1 0 1 (read 'One Oh One' or 'One hundred and one'), it means five in binary language. It is a musical suite formed by five independent movements, although related to each other through the number 3, around which the intellectual process of musical creation develops, which, in turn, unfolds in nine interrelated triads, which are:

Destiny - Love - Death. (Principal triad)
Nigredo - Albedo - Rubedo. (Alchemical stages of transmutation of matter in the creation of the Philosopher's Stone).
Thesis - Antithesis - Synthesis.
Past - present - Future.
Interpretation - Transcription - Creation (or Composition).
Acoustics - Electronics - Electroacoustics.
Smooth Rhythm - Pulsed Rhythm - Metric Rhythm.
Melody - Harmony - Rhythm vs. Timbre - Texture - Dynamic.
E - D - A Tones/Keys.

With 1 0 1 J. Á. Babiano, Its composer, will try to face the challenge of interrelating the notions of Destiny - Love - Death together with the stages of transmutation of matter (or substance) in obtaining the Philosopher's Stone (Nigredo - Albedo - Rubedo stages) through a continuous confrontation of the principles of Thesis - Antithesis - Synthesis in the process of musical creation and through a balanced comparison between Past - Present - Future in the procedure of understanding and creating music, conceiving that Past as a way of proceeding musically guided by academic guidelines of the Western musical tradition, fundamentally Central Europe. Understanding Present as a way of expressing oneself at the same time or through newly created techniques in the musical procedure and imagining Future as a synthesis between Past and Present. Where likewise, the coexistence of purely Acoustic - Electronic - Electroacoustic means in the timbral treatment of musical discourse can be observed and in which a musical performance based on the Interpretation of traditional material of the classical repertoire (such as, for example, the interpretation of the Chaconne for solo violin by J.S. Bach, played with violin too), in the Transcription or version of a work by another artist (the same Bach’s Chaconne transcribed for ensemble and solo violin trying to emulate a concerto for violin and ensemble based on Bach’s Chaconne) and in the Creation or composition of a new work from scratch or from another previous work (for example, the composition of the musical material that will coexist with the original speech of Chaconne, creating a new work with its own essence but preserving the original essence). Throughout the work, you will be able to feel a use of rhythm in its three aspects: Smooth - Pulsed - Metric, that is, without the sensation of pulsation, with a sensation of pulsation but without a meter and with a sensation of pulsation and meter. 1 0 1 will be built harmonically from three concrete tones on which different modalities are developed: E (tone of Destiny) - D (tone of Love) and A (tone of Death), in different modes: major, minor, pentatonic, hexatonal, octatonic, doric, phrygian, blues scales or modes, Hindu ragas, self-created, etc. It will be possible to contemplate a continuous game between a musical development based on Harmony - Melody - Rhythm against another development based on Timbre - Texture - Dynamics and against another development based on a synthesis between both conceptualizations of sound. And finally, it is worth highlighting the construction of a fractal nature of all the musical elements that generate and appear in Suite 1 0 1, from the cell or musical motif to the sections that make up any of the movements, to the movements of the suite to the entire work.

1 0 1 is intended to be conceived as a great trilogy made up of three independent trilogies (but always related to each other). For this, the suite unfolds as a great triptych, made up of two great movements, each one thought of as a trilogy in itself and that are similar in duration (around 20 minutes each one) and form (with 12 subsections: interlude1, a1, a2, a3, b1, etc.) grouped into 3 large sections (these being A-B-A' and A-B-C for each of these two movements). Both movements of the suite contain in themselves those nine triads previously exposed. Within the concept of the suite, these two works or movements would represent the 1 of the title, ordered equally at the beginning and at the end of the suite.

And the three central movements of the suite will focus on each of those notions previously exposed and expressed musically in a detailed way, but containing with less relevance the remaining concepts. For example, if a movement focuses on love, it will also contain destiny and death, if a movement is expressed mainly in metric rhythm, smooth and pulsed rhythm will also be appreciated, or more graphically, it can be considered that if there were three colors (black, white and red), each movement will focus on exposing one color, but still showing the other two. Thus, the musical elements will be organized conceptually around what they mostly try to represent. Those three movements would be syncretized with the 0 in the title of the suite. Hence the work is seen as a trilogy of trilogies.

* The movements that make up 1 0 1 are:


1.- J.S. Bach/J.Á. Babiano - Ciaccona, transcribed for ensemble.
2.- J.Á. Babiano - The New Joker, original for ensemble.
3.- J.Á. Babiano - TooVooDoo, original for ensemble.
4.- J.Á. Babiano - 沐 (MU), original for ensemble.
5.- J.Á. Babiano - ĒTHĘRHEIM, original for ensemble.**

*Later in the 1 0 1 Report there will be a section where each work will be explained in detail.
**The order of MU, THE NEW JOKER and TooVoodoo will may change.

On the other hand, it should be noted the marked compositional intention of introducing music from around the world in suite 1 0 1, as if it were an ethnomusical encyclopedia of the world, being able to feel throughout the suite music from many parts of the world and from many eras in musical history. Elements ranging from German baroque to our times, with various citations in jazz, flamenco, Basque folklore, Afro-Cuban music, gameln, pop, rock, dance, black metal, among others.
Finally, the last concept that this Suite 1 0 1 will try to address is the concept of cinema. It is not music for cinema, it is not a soundtrack nor is it music for audiovisual media, but rather "cinema" itself. Cinema without images would be the hypothetical concept to be developed.

In this concept it is understood that the form of creation is significantly different. In general and throughout history, when a composer has written a score or created music from what is embodied in a score, all the musical work was contained in it, consequently all music encoded in the score implied being the end in itself (although free improvisation is contemplated within the work), but the tangible and disseminable material artistic object is a score. But this time it will be different. There will be score, but this one, far from being the only tangible and disseminable artistic material object, is one more entity on which to rely for creation, from which everything starts, but not its end or final objective. To develop this concept, the participation of musical production and studio creation will be vital. That is, to finally create an album, a record or CD, a cassette tape, a vinyl record or a series of sound files where musical production and creation in the studio or in the laboratory plays a vital role in the final artistic object. Hence the similarity with the cinema. For the tangible and disseminable material artistic object is the film, not its script, from whom everything starts, but the film itself. And other objects or elements that do not appear or are part of the script play roles in the film. As it finally happened with Suite 1 0 1.

The great difference with the cinema or with that film object is that all music, even created and composed through a sound file which will be the subsequent artistic object, will be thought and created with the aim of being materialized live, that is to say: performed live at a concert, without the differences between the live performance and the album being so wide as to seem like a version of the album or an adaptation of it. No, everything is designed to be able to represent and sound live in the same way that it sounds on the album. It would be, analogously with the cinema, like making a film of a play performed live. But with that "magic" of the cinema, that allows us to manipulate the recorded object in the studio, just like the scenes from a movie.

Thus, the artistic object will finally be a CD or more precisely, audio files where the music created or performed by the group will come into play from what is encoded and expressed in the score, the musical creation from electronics and samplers or musical material added in a laboratory or studio and with a computer and of course, the recording process and the final production (editing, mixing and master) by a sound engineer. For this, the musical material will be recorded in the usual way: numerous takes of different scenes (or sections) of the works or movements that make up 1 0 1 will be recorded, which will be edited, cleaned and mounted in the studio and for which they will be will add electronic music (both live and in studio) created specifically from/for a specific movement and other musical resources such as choral vocal music designed exclusively for this project and performed by one or more professional choirs (choral participation is closed and tied, for example, the participation of the Alkyone choir, led by Agnès Denneulin). Afterwards, all this will be mixed and mastered to obtain a sound file that will then be implemented on a disc.
Consequently, from 1 0 1 two objects will be extracted for consultation or distribution: the scores for each movement in the suite (except, a priori, for the TooVooDoo movement, explained later) and the audio files for later materialization on a CD, cassette, vinyl and/or streaming, etc.

1 0 1 It is designed for the following instrumental formation: piano, saxophone, accordion, percussion, violin, electric guitar and electronics. Later in the study, chorus, electronics and samplers would be added. There will also be live vocals, but this will be performed by the ensemble's own instrumental musicians. In total there would be 7 musicians on stage (without considering the live choir, orchestras, bands or other accompanying formations that could be part of the live performance of this suite in the future).