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When tonicizing the mediant chord in the minor mode, you often use VII which acts as a secondary dominant of III and is very useful in tonicizing III if you are in the minor mode. Another option is to use vii˚6 of III which is the ii˚6 chord built on ^4. This would be vii˚6 of III. I can't really seem to find anything about the vii˚ of III. Is this a common chord to tonicize III or would you normally use a vii˚7 chord for this? I haven't learned vii˚7 chords yet but from what I understand, these are a direct replacement for V65 and would be built on the leading tone of the chord you are trying to tonicize.

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    Are you asking about how it would be labeled in Roman numerals, or are you saying you have not seen the chord in real scores? – Michael Curtis Jun 01 '22 at 18:54
  • This has the feel of something you read in a book, in which case it would be helpful to have the specific quotation. 2) It also begs the question: is viio -> i common in minor? I don't recall root-position vii (diminished) chords being used much at cadences.
    • – Aaron Jun 01 '22 at 19:05
  • Actually, my understand is root position viio is not usually found in major, but fairly normal in minor. And my sense is I see that born out in real scores. – Michael Curtis Jun 01 '22 at 19:08
  • an example of root position viio in minor, that comes to mind immediately isn't the best: Bach, 2 part invention in Dm. not the best because it isn't "chords" or Alberti bass figuration. – Michael Curtis Jun 01 '22 at 19:12
  • @MichaelCurtis I don't find any root position diminished triads at cadences. There are some root position diminished sevenths, but they aren't at cadences, rather they lead to i6 chords. Where do you find the triads? – Aaron Jun 01 '22 at 20:57
  • OK, but why restrict to cadences only? That isn't the question. – Michael Curtis Jun 01 '22 at 21:00