Much like speech, a great deal of music both within and beyond the common practice is comprised entirely of Sätze, or clauses, which William E. Caplin calls “thematic units,” yet the basic question of what constitutes a Satz remains as vexing as when it was first asked centuries ago by theorists such as Heinrich C. Koch. Drawing on comparative analysis of Western art music and chant from the Republic of Georgia (which is emically understood as being comprised of mukhlebi, literally Sätze), I argue that both Sätze and their component phrases are differentiated in the same way with respect to the eight structural functions described by Matthew Arndt. This clarification of phrase types and Satz types cuts through the inconsistent and needlessly multiplied terminology currently applied to Sätze with different designs and functions. With this clarification, it is relatively easy to analyze any of the countless Sätze in speech-like music, regardless of their style, proximity to convention, or formal position, and regardless of truncation, interpolation, elision, compounding, and Satz-like construction of phrases, complications that have previously hindered analysis. This elucidation of Sätze reaches beyond the common practice while actually enhancing analytical precision. In addition, the correlation of structural function with hue in accordance with Johann Wolfgang von Goethe’s theory of color makes the analysis intuitive and accessible.