To assert that musical achievement is both distinct from, and dependent upon, musical ability may appear to state the obvious. Clearly, no real achievement can be obtained, and in any venue, without an underlying foundation of capability. Whether it is defined as technical, learned skill, an innate talent, or a combination of the two, there must be an aptitude to create the musical work for the work to be considered an achievement. Ability is the process, and achievement is the product.

That understood, other aspects within the equation may be noted. First and foremost, musical ability, like a predilection or talent in any other field, tends to manifest itself. The nature of ability is not to exist in a dormant, unused state; it is present because it exists to produce a result. As music is an art form, this is especially true. People may possess abilities of which they are dimly aware, and perhaps uninterested in. These abilities usually are not demonstrated unless circumstances require them. Music, as a form of expression, is not so readily set aside within the owner of the ability.

Then, musical achievement is, while still a form of product, a part of the process itself. Creating a composition or interpreting a musical work, either vocally or instrumentally, is an evolving thing of itself. A performance or piece may stand as a finished work, but it is not unusual for abilities, either demonstrated by the original performer/composer or other parties, to take the work further, and in essence return it to the process of creation.  So, too, viewed in this light, does ability take on added meaning, as it becomes something of the achievement itself. Ultimately, as music is a living art form, achievement and ability shift as cause-and-effect factors, and the greater emphasis of the one will usually give way to the other at some point.