Cheers! For the 5 distinct forms of Play Guitar of the 6 in our form (counting the entire motion from the time the previous form is held to end and the next is held to begin) that I mentioned; there are different discrete applications for each, and then many, many different appications inside each as a stand alone. We aren't taught to imagine opponents during forms, but rather we take the forms and practice the individual applications with another person as an adjunct to pushing hands. They also pop out from time to time, spontaneously, in freestyle!
Play guitar is a general "ready" sparring posture, which I imagine to be true in Yang style as well. To drill individual or combination applications of the form, the training partner attacks in a set way and I would respond to that, either above or below or to the side, depending on the person and what I want to do with them. If I have dodged their first strike to the side (Play Guitar 59), my front arm may come in from the side to offset them at the shoulder while the other hand strikes, and I may simultaneously sweep with my negative foot, for example. If we are face to face and they attack, the front hand will hit them as the rear hand intercepts their attack (similar to Brush Knee and Push, and Play Guitar 10 even ends the first Wu style Brush Knee series). If they are reaching around us from the side, my hand may come under their elbow, trapping their hand in contact and locking their elbow from beneath. Another application from our Play Guitar is to use my elbow to hit their elbow from above, again if they are reaching from the side, offsetting their face into my strike as I unfold my arm to hit them after the first offset. Another example is retreating our arms into the torso in order to trap or break the arms of someone pushing us from the front (Play guitar number 10). The same motion may be used to set up a "Kao" strike from the back if someone has grabbed us from behind. The list goes on and on, the application chosen depends on minute variations in the timing and positioning of the attacker relative to my position. There are also kicks and the defense of incoming kicks implied any time that there is a step or pivot in the Play Guitar forms.
Then there is my volition above and beyond simple positioning: are there multiple opponents? Do they have weapons? Do I want to send them away or break them where they stand? Throwing them an effective distance would require me to use Fa Ching in a big circle and breaking the first part of their body that I contact either Ta or Na in a smaller circle, from the standpoint of Play Guitar. It comes down to what my needs are and how creative I am in meeting them. I also have to have the kung fu to do so, of course!
Which brings us to - I don't mind discussion, as such, but I guess that my position is based on whether or not people know what they are discussing. Otherwise you end up with redundant speculation, especially if concrete examples aren't forthcoming, as on a discussion board. I really don't know the applications for Yang style Play Guitar, I can see that it is different, however, many of the applications that I have mentioned (not an exhaustive list by any means) I can see as potentially contained in the Yang style form, but just as many aren't. I can't say authoritatively if Press, Push, etc. are the same in the two styles (although, again, I imagine they are pretty close). I can report accurately on my personal experiences, and let the readers make up their minds, so I see value in discussion to that end, but I'm not going to try and learn modern Yang style here, not even the well-preserved Yang Zhen-duo branch. I don't have time!
Apples and oranges are both fruit, and both good for you, they are just from different families of trees...