The chord progression described, V7-I-ii, in which the I chord has a doubled third and the ii chord a doubled fifth is fine. As given, it does not break any rules of harmony or voice leading. A couple of specific points:

• It is the exception to double the third of a major chord — the I chord in this case. Since the third is not functioning as a leading tone, no rules are broken. However, the doubling is avoided, because it gives a hollow sound to the chord, as it does in this instance.
• The bass-tenor and bass-soprano perfect fifths in the ii chord are not a problem. Unisons, fifths, and octaves are not prohibited; moving by parallel motion from a unison, fifth, or octave to another unison, fifth, or octave is prohibited.

The chord progression described, V7-I-ii, contains two problematic aspects:

• It is the exception to double the third of a major chord — the I chord in this case. Since the third is not functioning as a leading tone, no rules are broken. However, the doubling is avoided, because it gives a hollow sound to the chord, as it does in this instance.
• There is a hidden fifth moving from I to ii between the soprano and bass parts. This is more problematic that the doubled third, especially since it occurs between outer voices.

The chord progression described, V7-I-ii, in which the I chord has a doubled third and the ii chord a doubled fifth is fine. As given, it does not break any rules of harmony or voice leading. A couple of specific points:

• It is the exception to double the third of a major chord — the I chord in this case. Since the third is not functioning as a leading tone, no rules are broken. However, the doubling is avoided, because it gives a hollow sound to the chord, as it does in this instance.
• The bass-tenor perfect fifth in the ii chord is not a problem. Unisons, fifths, and octaves are not prohibited; moving by parallel motion from a unison, fifth, or octave to another unison, fifth, or octave is prohibited.

The chord progression described, V7-I-ii, in which the I chord has a doubled third and the ii chord a doubled fifth is fine. As given, it does not break any rules of harmony or voice leading. A couple of specific points:

• It is the exception to double the third of a major chord — the I chord in this case. Since the third is not functioning as a leading tone, no rules are broken. However, the doubling is avoided, because it gives a hollow sound to the chord, as it does in this instance.
• The bass-tenor and bass-soprano perfect fifths in the ii chord are not a problem. Unisons, fifths, and octaves are not prohibited; moving by parallel motion from a unison, fifth, or octave to another unison, fifth, or octave is prohibited.