I'm pretty sure there's nothing historically egyptian about this scale, as I'm also sorta almost certain egyptian folk music was not strictly dodecatonal, if at all.
Anyhow, music theory! I played about with it, but since I'm not an awesome xtreme to the max speedy soloist I don't think any of my malformed sequences would be useful but I noticed a few things partaining to the geometrical structure of the scale, as applied on the guitar neck. First of all, the couple of semitones are arranged thusly that they could make for interesting sweeps, if you're interested in that. Starting on the fifth fret on the low E (the root A) there's a pretty easy to finger sweep sequence or two to be played, two-note per string, as well as one note per string up and down a few times, although I could only practice such things on the minute-per-beat way. More interestingly, since you seem to like your soloing pretty high pitched (as I've gathered mainly from MotW), this scale is nice in that it uses a lot of notes that are open strings. So if you can figure out a few nice patterns over the twefth fret, nothing's stopping you from embellishing them with rapid pull-offs to the open strings, or even some flashy two-hand tapping.
Furthermore, this scale I think is pretty similar to the Hungarian Minor A, which provides some very convinient 8,9 semitone steps :
e|---------------8-9-11
b|-----------8-9-------
g|-----7-8-9-----------
d|----------------------
a|----------------------
E|----------------------
that could be used for some campy-yet-effective dual note voicings or maybe the quick 32ths
e|--------10p9-----10p9-----10p9-12p9-whatever
b|-------------10p9-----10p9---------
which you could also embellish with right hand tapping since the 10p9s do not require any picking if you've got your action set pretty high.
and from the hungarian minor, you can go to either major or minor pentatonic in either A or E I find that that transition is smooth. Generally the hugarian minor A works just fine under E generally, for future notice. When in doubt, go atonal! no linear series of semitones played really really fast ever sounded bad, as so many bands since slayer have taught us.
