This thesis is an investigation into the use of pitch symmetry in seven improvised solos by saxophonist Steve Coleman. I identify three symmetrical techniques that Coleman employs in his improvisations on typical jazz chord progressions. Each symmetrical technique identified relates specifically to the use of pitch in constructing melodies. I catalogue each instance of these three techniques in the seven solos, and analyse specific instances of each technique. From this analysis I argue that symmetrical techniques serve as an organisational logic by which Coleman improvises phrases that move in and out of the underlying harmonic framework, and that exhibit a jagged or rotational contour in contrast to the smoother, more directional phrases played by many improvising jazz saxophonists. The Steve Coleman transcriptions are compared to transcriptions of saxophonists Charlie Parker and John Coltrane, to show that symmetrical techniques function as a set of strategies that contribute to the idiosyncratic sound of Steve Coleman’s improvisations in comparison to influential improvisers of the past.