Cifras Web

Fictional Reality

Slayer

10 acessos

-/
/ The following is the author's own interpretation of the song, to be used /
/ for private use and studying /

/-------------------------------------------------------------------------/

From the Album DIVINE INTERVENTION

Version 1.0 - October 1998

Transcription By: Mike Kimball

For Questions, Comments, Newest Version, or Corrections contact
at:

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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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