could lift the same weight for the same number of repetitions but decrease the rest time between sets. However, only increase the intnesity using one of the above parameters. Do not increase weight and decrease rest time in the same session for example. TYPEThe third component in the FITT principle dictates what type or kind of exercise you should choose to achieve the appropriate training response.. Cardio Respiratory Training. Using the FITT principle, the best type of exercise to tax or improve the cardiovascular system should be continuous in nature and make use of large muscle groups. Examples include running, walking, swimming, dancing, cycling, aerobics classes, circuit training, cycling etc. Resistance Training. This is fairly obvious too. The best form of exercise to stress the neuromuscular system is resistance training. But resistance training does not neccessarily mean lifting weights. Resistance bands could be used as an alternative or perhaps a circuit training session that only incorporates bodyweight exercises. TIMEThe final component in the FITT principle of training is time - or how long you should be exercising for. Is longer better? Cardio Respiratory Training. Individuals with lower fitness levels should aim to maintain their heart rate within the target heart rate zone for a minimum of 2. This can increase to as much as 4. Beyond the 4. 5- 6. For all that extra effort, the associated benefits are minimal. This also applies to many athletes. Beyond a certain point they run the risk of overtraining and injury. There are exceptions however - typically the ultra- long distance endurance athletes. In terms of the duration of the program as a whole, research suggests a minimum of 6 weeks is required to see noticeable improvement and as much as a year or more before a peak in fitness is reached. Resistance Training. The common consensus for the duration of resistance training session is no longer than 4. Again, intensity has a say and particularly grueling strength sessions may last as little as 2. Perhaps the most important principle of training (that ironically doesn't have it's own letter in the FITT principle) is rest. Exercising too frequently and too intensely hinders the body's ability to recover and adapt. As a rule of thumb, the harder you train, the more recovery you should allow for. Unfortunately many athletes don't have that luxury! Sports Training Principles. The FITT principle is designed more for the general population than athletes. Sport- specific training should be governed by a more in- depth set of principles. These include: Specificity. Overload. Adaptation. Progression. Reversibility. Variation. For a more detailed look at the the principles of training for athletes, see the excellent .
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David Qualles, Dir., Cambridge, Mass.: Ballinger Press. Richard Caves, From Entry Barriers to Mobility Barriers, Quarterly Journal of Economics, 9. How Competitive Forces Shape Strategy, Harvard Business Review. The structure within industries and companies. The Contributions of Industrial Organization to Strategic Management: A Promise Beginning to Be Realized, The Academy of Management Review, octobre, Vol 6, pp. Price Wars, More Liberal Credit and Other Competitive Maneuvers, Boardroom Reports, 1. Industrial Organization and the Evolution of Concepts for Strategic Planning, In: T. Naylor, dir., Corporate Strategy, New York. K. Free Press, New York. Traduit en fran. Millar, How Information Gives you Competitive Advantage, Harvard Business Review, vol. From Competitive Advantage to Corporate Strategy, Harvard Business Review, May. Free Press, New York. Towards a Dynamic Theory of Strategy, Strategic Management Journal, winter, vol 1. Repris en 1. 99. 4, In: R. Teece, dir., Fundamental Issues in Strategy, Harvard Business School Press, Boston. The Role of Location in Competition, Journal of the Economics of Business 1, no. The Rise of the Urban Entrepreneur, Special Issue on The State of Small Business. Millar, How Information Gives You Competitive Advantage, Harvard Business Review 7. The Competitive Advantage of the Inner City, Harvard Business Review, 7. Mc. Gahan, How Much Does Industry Matter, Really?, Strategic Management Journal 1. New Strategies for Inner- City Economic Development, Economic Development Quarterly 1. On Competition, Boston: Harvard Business School Press. Solwell, The role of geography in the process of innovation and the sustainable competitive advantage of firms, In: Alfred D. Oxford University Press, Oxford. Clusters and the new economics of competition, Harvard Business Review, (Nov/Dec): 7. Clusters and the New Economy, In: Systems of Innovation: Growth, Competitiveness and Employment, Charles Edquist et Maureen Mc. Kelvey, Dir., Cheltenham: Edward Elgar Publishers, Ltd. Kramer, The Competitive Advantage of Corporate Philanthropy, Harvard Business Review, 8. Mark R. Kramer, Strategy and Society: The Link between Competitive Advantage and Corporate Social Responsibility, Harvard Business Review, 8. Spanos, An examination into the causal logic of rent generation: contrasting Porter. Matheson, commentaire du livre de Michael E. Porter, Hirotaka Takeuchi et Mariko Sakakibara, . The Ideas of Michael Porter, Oxford University Press. Robert E. Wan et Daphne Yiu, Antecedents and Precedents to Porter's Competitive Strategy, In: Robert Huggins et Hiro Izushi, dir., Competition, Competitive Advantage, and Clusters. The Ideas of Michael Porter, Oxford University Press. Business Models, Business Strategy and Innovation. Whenever a business enterprise is established, it either explicitly or implicitly employs a particular business model that describes the design or architecture of the value creation, delivery, and capture mechanisms it employs. The essence of a business model is in defining the manner by which the enterprise delivers value to customers, entices customers to pay for value, and converts those payments to profit. It thus reflects management's hypothesis about what customers want, how they want it, and how the enterprise can organize to best meet those needs, get paid for doing so, and make a profit. The purpose of this article is to understand the significance of business models and explore their connections with business strategy, innovation management, and economic theory. Copyright . His research interests span industrial organization, business strategy, organizational economics, and public policy. He is the author of over 2. 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Was there ever any discussion about having a vocalist? Kevin: Having not been in the band when that decision was made, from my perspective it’s not really necessary in the music we write. At the same time, I don’t like the idea of being confined to being an instrumental band. Ernie Halter Starting Over RarestDownload Ernie Halter. Ernie Halter - Starting Over (2008). View all articles on this page Previous article Next article. Why are there text errors? ![]() If we ever write something that calls for vocals, I’d like to think we’ll be smart enough to write them, and I know we have the capability to pull it off. Matt is a great singer as evidenced by his vocals with the Postman Syndrome, and Brett and I both do vocals in Biclops. So I don’t see any reason why it couldn’t become a part of what we do at some point. If Don Caballero tried it I guess anyone can. Matt: I wasn’t in the band in the beginning so I can’t give a total answer, but when I joined I asked “would you guys be opposed to my singing at all?” They all said not at all. There have been a few times where I’ve come up with vocal melodies for some parts, and once or twice I’ve even written lyrics. But in the end I was never satisfied enough with them to actually add them into the song. It doesn’t help that our songs are so long. Makes it difficult to write about any one subject. Chris was always the guy in the Postman Syndrome driving the cohesiveness of the lyrics. He’d really challenge me to improve how my lyrics could be explored over a 7 minute song. Now Conway gets to deal with that in Biclops I guess. Oh, and I really hate singing and playing at the same time. It means I can’t throw my guitar around. Matt: Let’s give this a real shot. I guess you could say there are some jazz aspects in there, but if you say the word jazz people think “improvisation” so we’ll go with scripted jazz. Lots of people say progressive but that word carries some serious connotations with it. So to avoid thoughts of Dream Theater and Return to Forever (nothing against either, we just don’t sound like them), let’s say progressional. Now, the most obvious label to slap on us is instrumental. But that doesn’t really say much, seeing that all non- acappela music is played on instruments of some sort. So we’ll go with non vocal. And of course, since the music doesn’t quite fit into any of these genres, we’ll throw a little post in front. Post- progressional, scriptedly jazzy, non- vocal metal. I feel like we do a lot of different things, so any description would have to be sufficiently broad. Farmer’s Almanac is filled with a wide variety of musical styles ranging from hard edged alt- rock to straight up jazz passages. First off, thank you for making the music so compelling that it’s damn near impossible to listen to it just once. Second, you gotta’ tell me how this approach to song writing came about. Who’s the mastermind or mad scientist? Is it a joint effort? Kevin: Really a joint effort. We listen to a wide range of music between the four of us, and I think that comes out in the music. I think we also have a certain chemistry that makes the songs turn out a certain way. Typically one of us brings a few riffs in, we all write our own parts to that riff, and then after that the song tends to just sort of write itself in the rehearsal room. Matt: This is just the way we’ve been doing it for years, since Postman. Back then it was all a little more dramatic. You’d have a total switch from death metal to funk without warning. Over the years I think we’ve really improved at making the different styles mesh well. We really don’t think about what genre of music will go next in a song. Kevin: It seems to be the riff that usually ends up occurring first since I’ve been in the band, but we’ll have to see what direction the new record ends up going in. I wouldn’t be shocked if what we did ended up being a little more conceptual. Matt: Almanac is very much a riff- based album. Someone brings something in and we just play it every which way until we find the angles that are most appropriate for expanding it and taking it elsewhere. Plenty gets dumped: some that I miss and some that I don’t miss. Just the other day we went backwards and removed a few parts from a song we’re working on. I was never totally pleased with those parts so I didn’t mind ditching them. Other parts I’ve been totally into and we just weren’t able to fit it into the grand scheme of things, so goodbye. Sometimes you have to make personal sacrifices. Not a conscious move at all, it just kind of happened. I really like how that worked out because Almanac has some good breather songs, and the last few songs we’ve written since then are pretty brutal. I like a good mix at shows. Where do you look for continuing inspiration? New ideas, new motivation? Kevin: I try to soak up as much music as I possibly can. I have a bad habit of buying 3. Out of those 3. 0, I’ll listen to all of them once, and then probably 3 or 4 end up becoming a part of my regular rotation. But the rest of them end up being kind of like reference material to me. I need to hear a lot of stuff, good and bad, to keep the ideas flowing. I’m also very lucky to play with musicians as talented as the guys in this band, because it makes it easier to stay motivated. You don’t show up to rehearsal with your B+ game if you know everyone else in the room is such a great player. Matt: Other music certainly. Most recently, that Krallice album is constantly in my head. Necrophagist as well and Wolves in the Throne Room. Outside of metal, I picked up an old cd from this band the Mercury Program, and I like it a lot. The past few months I’ve spent a lot of time with Coltrane and Miles Davis. That’s thanks to the Murakami book, Kafka on the Shore, which really put me in the jazz mood, aside from it being possibly the best book I ever read. I’d be lying if I said I was not influenced by the Biclops tracks. And there are some other fantastic bands around here that have also influenced me through the years: Fake Gimms, Dilation, So is the Tongue, to name a few. I recommend them all and they are very different from us. When you write a piece of music, do you consciously write from the mind set of being different than what's out there now? Kevin: I think what we naturally do is substantially different than what’s on the market currently, so it’s pretty rare that we would have to worry about that. That being said, I can think of a time or two where we wrote a riff that might have sounded a little too close to something else we had heard before. At that point, usually just by bringing the other players into the equation, it solves the problem. Matt: I don’t I’ve never been good at thinking that way. In order to do that I’d have to eliminate everything from my head that I might be thinking. Sometimes I just pick up and play whatever comes to mind until I maneuver my way into something new, and sometimes I’m really trying to emulate a sound that I’m familiar with. Maybe that’s not the most original way to go about it, but it works best for me. And it works in a weird kind of way actually. There are certain bands that I’ve tried to emulate a good deal in the past, but have been completely unable to. Engine Down is one of those bands. They have what I’d describe as a “soft” feel (not to say that they’re not hard at all, because they can definitely hit pretty hard), but more in their riffage. They can be very delicate in their playing and really bring out the characteristics of the guitar itself, which I love. I’ve tried to riff like them many times, and I never come anywhere close. However I usually end up with something I really like, even though it sounds nothing like what I wanted in the first place. So there you go; I write all my music by first trying to rip off Engine Down. What is you musical intention? What are you trying to express or get your audience to feel? Kevin: I think we want to convey a really three- dimensional experience. A lot of bands are really great at conveying one particular mood or type of imagery, but I want to express a broader range. When we have a song where there’s a heavy riff happening and all of a sudden the song gets atmospheric, it’s not because we’re trying to be weird or different. We want to express something that goes a little deeper than most songs do. |
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