-/
/ 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
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. - 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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