There has been limited discussion as to why and how saxophonists within the Western classical tradition can integrate and utilize Indian musical pedagogy. This paper will explore how the Western classical saxophonist can benefit from incorporating traditional Indian pedagogical practices, particularly through three case studies of hybridized compositions. These include Raga Music for Solo Clarinet (1958) by John Mayer, Gavambodi 2 (1969) by Jacques Charpentier, and Shruut (2008) by Jorrit Dijkstra. Each chapter highlights a different aspect of Indias vast soundscape focusing on either a Hindustani (North India), Carnatic (South India), or Bollywood (Indian film) approach to melodic construction (rga) and rhythmic concepts (tla). By assimilating Western classical saxophone performance practice standards with Indian stylistic elements, an interpretive approach beyond the periphery of notes and rhythms can hopefully disclose the untapped interpretive potential of three compositions for the saxophone. The organizational format of this document is divided into six chapters: I. Organizational Plan and Methodology; II. Transmission of the Saxophone in India; III. Raga Music for Solo Clarinet; IV. Gavambodi 2; V. Shruut; VI. Conclusion.