Composers use several methods for achieving modulation. By far, the most common is pivot-chord modulation, also known as a common-chord modulation. This involves a chord shared by both the original key and the new key, a pivot chord (or common chord). As we listen, we hear the pivot chord in terms of both the original key and the new key; in other words, we figuratively "pivot" on it. For the purposes of this review, we will only discuss this type of modulation.

Follow the procedure below to identify potential pivot chords.

Look for chromatic pitches. What key do those pitches suggest?
- Recall that a modulation is convincing when there is a cadence in the new key.
List the diatonic chords in the original key and the new key.
- In these lists, circle the chords that are shared between the keys. These are our pivot chord candidates.
Locate one of the chords in the list just before the chromatic notes start. This is the pivot chord.
- Once you hit chromatic notes that suggest the new key, you have passed where the pivot is.
Label the chords before the pivot in the original key. Label the chords after the pivot in the new key. Label the pivot in both keys. You may use a zigzag bracket to visually reinforce the dual nature of the chord.

Here is an example for modulating from C major to G major that follows the procedure above:

Chords:	C	F	G7	Am	D7	G
Chromatic notes?	No	No	No	No	Yes, F#	—

The chromatic pitch F# in the original key suggests a modulation to G major.
Diatonic chords (potential pivot chords underlined):
1. C major: C major (I), D minor (ii), E minor (iii), F major (IV), G major (V), A minor (vi), B diminished (vii°)
2. G major: G major (I), A minor (ii), B minor (iii), C major (IV), D major (V), E minor (vi), F# diminished (vii°)
A minor appears just before F# appears. This is the pivot chord (vi in the original key, ii in the new key).
[See the table below.]

Chords:	C	F	G7	Am	D7	G
Keys and roman numerals	C: I	IV	V7	vi \| -------- \| G: ii	V7	I