-/
/ The following is the author’s own interpretation of the song, to be used /
/ for private use and studying /
/————————————————————————-/
SLAYER — FICTIONAL REALITY
From the Album DIVINE INTERVENTION
Copyright 1995 AMERICAN RECORDS
Version 1.0 — October 1998
Transcription By: Mike Kimball
For Questions, Comments, Newest Version, or Corrections contact
at:
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emailing
. — palm mute / — slide up to
— slide down to ~ — vibrato
h — hammer on b — bend
p — pull off Suffixes for bend
ph — pinch harmonic f — full bend h — half bend
* — see comment r — release t — tap bend
X — percussion mute ~ — vibrato bend
@ — slight palm mute () — ghost note, sustained note
Tuning: Eb(Eb,Ab,Db,Gb,Bb,Eb)
Fig. 1
|——————————————————
|——————————————————
|——————————————————
|——————————————————
|———————2—1——————-1—0——
|—4-0-2-5-2-0-3-0-2—2—4-0-2-5-2-0-3-0-1—1——
|___| |___| |___| |___| |___| |___| |___| |___|
End Fig. 1
Play four times.
Fig. 2
|—————————————————-
|—————————————————-
|—————————————————-
|———5p4———————5p4———4——-
|———5p4———————5p4———4——-
|—0-0-0——0-6-0-0-0-0-0-0-0-0——0-6-0-0—6-4—
|___| |___| |___| |___| |___| |___| |___| |___|
End Fig. 2
Play eight times, but on eighth time, play Fig. 3 in place
of last three notes in Fig. 2
Fig. 3
|———————————————————
|———————————————————
|———————————————————
|———————————————————
|———0————0————0————0——1——
|—2-1-0—4-3-2-1-0—4-3-2-1-0—4-3-2-1-0—4-3—3-2-
|___| |___| |___| |___| |___| |___| |___| |___| |___|
End Fig. 3
Fig. 4
|—————————————————
|—————————————————
|—————————————————
|—————————————————
|—————————————3-0-2-0——
|—0-0-2-0-0-0-3-0-2-0-0-0-5-0-3-0-0-0———3-2-
|___| |___| |___| |___| |___| |___| |___| |___|
|—————————————————
|—————————————————
|—————————————————
|—————————————————
|—————————————3-2-0——-
|—0-0-2-0-0-0-3-0-2-0-0-0-5-0-3-0-0-0——-4-3-2-
|___| |___| |___| |___| |___| |___| |___| |___|
|—————————————————
|—————————————————
|—————————————————
|—————————————————
|—————————————3-0-2-0——
|—0-0-2-0-0-0-3-0-2-0-0-0-5-0-3-0-0-0———3-2-
|___| |___| |___| |___| |___| |___| |___| |___|
|—————————————————
|—————————————————
|—————————————————
|—————————————————
|—————————————1-0———
|—0-0-2-0-0-0-3-0-2-0-0-0-5-0-3-0-0-0——4-3-2-1-
|___| |___| |___| |___| |___| |___| |___| |___|
End Fig. 4
Return to Fig. 2; but end with Fig. 5.
Fig. 5
|———————————————————
|———————————————————
|———————————————————
|———————————————————
|———0————0————0————1-0———
|—2-1-0—4-3-2-1-0—4-3-2-1-0—4-3-2-1-0——4-3-2-1-
|___| |___| |___| |___| |___| |___| |___| |___| |___|
End Fig. 5
Play Fig. 4 again.
Fig. 6
|———————————————-
|———————————————-
|———————————————-
|———————————————-
|—3——2——1————3——2——1——-
|—-2-1—2-1—2-1-3-2-1—2-1—2-1—2-1-3-
|___| |___| |___| |___| |___| |___| |___| |
End Fig. 6
Fig. 7
Fig. 7 is mostly just hammer-ons at the fourth fret of the open E
string; then on the E string, first fret.
The rest is made up mostly of parts already shown. Use your ears.
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