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Training usually begins with basic movements designed to train the fundamental body mechanics associated with the art. Very often the student will begin with practicing basic palm changes in place (stationary practice), or by walking the circle while the upper body holds various static postures. The purpose of these exercises is to familiarize the beginning student with the feeling of maintaining correct body alignment and mental focus while in motion. The student will progress to learning the various palm changes and related patterns. The sixty-four palms or other similar patterns are usually learned after some level of proficiency has been attained with the basic circle walk and palm changes. Some styles practice the sixty-four palms on the circle, while other styles practice these patterns in a linear fashion. All of the patterns in Baguazhang seek to use the power of the whole body in every movement, as the power of the whole will always be much greater than that of isolated parts. The body energy cultivated is flexible, resilient and elastic in nature.

In addition to the above, most styles of Baguazhang include various two-person patterns and drills as intermediate steps between solo patterns and the practice of combat techniques. Although the techniques of Baguazhang are many and various, they all adhere to the above mentioned principles of mobility and skill. Many styles of Baguazhang also include a variety of weapons, ranging from the more standard types (straight sword, broadsword, and spear) to the more exotic weapons. An interesting difference between Baguazhang and other styles of martial arts is that Baguazhang weapons tend to be oversized, that is they are much bigger than standard weapons of the same type (the extra weight increases the strength and stamina of the user).

Each of Dong's students developed his or her own style of Baguazhang based on his or her individual background and previous martial training. Each style has its own specific patterns and techniques. All the different styles adhere to the basic principles of Baguazhang while retaining an individual flavor of their own. Most of the styles in existence today may trace their roots to either the Yin-fu, Zheng-dinghua, or Liang-zhenpu variations.

Yin fu styles include a large number of percussive techniques and fast striking combinations (yin fu was said to "fight like a tiger," moving in swiftly and knocking his opponent to the ground like a tiger pouncing on prey). The patterns include many explosive movements and very quick and evasive footwork. Variations of the yin fu style have been passed down through his students and their students, including Men Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian.

Zheng-dinghua styles of Baguazhang include palm changes that are done in a smooth and flowing manner, with little display of overt power (Zheng-dinghua's movement was likened to that of a dragon soaring in the clouds). Popular variants of this style include the Gao-yisheng system, "Dragon" Baguazhang, "Swiming body" Baguazhang, Nine Palace, Sun-ludang, and Jiang-rongqiao style (probably the most common form practiced today).

The Liang-zhenpu style was popularized by the student Li Ziming (who was the president of the Beijing Baguazhang Association for many years and who did much to spread his art worldwide).

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