Yeah man your going to have to explain cause I am finding your theory hard to accept. Seems like your rationalizing each post. Like the #5 over a dominant chord. I didn’t say a 7#5, did I?? I figured you would have gotten that just because I stated that I wasn’t referring to a b9 and 9th dominant. BTW, a 6 will work over a dominant 13th chord and a 4th will work over a dominant 11th. Yes any note will work harmonically over a dominant chord, I was only stating the ones that you should be careful with. And since the entire discussion was about the dominant 7th chord, I figured that would be understood. Please don’t make it more confusing by introducing cents, we’re not talking about microtones here.

Back to the root of this discussion. What tells you the difference between using a diminished chord and a dominant chord?? Like if your writing a tune, what would you consider to be the difference between these 2 chords? Don’t say where they’re going (function) cause they’re both going to want to go back to I. Your theory states to me that a diminished chord can’t stand alone, it would only exist within a dominant chord. And every time you play a diminished chord you throw a note in the bass to make it dominant. To me that is just a option and to insist that actual theory insists on it is completely absurd.

Another view. Your example... G7 play F B (the tritone) D# and place G in the bass. Oh, crap, I've got a G7 augmented.
Sounds perfectly ok to me. Weeding through this nomenclature can be quite tedious. This is STILL a dominant chord.

Yeah. Apply that to what your saying. G7 play F, B and D with G in the bass. Becomes a G7. Could it be G7/B, arranged as B, D, G, F, G. Yeah, so what would this chord be named B, F, B, D. B diminished of course. There is no G in that chord, so it will never be a G dominant 7 chord. Even if you were to add this chord up to being a Bdim7, or Bm7b5. It wouldn’t match. Bdim7 would be B, D, F, Ab, and Bm7b5 would be B, D, F and A. Bottom-line diminished chords are not dominant chord, nor does a diminished chord sit within a dominant chord. The tri-tone, yes. The tri-tone exists within the diminished chord, and I guess you can say it can have that function. Taking the Gm6 chord, arranges as G, Bb, E, G, D, G. A Gm6/E would be arranged like E, G, Bb, G, D, G. This chord could easily be mistakenly written as a Em7b5. Although E is not the dominant sounding note within this chord so it would be aurally incorrect to name it so. G is clear the dominant note as it is played 3 times making it the dominant pitch. To make this chord a Em7b5 chord, E would have to become the dominant note. Thus, it may be written as such, E, Bb, E, G, D, E. The tri-tone may act in a way that a leading tone might by progressing from Bb, E to C, F in the next chord. OR Em7b5 to Fmaj. But if the chord was a Gm6 then a leading tone function would inappropriate. Instead the minor 6th chord would act as a iv in a minor key, or a ii chord in a major key. In the major key a Gm6 would traditionally move straight to a dominant chord (ii-V7), As you can see they’re are many ways in which a tri-tonic chord can act.