| Course | NSG 121 Health Assessment |
|---|---|
| Unit | Unit 5 |
| Paper type | Head-to-toe rehearsal log |
| Length | About 870 words, 6 pages |
| Format | APA 7 student paper |
| School | Herzing University |
| Program | BSN |
| Updated | October 2026 |
Free sample paper for NSG 121 Unit 5
One Repositioning, Two Repeats, Three Things Left Undone: A Head-to-Toe Rehearsal Log From the Skills Lab
Student Name
Department of Nursing, Herzing University
NSG 121: Health Assessment
Instructor Name
February 12, 2026
One Repositioning, Two Repeats, Three Things Left Undone: A Head-to-Toe Rehearsal Log From the Skills Lab
Before Approaching
The rehearsal was performed in the skills lab on a composite partner, a 24-year-old male classmate with no health concerns, over 38 minutes. Before starting, the equipment was laid out on the bedside table in the order it would be used: blood pressure cuff and stethoscope, penlight, otoscope and ophthalmoscope, tongue blade, Snellen card, tuning fork (512 Hz), reflex hammer, cotton wisp, and paper clip for sharp and dull testing. The bed was raised to my hip height, the head of the bed flat, a drape and gown ready, and the room warmed. I explained that the examination would go from head to feet, that he would sit for the first half and lie down once, and that he could ask me to stop at any point. Hands were washed in front of him.
Seated Sequence
General survey and vital signs, seated on the edge of the bed. Done first because they need rest before, and because the general survey starts the moment the person is seen.
Head and face: inspection, then palpation of the scalp and temporal arteries. Eyes: visual acuity with the Snellen card, then extraocular movements, then pupils with the penlight, then the ophthalmoscope. The ophthalmoscope was the one departure from the taught order in this region: it was moved to the end of the head examination because the room lights had to be dimmed for it, and dimming them once rather than twice saved time.
Ears: otoscope, then whispered voice, then the Weber and Rinne tests with the tuning fork. Nose and mouth: penlight and tongue blade. Neck: inspection, lymph nodes palpated in a fixed order from the preauricular nodes around to the supraclavicular, thyroid palpated from behind, trachea checked for position.
Transition: I moved behind him to examine the posterior chest while he was still sitting, since the thyroid had just been palpated from that position. He crossed his arms to move his shoulder blades apart. Posterior chest: inspection, palpation for expansion, percussion, then auscultation, comparing side to side at each level.
Anterior chest and heart, still seated: auscultation of the lungs, then the five cardiac listening sites with the diaphragm and then the bell. Upper extremities and cranial nerves were completed while seated, including grip strength and arm reflexes, so that he would not need to sit up again later. This is the second departure from the taught sequence, which places the neurologic examination last; doing the upper-body neurologic parts now saved a repositioning.
The One Repositioning, and the Supine Sequence
Transition: he lay back with the bed tilted up 30 degrees so the neck veins could be judged, and the bed was then lowered flat. This was the only change of position for the rest of the examination.
Heart, supine: the point of maximal impulse could not be felt with him flat. He was turned partly onto his left side and it was felt in the fifth intercostal space just inside the midclavicular line, about 2 cm across. This is recorded as a repeat, with the position in which it was found.
Abdomen: inspection, then auscultation before percussion and palpation, since touching the abdomen can change bowel sounds. Knees bent on a pillow to relax the abdominal wall. Liver span percussed at the right midclavicular line; light and then deep palpation in all four quadrants.
Lower extremities: inspection of skin and hair, pulses from the femoral down to the dorsalis pedis and posterior tibial, capillary refill, and a check for edema at the shins and ankles. Lower extremity neurologic examination: strength, sensation with the wisp and the paper clip, vibration at the big toe with the tuning fork, knee and ankle reflexes, and plantar responses.
Repeats
Two parts were repeated because the first attempt was not good enough. The point of maximal impulse, as described above. And the Rinne test on the left ear: on the first attempt the tuning fork had been struck too hard and was still ringing loudly when moved to the ear, which made the comparison unreliable. It was struck gently and repeated. Both are recorded as repeats rather than written as if they worked the first time, because the course text notes that technique problems of this kind are a common source of misleading findings (Bickley et al., 2021).
Left Undone, and Why
Three parts of a complete examination were not performed. The breast, genital, and rectal examinations are not done on classmates in this lab; they are practiced on models and would be recorded as deferred in a real record. Gait and balance were not tested because the lab floor was being cleaned in the walking area; this is the omission most likely to be forgotten in practice, since it requires the person to stand again after lying down. The ophthalmoscope examination was attempted but the optic disc was not seen in either eye; it is recorded as attempted and not visualized, not as normal.
The partner is a composite for this assignment. The sequence taught in the course, and the departures from it, follow Jarvis (2020); the advice on minimizing repositioning follows McGee (2018).
References
Bickley, L. S., Szilagyi, P. G., Hoffman, R. M., & Soriano, R. P. (2021). Bates' guide to physical examination and history taking (13th ed.). Wolters Kluwer.
Jarvis, C. (2020). Physical examination & health assessment (8th ed.). Elsevier.
McGee, S. (2018). Evidence-based physical diagnosis (4th ed.). Elsevier.
Reading the NSG 121 Unit 5 instructions
Unit 5 asks you to log a rehearsal of a head-to-toe examination and reflect on your sequence. Expect to describe preparation, record the sequence in order with positions, explain repositioning, note repeats and why, and state what was left undone and why. Many versions ask whether the log must follow the textbook sequence exactly and whether mistakes should stay in. Check whether your section expects a specific sequence. Minimizing position changes makes the examination comfortable and efficient. Repeats are part of learning, so record them honestly. Parts left undone, such as sensitive examinations on classmates, should be named with the reason. The log is a reflection, not a competency checklist.
How this NSG 121 Unit 5 example is built
The log opens with preparation in a short paragraph. The seated sequence lists each part in order, with a reason for its place, such as vital signs first because they need rest. The repositioning section explains the single move to semi-reclined and why 30 degrees was chosen. The supine sequence follows. The repeats section describes two parts done again, what went wrong the first time and what changed. The undone section names three parts and why they were omitted. The log reads as an honest account of a rehearsal, which shows learning rather than a perfect performance. Each sequence choice cites the course text, so the order rests on standards rather than habit.
Reading the NSG 121 Unit 5 rubric
Herzing's rubric for a rehearsal log typically covers preparation, logical sequence, efficient positioning, honest recording of repeats, explanation of omissions and reflection. The order of the examination and the number of position changes are read closely, since a good sequence keeps the person comfortable. Preparation points reward hand hygiene, introduction and consent. Repeat criteria look for honest accounts with what changed on the second attempt. Omission points go to named parts with reasons. Reflection earns credit for insight into technique, such as how pressure affects palpation. A clear order from seated to supine helps the reader follow. Writing in first person past tense suits a log. The sequence rationale draws on the head-to-toe chapter of Jarvis's assessment text.
NSG 121 Unit 5 help: mistakes that cost points
Rehearsal logs in Unit 5 commonly lose points by presenting a perfect performance with no repeats or errors. Another frequent problem is a sequence that moves the person up and down repeatedly. Students often skip preparation and consent. Omitted parts are not named. Reasons for the order are missing. Repeats are recorded without what changed. The log becomes a checklist rather than a reflection. Positions go unrecorded, leaving comfort impossible to assess. Time taken is often useful to record, since rehearsal should get faster. Finally, keep mistakes in the log, because graders reward honest reflection on what needed a second attempt more than a log that claims everything went right.
Get a NSG 121 Unit 5 example written to your instructions
Send the Unit 5 instructions and the rubric from your NSG 121 classroom, and say which sequence the assignment follows. We write a custom example written in performed order, with preparation recorded first, a reason on every transition, repositioning trackable throughout and the unfinished parts stated. First custom sample free, back in 24 to 48 hours.
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NSG 121 Unit 5 questions, answered
Does the log have to follow the textbook sequence exactly?
It has to follow the sequence your course teaches, and where you depart from it, say why at that point. Sections differ on a few transitions, and an explained departure usually reads as understanding while an unexplained one reads as an error. Check the sequence your skills lab uses, since that is normally what your instructor is marking against.
Should mistakes stay in the log?
Yes, where they were noticed and corrected, because that sequence is worth more than a flawless account. Record the first attempt, what made it unsatisfactory and what was done differently. Logs with nothing to correct in them are the ones that read as written afterwards from the outline rather than during or immediately after the rehearsal itself.
Is this the same as my skills check-off?
No. A check-off is performed and signed by an instructor and is yours alone to complete; nobody can write it for you. The log is the written document about a rehearsal, and a sample shows how a finished one is organized, what belongs in a transition line and where marks are lost. Keep the two separate in your own submission.
Where can I find a free NSG 121 Unit 5 sample paper?
You can read the whole NSG 121 Unit 5 head-to-toe log here for free, the sequence, the repositioning, two repeats and three parts left undone. A log of your own rehearsal can be written on request.
What order should a head-to-toe assessment follow?
A common approach completes everything possible while the person sits, then has them lie back once for the neck veins, heart and abdomen, minimizing position changes. This sample follows that order and explains each step.