Fictional Reality

Slayer

tono:

-/
/ 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

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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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