1
[2026-09-06] · src LHCb Collaboration; arXiv:2609.02475 (2026-09-02)
CPT and Lorentz invariance are assumed by the Standard Model's underlying quantum field theory rather than derived within it, which is why testing them independently in as many particle systems as possible matters: a violation could in principle couple differently to different quark flavors. LHCb searched for one using interference between B_s0-B_s^0bar mixing and direct decay in B_s0 -> D_s^- pi^+, parameterized by a complex coefficient z that a symmetry violation would push away from zero. Using 6 fb-1 of 13 TeV proton-proton collisions from 2015-2018, they measure Re(z) = 0.018 +/- 0.016 (stat) +/- 0.003 (syst) and Im(z) = 0.003 +/- 0.004 (stat) +/- 0.002 (syst) - both consistent with zero - translating to sensitivity on the relevant Standard-Model-Extension coefficient at the O(10-14) GeV level, which the collaboration reports as the most precise constraint on CPT violation in the B_s system specifically.
Neutral-kaon interferometry already constrains CPT violation in the light-quark sector far more tightly than this, so the news here is not that some new deviation was found - none was - but that the beauty-strange sector now has its own dedicated, precise null result rather than an assumption carried over from kaons. If a violation exists at all, nothing requires it to respect flavor universality, so each sector tested and found clean is an independent piece of the same answer rather than a repeat of it.
2
[2026-09-06] · src Arban, Complete Conservatory Method — 14 Characteristic Studies
Trumpet takes today's slot, continuing the alto → piano → trumpet three-day cycle this rotation has held since mid-August. Four sessions into the 14 Characteristic Studies, No. 1 asked for endurance, No. 2 for dynamic contrast, No. 3 for legato across a register break and No. 4 for switching cleanly between slur and tongue; No. 5 asks for something none of the first four tested directly — holding a single soft dynamic level evenly through a long slurred phrase without letting it swell, the discipline every one of the earlier demands quietly assumed rather than checked.
8 minutes: a single sustained concert F, quarter = 60, held for eight full counts at a steady mp, ten times through, moving up by half step and back down. Check it against a tuner drone rather than by feel — a note that swells is the easiest thing in the world to not notice while you're the one playing it.
Characteristic Study No. 5, played straight through at the marked tempo, treating every held or slurred note as a test of the warmup's discipline rather than a place to relax it. Success criterion: the longest sustained phrase in the study — the one most tempting to lean on for support — comes out audibly level from start to end, neither swelling into the next phrase nor sagging under it.
Art of Phrasing, Melody No. 18. Play it once for notes, then once holding every long note to one level dynamic exactly as in the warmup, so the discipline transfers from an isolated drill to a real phrase with somewhere to go melodically.
One clean pass of the Characteristic Study, same standard as No. 1 through No. 4. Stop there, or sooner if a held note starts drifting instead of staying level — chasing a level tone with a tiring embouchure is exactly how the swell this session is trying to eliminate creeps back in.
[2026-09-06] · src —
hearChet Baker — My Funny Valentine (Chet Baker Sings) · Tidal · Spotify
This is the 1954 quartet recording — Baker with Russ Freeman, Carson Smith and Bob Neel — that made the tune Baker's signature, and the whole performance sits at one hushed dynamic level for nearly three minutes without ever pushing to make a phrase land. The trumpet passage especially never swells into its own long notes, which is exactly the habit today's technical target is trying to eliminate, at a tempo and register where a wavering level has nowhere to hide.