In almost all the kinds of Japanese traditional music, the pitch intonation has been handed down by aural transmission of melodies. There is no standard pitch intonation. such as the twelve equal temperament of the western music, even today. And in this way various Japanese musics have been able to preserve their own characteristic pitch intonations. This paper is concerned with the pitch intonation of three kinds of Shamisen music. namely Naga-uta, Ji-uta, and Gidayu, studied by the experiments of measuring pitch of the practically demonstrated pieces. Measured samples are chosen out of wellknown pieces. They are: 1) Naga-uta about one hundred and eighty tones from a fragment of "Matsu-no-Midori", 2) Ji-uta about one hundred and forty tones from "Rokudan", 3) Gidayu about three hundred and seventy tones of "Ade-Sugata-Onna-Maiginu". They were played by each five players of the first class. The results are as follows: The consonant intervals such as perfect fourth, perfect fifth and octave are closely similar to the equal temperament, permitting exceptionally 17 cents stretch of perfect fifth in Gidayu. This justness of consonant intervals forms certain frames of melody and gives us some feeling of stability of melodious movement. Intonation characteristics of each music reveals within those frames, namely in intervals of semitone and wholetone, as summarized in Table 4. Fig. 1, 2 and 3 illustrate pitch intonation of melodies which show the interval characteristics typically. For instance, in the second example of Fig. 1, the semitone between the third note fis^1 and the fourth note g^1 and another one between the sixth note g^1 and seventh note fis^1 are narrow. And the two minor thirds enclosed by the semitones are wide as much. As for Fig. 2, the same deviation is observed in the semitone between the fifth note f^1 and eighth note e^1. In this case, the compensating stretch occurs in the major third between the fourth note e^1 and the fifth note f^1. In the example 1) of Fig. 3, wideness of wholetone is illustrated (e^1-d^1-e^1). Example 2) shows the wideness of wholetone and the compensating compression of minor thirds at the latter half ascending movement (a^1-h^2). Example 3) illustrates a specially wide semitone between g^2 and fis^2. Those melodies were demonstrated to eight specialists (musicologists and players) by a piano which had been tuned in the average intonations of each Shamisen music. They reported that even such presentation as was different in tone color from Shamisen playing made an impression of respective characteristic feeling of Shamisen music. In Tables 1, 2 and 3, the interval characteristics of three Shamisen musics are shown.