I'm not finding "corridor scene" as a trope, so this answer will take the term more literally.
More generally, "traveling scenes" aka "carriage scenes" in written fiction are good places for expositional dialogue; two people sitting in a car (or in a horse-drawn carriage or walking down a hallway) is a natural setting for them to have a conversation, through which the reader can gain information that may be clunky to reveal some other way.
More specifically, a "corridor scene", as in literally a setting where people are walking through a connecting corridor, can be the backdrop for just about anything you need to happen in the story, from a friendly conversation between two people going the same way, to a bomb crashing through the ceiling.
I note your rather limiting use of the term "scene", as being a fixed physical location (one hallway in a series of connecting spaces). As in my first example, two people in a car aren't necessarily changing "scenes" as the car moves, unless what's outside the car in a particular location becomes important to the story. Case in point, if the overall POV doesn't change - the narration is describing the same characters within the same general area through a continuous timeline - then most readers wouldn't consider each left or right turn into a new hallway a new "scene", unless you took pains to impress on the reader that Corridor 1, Corridor 2 and Corridor 3 are extremely different environments, and/or that they're so long/large that you have to introduce significant time cuts to make the story flow.
On that last point, even though you mention time cuts between the corridors, remember that you don't have to narrate every second of the story (and in fact that's a common trap). Without really breaking the scene, you can take a sentence or short paragraph to say they continued down the hall for 10 seconds and nothing really interesting happened, until they turned the corner and found themselves faced with...
Usually, most novels don't continuously follow a characters for more than 1-2 chapters
I disagree. That is common if not universal in first-person narrative voice (e.g. Hunger Games series; an entire trilogy strictly narrated from the POV of Katniss Everdeen) and it's more the exception than the rule to see a book in this voice change the voice you're hearing as you read (e.g. Twilight: Breaking Dawn, which switches over from Bella's to Jacob's POV for the middle act).
Even in third-person narrative form, the narrative will typically follow the character who's furthering the plot in the most engaging way. That can, very plausibly, be one guy and/or the people around him for the overwhelming majority of "page time". You can use "cutaways" to other characters' POVs to show/hint at things the main character can't see at the time the reader needs to hear about it, but it's not bad practice at all to tell an entire story from over the shoulder of your protagonist.