Practice Studio

Slayer - The Final Command - Guitar Tab

Sections · Loop · Speed · Metronome

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Select a Loop

Start of your loop
End of your loop

Speed Control

Speed
100%

Tools

BPM
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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
AI tone preset

AI-selected preset based on genre and era — adjust the knobs to taste.

Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Show No Mercy album cover
Show No Mercy
1983 2:32

About The Final Command


Drop D tuning sits at the core of "The Final Command," giving the open sixth string a heavier, looser feel that suits the aggressive riffing Slayer built their early sound around. At 120 BPM the track sits at a mid-paced thrash tempo, which can be deceptive: the rhythmic precision required to keep down-picked riffs tight and in the pocket is real work, and sloppy fretting shows up immediately in Drop D where the low string rings so prominently. Getting the palm muting consistent across string changes is probably the main technical hurdle here. The shift between muted chugging and open, ringing power chords needs to feel controlled rather than accidental, so use the Practice Toolbar to loop those transitions slowed down until the pick attack and muting are locked in. This is a strong early track from the Heavy Metal canon, and learning it will sharpen your right-hand consistency more than almost anything at a similar tempo.

  • Drop D tuning lowers the sixth string to D, making power chords on the bottom two strings playable with a single finger and adding low-end weight to the riffing.
  • The 120 BPM tempo demands tight, consistent palm muting on repeated down-picked figures, so right-hand control is the key technique to develop here.
  • Practising the transitions between muted chugging and open power chords at reduced speed will build the picking-hand discipline the song requires.

How to Play The Final Command

Tuning: Drop D · Tempo: 120 BPM

The drop D tuning lets you fret the low power chords with a single finger, which is central to the heavier riffing here.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Marshall JCM800
Amp

Marshall JCM800

Kerry King and Jeff Hanneman relied on the JCM800's raw, scooped-mid aggression cranked to extreme volumes to achieve Slayer's signature saturated tone without overdrive pedals. The amp's natural power tube saturation is essential to their pure, unprocessed rhythm and lead attacks.

EMG 81
Pickup

EMG 81

The EMG 81's high-output, compressed tone with cutting highs delivers the tight, aggressive attack that defines Slayer's palm-muted riffs and solos. Its hot signal keeps the cranked Marshall in full saturation while eliminating noise at extreme gain levels.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Kerry King uses the Cry Baby wah as his only regular effect pedal, adding expressive chaos and intensity to his trademark chaotic solos over otherwise unprocessed, pure Marshall saturation.

DigiTech Whammy
Pedal

DigiTech Whammy

Not part of Slayer's core tone. King's whammy effects come from intentionally detuning non-locking tremolo systems on his B.C. Rich guitars, not digital pedal-based pitch shifting.

Play with Backing Track

Play with Backing Track

Solo (Backing Track)

Solo (Backing Track)