In passages where the phrasing is not plainly defined by the changes of bow, the change occurring in the middle of a phrase, the strokes must be made to follow each other as smoothly as possible (i. e. without a break):
Passages which, owing to rapid time and bowing, are not easily to be rendered clear by the player, must at least have the real meaning of the phrase indicated with correct accentuation. It will then become apparent in the rendering; for example.
c. Concerto by Lipinski (Bowing marks by David).