Milton Babbitt has devoted a large part of his compositional activities toward producing a body of works for solo instruments. Many listeners find that the inherently low textural density of such works provides the listener the clearest, most easily perceived glimpse into the composer's sometimes quite involved, even intimidating, compositional imagination. Play It Again, Sam—referring both to the famous (mis)quote from Casablanca and to violist Samuel Rhodes, who was the immediate catalyst for the composition—is one of Babbitt's more humorous compositions. Tempo and rhythm are subjected to continual variation, while the musical discourse is frequently interrupted by the imposition of seemingly unrelated material. Occasionally a single musical thought, often a lyrical passage, is sustained for a substantial period of time, enhancing the otherwise farcical nature of this brief work.

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