A lighter wood is used here, which changes how the piece has to be cut. Pale hardwood bruises where a darker, denser stem would take the knife cleanly, so the carver runs the spiral shallower and takes more passes to get there rather than driving the cut in one go.
The shallow twist is the point of the piece. It catches light along the edge of each turn without throwing the deep shadow you get from the Oxblood, so on a shelf it reads as texture rather than as pattern. It also leaves more wood in the stem, which makes it the sturdiest of the three.
Stain is kept light, just enough to warm the ginger tone already in the wood, then oiled. The brass is deliberately narrow: a single band at the joint and nothing else, so the eye stays on the carving.