This thesis accompanies a collection of recordings that demonstrate a variety of experimental approaches to saxophone intonation. In the written submission, I explore the various contexts and principles that informed my technical and interpretive approaches to the works that form the basis of the research, and explore various approaches to the pedagogies and parameters of saxophone intonation. It draws on various methodological approaches related to practice research, ultimately investigating the extent to which saxophone intonation can be a site of experimental praxis. I explore saxophone works by James Tenney, John Cage, Chiyoko Szlavnics, Arash Yazdani, Bryan Eubanks, and Paolo Griffin. These are composers who through context and/or compositional approach can be related to the American Experimental Music tradition, with James Tenney acting as a central figure between all of them. Where relevant, I discuss existing recordings of these works while also outlining a number of different technical and interpretive approaches, along with avenues for further exploration. Original contributions to knowledge are offered in the generation of notation techniques and in the technical and interpretive approaches to the repertoire in question, along with analyses of pedagogical material related to the saxophone and intonation that challenge some of the existing conceptions of saxophone intonation.