Typical methods for observing pitch changes with intensity for pure tones consist of varying the frequency of one tone of fixed intensity (the comparison tone) so as to match the pitch of a second tone of fixed frequency (the tone under test) when the latter is set at different intensities. Differences between the comparison and test‐tone frequencies, when equated in pitch under these conditions, are ascribed to their intensity differences and used as a measure of the pitch intensity shifts for the test tone. The comparison and test tones may differ in frequency, however, even when they are matched in pitch under equal intensity conditions. These frequency differences, called pitch‐matching errors, may be identical to those noted above for comparable conditions and consequently nullify the apparent pitch‐intensity shifts. This possibility was studied in two experiments which sought to reproduce the pitch intensity relationship as defined by the data of Stevens and Snow. In more than half the comparisons made under various frequency and intensity conditions, apparent pitch shifts for 50, 75, 100, 200, 400, 700, 1500, and 6000 cps were found to be not significantly different from pitch‐matching errors. When averaged, the remaining shifts followed the directions of Stevens' curves but were small (2% or less). Pitch‐intensity functions for the lower frequency tones were particularly variable and generally bore little relationship to Snow's functions for such tones.