In violin music this implies playing all tones thus slurred in one bow; in music for the voice and for wind instruments it implies singing or playing them in one breath.
B. As a phrase-mark, in the interpretation of which the first tone of the phrase is often accented slightly, and the last one shortened in value.
This interpretation of the phrase is especially common when the phrase is short (as in the two-note phrase), and when the tones constituting the phrase are of short duration, e.g., the phrase given in Fig. 32 would be played approximately as written in Fig. 33.
But if the notes are of greater value, especially in slow tempi, the slur merely indicates legato, i.e., sustained or connected rendition. Fig. 34 illustrates such a case.
This is a matter of such diverse usage that it is difficult to generalize regarding it. The tendency seems at present to be in the direction of using the slur (in instrumental music) as a phrase-mark exclusively, it being understood that unless there is some direction to the contrary, the tones are to be performed in a connected manner.