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Promotion, in the music world, is getting pieces mentioned in catalogs, getting the pieces promoted at regional readings, getting the piece (or a group of pieces like it) promoted at major conferences, and direct advertisement to the consumers, especially educational people. And, despite all the hype about web being the way to go (and in many cases it is), when you're selling hard copy of something that needs to be materially delivered to the director of an ensemble, they like to see it before they buy in large quantities, which complicates the process further. This is why catalogs are so crucial to the publishing industry. Luckily, certain distributors have made sort of "online catalogs" like J.W. Pepper among others. But there certainly is a feeling in the US Publishing scene that if you're not on J.W. Pepper, you're a nobody. And even then, you need more advertisement. That's just a beginning step. BTW, novels are a completely different ball of wax than scores. Scores are used less frequently but more heavily. They are also subject to less editorial control and printed in far fewer quantities than novels. The two business models should not be compared without those qualifications.

Don't fall under the illusion that all publishers will do that; and definitely, don't even think that publishers will do that for completely unknown composers. If a composer is indeed receiving all those services (it's fairy tale btw unless you're John Williams or very well known in the field), then it's because that composer is already established in the business, has connections, his pieces are performed often, and that doesn't seem to be the crowd that hangs out here, no offense. Composers like John Williams or Danny Elfman aren't exactly waiting for the next topic that shows up on YoungComposers. Most composers I know don't make a living out of composing, they have 2-3 jobs; so I think that the opportunity to actually get your work out there (even if below your elite promotional standards) is better than having it at home collecting dust. Just my 2c. But... you can always wait for some publisher to sign you a million dollar contract, if that makes you feel better when you go to sleep :)

Tokkemon, you were very quick to judge without actually checking them out. 1. They are not just a printer, they publish new editions as well as new works form living composers. 2. If you don't consider assigning you a free ISMN code (which allows the book to be distributed in stores), advertising you on both SheetMusicX and Amazon websites, and including your work in their catalog that is distributed internationally, then what exactly do you consider promotion? 3. You're not paying to be printed, they are taking care of several costs you don't have to such as: a working website with a payment gateway, promotion of the website, billing and shipping fees (except the shipping rate which is paid by the customer), printing costs (top notch printer, high quality paper, toner, maintenance). If you'd try to publish with other publishers, here is what will happen: 1. They will deny you because you're not famous and can't generate a minimum of 50k dollars a year. 2. They will deny you claiming that you "don't fit their catalog requirements", one of which is "generating a minimum of 50k dollars a year". 3. They will accept you, if you cover a print run of 3000 copies upon being published. Try to publish a novel and you'll see how that goes. The publisher will make you pay the print run of a few thousand books, and you're supposed to make them sell, they will just store it and ship it, and you have a start up cost in the few thousand dollars. And you're complaining about a 40$ fee that covers website maintenance, product page display for your book without expiration date (on SheetMusicX and Amazon), printing, handling, shipping to the customer, while you make 1/3 of the sale?