/ 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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