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I have recently returned to playing after taking a short break of 20 years. I am thrilled to be playing again, but that is a different story.
My question: I am having a difficult time playing well for longer than 30 minutes. My lip totally gives out and I can not hold notes. I know this will improve over time, but does anyone have creative suggestions for building endurance (besides the obvious of practice and patience).
I have been reading the info on this forum and it has been extremely helpful-- filling me in on what I've missed over the last 20 years-- thanks everybody.

practice and patience should about cover it

Boring, but long tones followed by more long tones! They will do more for you than most anything else.

Welcome back!

Firstly, take your time. I have a couple of pupils in a similar situation, or who maybe just can't get to blow each day because of work.

Start gently, stop as soon as there is any sign of lip fatigue. Come back later if possible, more refreshed.

I've found that 'little & lots' is sometimes more productive than one long session.

Each to their own though.

CB

Welcome back. I started back up 7 years ago after a 25+ year lay-off. So far, you've gotten good advice about long tones and not over-doing it, etc. For me, since my practice time is limited because of work, family, etc, I stick pretty much to the basics. I start out with long tones & breathing. Then I play scales in several different keys to: a) remember the fingerings of the flats & sharps and b) to work on articulation & slurring. After that, I play a couple of etudes to work on timing & range. Finally, I practice the band music we're currently working on. I cram this into a 45 minute to an hour session about 4 times a week. Good luck.

Thanks everyone-- most useful. I will keep at it, see about some lessons (might be hard here) and most importantly, keep having great fun.

after laying off for a long time usually comes (from what I've experienced) playing too softly and not using enough air. We tend to think of the embouchure as the creator of the sound, yet the lips do nothing without the air. The air by itself cannot produce the sound either so we have a symbiotic relationship between the two - BUT THEY ARE NOT EQUAL.

Always look to air over embouchure - the air is more important in our case. Many of us are familiar with the Arnold Jacobs "spit valve drill" which effectively demonstrates this imbalance.

Make sure you are using plenty of air and remember that playing softly requires more muscle energy than playing with a full sound. It also helps you get the feel of where the horn’s tuning will slot for you.

Keep at it and welcome back!

Roger