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→Diminished Fifth Interval
As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples. As we move away from the root/octave, the ratios seem to get more and more harmonic. Yet, the d5 is a major departure from the general trend - it appears about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th. As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
It's quite apparent when playing the B{{dim}} chord. This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself. Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]]. Its half diminished variety (diatonic to the major, natural minor, and harmonic minor scales) variety actually adds consonance, which we will cover [[7th Chords#Half Diminished|later]].
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