In addition to the other answers, there is a more general concept of full tone and semitone chord movement in chord changes in general. This is frequently employed as a major triad or one of its inversions. Often, the bass note sometimes is and sometimes is not a part of the harmonic triad. 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). This happens a lot in jazz but you also see it in rock, pop and classical.
I'm not sure of any theoretical basis for this other than that it's really just progressive movement along the chromatic scale in the case of semitone movement and the diatonic scale in the case of full tone movement.
From a compositional perspective, it's a relatively simple matter to just try a semitonal or full tone chord change within the context of the song you are writing and just "see" if it "works" in the context of whatever song you happen to be composing.