It's an interesting angle to work from, but substitution is just that.Some of the notes from a particular chord are the same in another, so sonically, there's a good chance that the sub. The 'rules' come from good practice - as in does it sound o.k?I always like to remind people that music theory is not so much a set of rules, as many are often taught, but an explanation of what is happening and a language to discuss it.
Similarly, you can look at the tritone substitution (which I'll call "TT" moving forward) and find that certain notes may cause issues like this.
The effect I just talked about while not working for functional harmony may fit in a piece you are composing.
You need to be aware in general of the effects each of the substitutions have on your line and when you can do it and when you shouldn't. They all work, but some could do with careful voicing along the way.
You also want to mind the 4 of TT, which would usually be replaced with #4, which is ^5.
In a Jazz setting, this is often resolved by using an Altered Dominant chord, which would include all the notes from the major scale except the tonic, which isn't usually a melodic note on a dominant chord.