From the physical format of the arohana - avarohana, the full complement of the saptaswara-s present or deleted, and the nature of progression of the ascent and descent, we are able to distinguish raga-s as sampoorna, varjya and vakra. This mode of assessment does not imply any practical knowledge of the raga-s concerned. But the classification of raga-s into Upanga and Bhashanga makes it compulsory to have a practical knowledge of any given raga to know it as such. This classification pertains only to janya raga-s.

In earlier times, desi raga-s were catalogued and categorised as raganga raga-s, kriyanga raga-s, upanga raga-s and bhashanga raga-s. Desi raga-s pertain to desi music – the music of the material world growing according to the different tastes of different people living in different territories. In current practice, at least to Muddu Venkatamakhi and his ardent follower Subbarama Dikshitar, a raganga raga is known to be similar to a melakarta. How true or acceptable it is, is open to doubt. Kriyanga raga-s seem to have no status at all now.