This happens a lot in jazz but you also see it in rock, pop and classical. You also often see the inverse of this, where only the base note moves in full tone or semitone steps while the harmony sticks to the primary chords of the key with a more pedestrian chord progression (e.g., ii-V-I or vi-ii-V-I). Often, the bass note sometimes is and sometimes is not a part of the harmonic triad. This is frequently employed as a major triad or one of its inversions. In addition to the other answers, there is a more general concept of full tone and semitone chord movement in chord changes in general.
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