DESIRE
By: Slayer
Off Of The 1998 Album Diabolus In Musica
Transcribed By: Mike Bower
Music By: Jeff Hanneman
Hey everybody. Ok, this is a pretty simple Slayer song, that I don't see very much tab for, so i thought i would tab it out. A note on tuning, some people believe that Slayer tunes down 1/2 step, and then drops the low E string another step, but that is incorrect. for all the songs on Diabolus, they tune all 6 strings down 1 and 1/2 steps, low to high( C#, F#, B, E, G#, C#) However, on Perversions of Pain, and Scrum, they use the traditional half step tuning. Have fun! Drop me a line at guitargod8852@hotmail.com.
*= Palm Muting
.= 10th fret
Clean
|--------12----------13---------------------------------------|
|-----10----10----11------------------------------------------|
|-------------------------------------------------------------|
|-------------------------------------------------------------|
|---0-----------0---------------------------------------------|
|-------------------------------------------------------------|
									Play 4X
|-------------------------------------------------------------|
|-------------------------------------------------------------|
|-------9-------8--------12---------15------------------------|
|-----7---7---6---6---10----10---13----13---------------------|
|---0-------0-------0----------0------------------------------|
|-------------------------------------------------------------|
Distortion
|--------------------------------------|
|--------------------------------------|
|------9--------10---------------------|
|----7---7----8------------------------|
|--0--------0--------------------------|
|---------------------------x\---------|
Rhy. Fig 1					play 3x
|-----------------------------------------|
|-----------------------------------------|
|------9-------8--------12---------15-----|
|----7---7---6---6---10----10---13----13--|
|--0-------0-------0----------0-----------|
|-----------------------------------------|
ending for Rhy. Fig 1
|-----------------------|
|-----------------------|
|-------12---------15\--|
|----10----10---13------|
|--0----------0---------|
|-----------------------|
Rhy Fig 2
|---------------------------------------------|
|---------------------------------------------|
|---------------------------------------------|
|-----------------------------------------3---|
|--2------1----------3--------------------1---|
|--0-0--0-0-0--0-0-0-1--0--0--0--0--0-0-0-----|
	*  *   *  * * *    *  *  *  *  * * *
ok, now, guitar 2 sustains an E5 chord, and guitar 1 plays Rhy. Fig 2 again.
Then, both guitars play this
|---------------------------------------|
|---------------------------------------|
|---------------------------------------|
|--------2------------------------------|
|-----------2-----1-------5--8--7-------|
|--0--0--------0------0-----------------|
   *  *        *      *
|-----------------------------------|
|-----------------------------------|
|-----------------------------------|
|--------2--------------------------|
|-----------2--1----3//.---9--------|
|--0--0----------0--1//8---7--------|
   *  *          *
|---------------------------------|
|---------------------------------|
|---------------------------------|
|---------------------------------|
|--7-7-7---6-6-6---1-1-1---4-4-4--|
|--5-5-5---4-4-4---1-1-1---4-4-4--|

play this riff during the second guitar solo, and for the rest of the song
|-----------------------------------------------|
|-----------------------------------------------|
|-----------------------------------------------|
|--------------------------------------------3--|
|--2--------1--------------3-----------------1--|
|--0--0--0--0--0--0-0-0--0-1--0--0--0--0-0-0----|
      *  *     *  * * *  *    *  *  *  * * *
|-----------------------------------------------|
|-----------------------------------------------|
|-----------------------------------------------|
|---------------------------------------------3-|
|--2--------1------------3--------------------1-|
|--0--0--0--0--0--0-0-0--1--0--0--0--0--0-0-0---|
      *  *     *  * * *     *  *  *  *  * * *