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"Reincarnation of a Lovebird," in section B, the changes go like this:

B-9  Eb13  G#7(#9) C#+7 F#m(M7)   (The piece is in F#m)

The first change is very strange. 

To see this in black and white, transpose to Am and the B-9 to Eb13 becomes:

D-9 to Gb13

First listen to it.  It works.  It seems to pivot on the E (Fb).   (D-7 is much weaker to my ear)

(You can even reduce the chords to D/F/E (R,3,9) to Fb/Bb/Eb (7,3,13) and it still works)

Gb13 is derived from the key of Cb.  The key of Cb has every single black key. 

The key of Am has none (ignoring the raised 7)

And even the white keys that are shared with the key of Am are actually flatted enharmonics.

How odd:

In one measure all the "out" tones (black keys) become "in" and one measure later they are "out" again.

Only the E (Fb) is common. 

And yet it works.

Are there other chord changes like that, which are pleasing to the ear ?

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