That's one of the things I find really fascinating about Shaolin. There's this core of forms and then there's variations. Even with the BSL there are lyrical variations. Each solid variation holds some unique wisdom worth exploring. I've learned dahong from three different masters and each had their take on it. Decheng's and Yanfei's yinshougun are very different. I enjoy them both and practice them alternatively as the mood takes me (although I just do Yanfei's in his class, of course.)
I should mention that I'm really getting into both forms. I can see where there's all sorts of stuff going on in them. I've always been fascinated by qixing because the postures are so different. I doubt I could apply a lot of the finger jabs since I no longer train my fingers. There was a day when I could do fingertip push-ups with clapping in between (there's footage of me demonstrating that in Wing Lam's Chin Na Training Methods and Tools. But I haven't done much fingertip training since beyond working the keyboard (and that's only good for forum fu ) Changhuxinyimen is brilliant in composition. It's like several difficult ideas, linked together with this rather long refrain that always ends in variations - a classic pedagogical structure for form transmission - then it ends in a reversal and some dahongquan variations. What's more, that refrain echoes the most flamboyant move of qixing, same momentum only carried differently through the body. At least, that's the way it seems with our version. I can see I'll have years of fun unraveling these two.