In both cases, the bass resolves up and the upper voices move downwards in contrary motion. This differs from the fully diminished seventh chord, which commonly occurs in root position. The leading-tone diminished triad and supertonic diminished triad are usually found in first inversion (vii o 6 and ii o 6, respectively) since the spelling of the chord forms a diminished fifth with the bass. For example, the chord progression ♯vii o–i is common. This is because the ascending melodic minor scale has a raised sixth and seventh degree. If the music is in a minor key, diminished triads can also be found on the raised seventh note, ♯vii o. Like the supertonic minor triad found in a major key, the supertonic diminished triad has a predominant function, almost always resolving to a dominant functioning chord. This triad is consequently called the supertonic diminished triad. On the other hand, in natural minor scales, the diminished triad occurs on the second scale degree in the key of C minor, this is the D diminished triad (D, F, A ♭). Unlike the dominant triad or dominant seventh, the leading-tone triad functions as a prolongational chord rather than a structural chord since the strong root motion by fifth is absent. Since the triad is built on the seventh scale degree, it is also called the leading-tone triad. For instance, in the key of C, this is a B diminished triad (B, D, F).
In major scales, a diminished triad occurs only on the seventh scale degree. Bach's Well-Tempered Clavier I, Prelude in G major.
A diminished triad substituting for dominant chord in J.
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