Vocal Science Method represents an unconventional vocal technique. Whereas the conventional vocal technique suggests, for example, to drop the jaw down loose, stick the stomach out, replicate the weird sounds and lip trills, the Vocal Science technique advocates exactly the opposite.
I find the latter completely redundant, as it does not produce anything except the voice damage.
The voice becomes drawn to the very low position in the singer's throat, which flora's becomes disturbed and thus, the voice may easily become husky and simply hoarse. It has a danger not only to disturb the inner vocal parts, but also to meet the gastric acid and produce the acid reflux, which is very uncomfortable and very damaging for the singer's vocal cords and vocal anatomy in general.
On that note, our motto is:
WORK SMART AND NOT HARD. THUS, ACHIEVE AND BE CONCERNED ABOUT YOUR VOICE SAFETY AT ALL TIMES.
The sound is a physical material body and it travels as such.
The law of physics and geometry suggests that the sound, as any physical entity, does travel in a circular direction and in the instance of the vocal performer's producing the singing sound, it travels relatively, respectively and prospectively to the person's height, width and the central line of the singer's body, (nose and belly button, speaking colloquially).
Taking the above for consideration, you, my reader, could visualize that the sound now, in the described instance, will actually have the arc, i.e., the needed amplitude, and as a result, the sound will actually be delivered in its predominantly structured and designed destination.
Now, the vocal performer will be, so to speak, broadcasting his message via singing sound by, metaphorically speaking, a satellite dish, apposed to a small little straight antenna down. In this premise, if you visualize a baseball pitcher throwing the ball down to his feet instead of drawing a circle with his hand in the glove, and applying his whole body weight, thus establishing as high arc as possible, you will understand that the latter would be the right way to do it, as the established trajectory will be long enough, (due to its achieved height), it will be completely centered, and therefore, the aimed destination of the physical sound will be reached efficiently and without failure.
Given all that, you can naturally assume that the sound lifted on the absolute top of the facial muscles, with the total support of the lower and upper diaphragm muscles, will have the needed height and needed body (circumference, so to speak), to reach the very high and very low notes. Both the high and the low notes are located in the upper chamber, (upper sinus cavities), of a singer's facial structure. Like a fine acupuncture, you can trigger a needed muscle to respond and produce the certain task, to achieve your goal with respect of safely extending your singing range to the absolute max of your physical and vocal abilities.