Dr. Jenene Cherney

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10/12/2026

This is the space I’m inhabiting now— curiosity and exploration.

When you experience the contrast of what serves and what doesn’t any longer, it brings attention to what really matters.

What are your thoughts on the “mistakes?”

10/08/2026

Have you ever just stopped and enjoyed what was happening, even if it wasn’t the goal?

I’ve been asking myself more, what is the outcome trying to teach me?

Slurs that didn’t speak…
Melodies that went south…
Chipped notes entering the scene…
🤣 … the list goes on.

We don’t learn anything when the goal is to play perfectly.

I mean, we’d all like to, but I’m coming to realize that the way we get there isn’t a direct line.

It’s studying the imperfect that leads us to mastery.

What say you? Any thoughts?? 🙃♥️

10/06/2026

Playing in the stratosphere is unfamiliar. It builds new neurological pathways the more we do it.

What does our practice teach us?
We learn and adapt.

It’s similar when we explore anything else in our playing. Its discovery territory.

Why the hell are we so hard on ourselves?

If we want those new neurological pathways to be healthy, we need to consider how changing our inner talk can change the result of what we’re trying to achieve.

…instead of reinforcing what we don’t want.

This is one of the things I have come to really appreciate about being in High Range Magic.

This cohort of horn players focuses on “what did you learn from that” or “try this” rather than “don’t do that” or “no, too much X.”

It makes learning fun. It makes learning a discovery process. It makes practice feel a whole lot different.

What do you want more of?
Relaxation, wonder, awe, high range ;)

Or disappointed head shakes, frustration, face smashing, spreading, and tightness?

Maybe come join us in High Range Magic
————————————————
Hi, I’m Dr. Jenene Cherney. I’m a chiropractor and a musician, picking up the horn again after 16 years and sharing my journey out loud.

09/30/2026

When I first started High Range Magic, I didn’t have a “high C” aka C6.

Even though I had just picked up the horn after sixteen years, it didn’t matter…
I didn’t have a solid one before then either.

I didn’t have much of a range above the staff at all.

Now “high C” just feels like a “C.”
Like that s**t is easy now. (Not always, but I’m becoming more efficient over time)

For me to stand in the garage and gently squeal out a C7 (DOUBLE high C)….

Dude, my mind is blown.

Not to mention, look how relaxed my face is.

High Range Magic, people.

Seriously, I’m becoming such an efficient player in this 12 week course it makes an entire graduate program pale in comparison…

Yep, I said what I said 🤯

09/26/2026

One of the key takeaways that has really clarified itself over the course of weeks, is how truly important alchemy is.

Alchemy is the process of challenging emotions, feelings, old s**t, anything that consciously or subconsciously affects your playing.

If we don’t clear the crap, we only have access to what remains.

And then our discovery is limited.
Which means our playing doesn’t expand.

Our art is truly a reflection of the work we are willing to do… not just technical work, but the deep inner work.

My friend once described this as bottom-up and top-down working in parallel.

You need both to actualize.

Being in the High Range Magic cohort has introduced me to alchemy, and my playing has had a brand new identity over and over.

There is no workaround for not doing the work.

09/14/2026

I’m halfway through High Range Magic.

The teachers are awesome. I never know which one is going to be teaching during any of our two 2-hour group cohorts each week

Jon is such an amazing teacher. He often explains using metaphors for my auditory processing brain that work really well

He was coaching me through my mini capstone piece and one thing I realized was that I don’t need to use more air if I’m efficient in my technique 🤯— I can actually use less

In training part of that mechanism is the tongue placement, which can be trained to relax with the use of the flutter

Breakthroughs like this have been happening for weeks in HRM

When Jon initially asked me to flutter, I tripped over myself

Turns out, my approach was wrong, which is why nothing would really speak when I tried

Using “ga” and thinking “Lady Ga Ga” helped me be able to flutter tongue

Holy crap

HRM makes it so it’s easy to try weird s**t in front each other in order to reach the other side of it

I’m not only a completely different player but also a completely different person, still in the process of becoming 🙌🏻

09/08/2026

Ok, so at the Artist Retreat at Thunderhead, in Hughesville, Montana, during Horn Geek Week, we were fortunate the have home masterclasses on the schedule basically every day

One was given by Dr. Liz Schmidt, who is a killer horn player and overall wonderful musician. (Shameless plug for Montana State University horn studio!)

Her masterclass content was solfège

before the class began, she asked players casually about our relationship to singing and solfège and our voices…

my choir teacher in HS used the numbers system, a parallel system to solfège. I then learned solfège during undergrad study

haven’t used it since.
never mind with horn playing…

do you know how many times musicians pick up their instrument, slam the valves or keys down and try to play a passage without being able to hear it first?

this is the part that made my mind bend. At the Thunderhead annual Karaoke Night, Liz laid down some serious solfège to just about any and all songs

Truthfully, at first, I thought she was picking songs she had studied over the years and was reproducing something she had learned by rote

Uh, not quite… 🤯🤯🤯
She had my attention

because she was hearing relationships in real time… and I realized the langue of solfège was truly so deeply integrated as an entire language

and that has stuck with me

It hit me like a ton of bricks, that solfège isn’t about memorizing do re mi fa sol la ti do

it’s really about developing the relationship between what you hear internally and what you produce externally. BRO.

Spacial relationships and relations

For a horn player, that integration is enormous, never mind understanding just the distinction between reading music and fully integrate it as a language

our instrument gives us a whole collection of notes on the same fi*****ng

what if we can map the notes in our minds before we even play a single note? and they just live within us before playing any excerpts, etudes, or any music

I started bringing solfège back into my own practice and it’s been FASCINATING

apparently the things we learned 25 years ago- and promptly abandoned, sometimes come back and say…

“hey a$$h0le. you might want this now.”
🤣😆📯📯📯

09/07/2026

OK, so at the Artist Retreat at Thunderhead, in Hughesville, Montana, during Horn Geek Week, we were fortunate to have master classes on the schedule basically every day

One was given by Dr. Liz Schmidt, who is a killer horn player and overall wonderful musician. (Shameless plug for Montana State University horn studio!)

Her masterclass content was solfège

before the class began, she asked players casually about our relationship to singing and solfège and our voices…

My choir teacher in HS use the numbers system, a parallel system to solfège. I learned solfège in college during undergrad study

haven’t used it since.
never mind pairing it with horn playing…

do you know how many times musicians pick up their instrument, slam the valves or keys down and try to play a passage without being able to hear it first?

Then a step further was when Thunderhead held their annual Karaoke Night (actually, it was so much fun we had two of them 😆), facilitated and run by Joe, owner, Chris’s brother 🎤

Liz casually laid down some serious solfège to just about any song

Truthfully, at first I thought she was picking songs she had studied over the years and was reproducing something she had learned by rote

Uh, not quite… 🤯

she was hearing the relationships in real time… and that has stuck with me

I realized solfège isn’t really about memorizing do re mi da so la ti do

it’s about developing the relationship between what you hear internally and what you produce externally. BRO.

For a Horn player, that integration is enormous, never mind understanding just that distinction

our instrument gives us a whole collection of notes on the same fi*****ng

so what if before making a single note, we can already hear exactly where the notes live in our attitudes and our excerpts and all of our music?

I started bringing solfège back into my own practice. And it’s been FASCINATING

apparently, the things we learned 25 years ago -and promptly abandoned, sometimes come back and say…

“Hey a$$hole. You might want this now.”
🤣😂📯📯📯

09/05/2026

I just cut my hair again. Almost immediately I remembered an old horn teacher telling me years ago “No one will take you seriously looking like that.” It took me a year to get the courage to do it again, actually, even though >> I

Address

2 Berard Boulevard
Oakdale, NY
11769

Telephone

+16316992104

Website

http://www.sound-chiropractic.com/

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