A rāga is every so often defined as a melodic rule set that a musician works with, however in step with Dorottya Fabian and others, that is now normally prevalent amongst track students to be a proof that is just too simplistic. According to them, a rāga of the historical Indian subculture may be in comparison to the idea of non-constructible set in language for human communication, in a way defined via way of means of Frederik Kortlandt and George van Driem; audiences acquainted with raga understand and examine performances of them intuitively. 

Ragas can be classified using different criteria. Here are a few classifications: 

1. Sampurna (Complete) Ragas : Ragas that contain all 7 notes of the octave are called Sampurna Ragas.

2. Shadav Ragas: Ragas that contain 6 notes of the octave in the scale are called Shadav Ragas. 

3. Aurav Ragas: Ragas that contain 5 notes of the octave in the scale are called Audav Ragas. The ragas are further named based on the number of notes in the Arohana (ascent) and the Avarohana (descent) of the scale. Aurav - Aurav: The raga contains 5 notes in arohan and 5 notes in avarohan Aurav - Shadav: The raga contains 5 notes in arohan and 6 notes in avarohan Aurav - Sampurna: The raga contains 5 notes in arohan and all 7 notes on avarohan Similarly we have ragas as Shadav-Aurav, Shadav-Shadav, Shadav-Sampurna, Sampurna-Aurav, Sampurna-Shadav, Sampurna-Sampurna Based on Time All ragas are divided into two groups Poorva Ragas and Uttar Ragas. 

1. Poorva Ragas:  Poorva Ragas are sung between noon and midnight.

2. Uttar Ragas: Uttar Ragas between midnight and noon. Pricipal Raga Classification (6 Ragas, 36 Raginis) Another division of ragas is the classification of ragas under the principal ragas: The raga-ragini scheme is a classification scheme used from the 14th century to the19th century. It usually consists of 6 'male ragas each with 'wives' (raginis) and a number of sons (putras) and even daughters-in-law. As it did not agree with various other schemes, and the 'related' ragas had very little or no similarity, the raga-ragini scheme is no longer very popular. However, they define a very important fact of Indian Classical Music and the Raga system is that the ragas do have personality and can be imagined to have relationships with each other.

 These are listed is as follows (1) Bhairav raga Wives: Bhairavi, Bilawali, Punyaki, Bangli, Aslekhi. Sons: Pancham, Harakh, Disakh, Bangal,Madhu, Madhava, Lalit, Bilaval. (2) Malkaus raga Wives: Gaundkari, Devagandhari, Gandhari, Seehute, Dhanasri. Sons: Maru, Mustang, Mewara, Parbal,Chand, Khokhat, Bhora, Nad. (3) Hindol raga Wives: Telangi, Devkari, Basanti, Sindhoori, Aheeri. Sons: Surmanand, Bhasker,Chandra-Bimb, Mangalan, Ban, Binoda, Basant, Kamoda. (4) Deepak raga Wives: Kachheli, Patmanjari, Todi, Kamodi, Gujri. Sons: Kaalanka, Kuntal, Rama, Kamal,Kusum, Champak, Gaura, Kanra [36]. (5) Shree raga Wives: Bairavi, Karnati, Gauri, Asavari, Sindhavi. Sons: Salu, Sarag, Sagra, Gaund,Gambhir, Gund, Kumbh, Hamir. (6) Megh raga Wives: Sorath, Gaundi-Malari, Asa, Gunguni, Sooho. Sons: Biradhar, Gajdhar, Kedara,Jablidhar, Nat, Jaldhara, Sankar, Syama.