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Never run dry of words, only time . . .
I did a portrait of my son, 7 years ago now, with his alto saxophone, and I'd used a mixture for the brass instrument that I'd learned from Helen Van Wyk. It was great but was very warm, very red. Chris Saper suggested a contrast of a cool-temperature lemon yellow in a highlight area, and that became the kick that launched the horn from ordinary to essential element. Lemon yellow is a bit green, which was the contrast I needed in a highlight on a reddish brass.
You might try that. Look for the ONE small area on the horn that is receiving the MOST light. Get a tube of lemon yellow and load up the brush. Practice the movement, and then lay in a Nike swoosh of color and leave it alone. Don't see that particular temperature contrast in the reference photo? No worries. The photo is merely a reference, not a standard. You are creating something that is coming together under your control as the artist.
I'm betting that would be a big hit on this. But, too -- your brass color is a bit dull, so you "could" also work some warmer, reddish complements into other parts. A large, complicated metal object is pulling in and reflecting colors from throughout its environment. The "brass" of the receiving tube isn't even an approximation of the "brass" color of the flared bell section that is being influenced by other direct and reflected light sources.
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