It was unknown whether the critical score would include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score would document changes in the orchestration during Gershwin's composition process.
ɪt wʌz ʌnnˈoʊn wˈɛðɚ ðə kɹˈɪɾɪkəl skˈoːɹ wʊd ɪŋklˈuːd ðə fˈoːɹ mˈɪnɪts ʌv mətˈɪɹiəl dʒˈɜːʃwɪn lˈeɪɾɚ dᵻlˈiːɾᵻd fɹʌmðə wˈɜːk sˈʌtʃ ɐz ðə ɹᵻstˈeɪtmənt ʌvðə blˈuːz θˈiːm ˈæftɚ ðə fˈæstɚ twˈɛlv bˈɑːɹ blˈuːz sˈɛkʃən, ɔːɹ ɪf ðə skˈoːɹ wʊd dˈɑːkjuːmənt tʃˈeɪndʒᵻz ɪnðɪ ˌɔːɹkᵻstɹˈeɪʃən dˈʊɹɹɪŋ dʒˈɜːʃwɪnz kˌɑːmpəzˈɪʃən pɹˈɑːsɛs.