Last Christmas - Sheet Music for String Quartet George Michael (arr. WO)

"Last Christmas" as a string quartet – that sounds festive. The character is warm and instantly recognizable. The string quartet sheet music for this arrangement is aimed at ensembles with approximately two or more years of playing experience: the homophonic texture – in which the voices move largely in parallel – makes learning the piece considerably more manageable than complex polyphonic writing.

Sheet Music "Last Christmas" – Festive Christmas Pop for String Quartet

George Michael wrote "Last Christmas" in 1984 for the duo Wham! – and the song has been an indispensable part of every Christmas season ever since. The melody is immediately present, the character upbeat and warm. The string quartet arrangement was crafted by Wolfgang Oppelt, who specializes in accessible pop and light entertainment arrangements for strings. The four voices carry the song together, with no single part running away from the others.

D major gives the piece its bright, open tonal color. The harmony remains consistently diatonic throughout – meaning it stays exclusively within the notes of the home key, with no chromatic deviations. This keeps the ensemble playing clear and straightforward. The melodic range spans just over an octave plus a minor third – a comfortable fit for all four voices. At 84 bars with a repeat section, the arrangement has a clear, predictable form. The many short slurs call for delicate legato phrasing: each note flows smoothly into the next without blurring together.

• Ideal for: Christmas parties, Advent gatherings, Christmas markets

Playing through the cello part in isolation first quickly reveals how it lays the harmonic foundation for all the other voices – projection in the lower register is essential here. The viola sits sonically between the cello and the violins, fulfilling an important bridging role: it fills out the harmony and ensures that the transition between the deep foundation and the melody line remains seamless. Careful listening between viola and cello helps keep this middle layer of the sound stable. The short legato slurs will feel most secure once each player has internalized the bowing pattern at their own tempo before the quartet comes together. At 108 BPM – a briskly flowing pace – executing the legato slurs requires controlled bow technique: bow changes must be smooth and free of pressure spikes, so that the phrasing doesn't come across as choppy. Because the writing contains no particularly tricky stumbling blocks, the ensemble can focus early on blend and balance – especially between the two violins, which work in close note density in the upper register. For ensemble entries, a clearly agreed-upon count-in or a visible breath cue from the first violinist is recommended, so that all four voices enter in sync – in homophonic writing, a staggered entry is immediately noticeable. It's worth keeping an eye on the typical intonation pitfalls in D major: the raised seventh C# and the major third F# tend to slip flat in string playing, particularly in fast legato passages – attentive listening to one another is more effective here than individual correction.

A page-turning score preview with all 19 pages is available before purchase – so you know exactly what's in the edition. A short audio demo also provides an initial impression of the sound. The sheet music is available for immediate download after purchase. 100% licensed – ready to perform legally, right away.

Editorially reviewed by the notendownload.com team